What do you think?
Rate this book
História da Literatura Ocidental
Depois da publicação de História da Literatura Ocidental em quatro volumes, a Leya lança agora a produção de Otto Maria Carpeaux em uma caixa que contém sua mais famosa obra em dez volumes menores, no formato bolso. Da literatura grega à contemporânea (Carpeaux constrói sua narrativa até a década de 1970), o autor tece suas críticas em um estilo completamente único. Seu tão aclamado eruditismo nos leva ao conhecimento dos mais importantes autores da literatura ocidental. Conteúdo da obra por volume; História da Literatura Ocidental, volume 1 - Dos gregos e romanos ao primeiro século do cristianismo; (dimensão 17x12x0,02; peso 0,15 gramas páginas 160) História da Literatura Ocidental, volume 2 - A fundação da Europa, o universalismo cristão, a literatura dos castelos e das aldeias, o Trecento (Dante, Petrarca, Boccaccio), o realismo e o misticismo medievais; (dimensão 17x12x0,02; peso 0,200 gramas; páginas 250) História da Literatura Ocidental, volume 3 - Os humanistas italianos e a literatura renascentista europeia, os humanistas cristãos e a reforma; (dimensão 17x12x0,04; peso 0,200 gramas; páginas 304) História da Literatura Ocidental, volume 4 - Poesia e teatro da contrarreforma, pastorais, epopeias e romance picaresco, o barroco protestante, a literatura oposicionista; (dimensão 17x12x0,05; peso 0,200 gramas; páginas 576) História da Literatura Ocidental, volume 5 - As origens neobarrocas, o arcadismo, o classicismo racionalista, o pré-romantismo, os enciclopedistas, o último classicismo; (dimensão 17x12x0,06; peso 0,300 gramas; páginas 560) História da Literatura Ocidental, volume 6 - Das origens do romantismo ao fim do movimento - o evasionismo, o byronismo, os radicais e utopistas; (dimensão 17x12x0,06; peso 0,300 gramas; páginas 496) História da Literatura Ocidental, volume 7 - O romance burguês, darwinismo e fatalismo, o romance psicológico, o século XIX; (dimensão 17x12x0,07; peso 0,350 gramas; páginas 528) História da Literatura Ocidental, volume 8 - O simbolismo, o fim do século XIX, a época do equilíbrio europeu (1900 a 1914). Nietzsche, Oscar Wilde, Mallarmé, Rimbaud e outros; (dimensão 17x12x0,07; peso 0,350 gramas; páginas 528) História da Literatura Ocidental, volume 9 - As vanguardas europeias, as revoltas modernistas, a I Guerra Mundial. Freud, Joyce, Proust, O'Neill, Franz Kafka, entre outros; (dimensão 17x12x0,04; peso 0,200 gramas; páginas 288) História da Literatura Ocidental, volume 10 - A literatura contemporânea, o existencialismo, a II Guerra Mundial e suas consequências. Saint-Exupéry, George Orwell, Camus, Calvino, Gabriel García Márquez, Cortázar, Carlos Drummond de Andrade, Guimarães Rosa e outros autores; (dimensão 17x12x0,04; peso 0,200 gramas; páginas 336)
4032 pages, Paperback
First published January 1, 1959
55 people are currently reading
382 people want to read
About the author
Otto Maria Carpeaux
80 books59 followersOtto Maria Carpeaux (March 9, 1900 – February 3, 1978), born Otto Karpfen, was a Brazilian literary critic born in Austria and multilingual scholar.
Carpeaux was born in 1900 in Vienna, Austria, to a Jewish family, and lived there until 1939. In the University of Vienna he studied exact sciences and received his PhD in chemistry with a work concerning the brain, and possibly also a degree in physics. Later he studied sociology and philosophy in Paris, comparative literature in Naples, politics in Berlin and, supposedly, mathematics in Leipzig.
At some point in his life, Karpfen converted to Christianity, adding the Maria to his name and using Fidelis as his surname for some time. This conversion was evident in his political books (such as Wege Nach Rom) and his thinking, and led to his participation in the right-wing government of Engelbert Dollfuss.
When the Anschluss occurred and the Nazis took over Vienna, Karpfen went to Belgium. He stayed there for about a year and then went to Brazil, where he changed his last name to Carpeaux. At first, he was given a simple rural job, but eventually, through newspapers, he became an established literary critic, introducing writers such as Franz Kafka and Robert Musil to Brazilian audiences, along with the literary criticism of Wilhelm Dilthey, Benedetto Croce, Walter Benjamin and others.
Perhaps the peak of Carpeaux's production was his eight-volume História da Literatura Ocidental (History of Western Literature), unfortunately available only in Portuguese. Late critic José Lino Grünewald labelled it one of the brightest moments of the language in prose, despite the fact that Carpeaux was not a native speaker. It was written over a period of two years with a limited amount of research; the author depended primarily on his memory.[citation needed:] It is also unique in that it focuses on creating links between all periods, in order to create an organic vision of the literary history he is telling. The book also include more than 8,000 brief criticisms and expositions of the majority of the figures discussed along the way, minus the ones cited in passing; all are dealt with in their original languages, both in expositions and quotations and in the bibliography offered. The total bibliographical amount of cited works is on the merge of 30,000 books or more.
After a transition to the Brazilian left, marked by his fight against the military dictatorship that came to power in 1964, Carpeaux abandoned his literary writings by 1968, although he participated in an encyclopedia called Mirador. He died of a heart attack in 1978.
Recently, his essays have been compiled by Brazilian philosopher Olavo de Carvalho, with an added introduction. Critic Mauro Souza Ventura released De Karpfen a Carpeaux, a study in the life and work of Carpeaux. Carpeaux's other works include a dense history of German literature, several books of literary criticism, a popular history of Western music and various political writings.
Carpeaux was born in 1900 in Vienna, Austria, to a Jewish family, and lived there until 1939. In the University of Vienna he studied exact sciences and received his PhD in chemistry with a work concerning the brain, and possibly also a degree in physics. Later he studied sociology and philosophy in Paris, comparative literature in Naples, politics in Berlin and, supposedly, mathematics in Leipzig.
At some point in his life, Karpfen converted to Christianity, adding the Maria to his name and using Fidelis as his surname for some time. This conversion was evident in his political books (such as Wege Nach Rom) and his thinking, and led to his participation in the right-wing government of Engelbert Dollfuss.
When the Anschluss occurred and the Nazis took over Vienna, Karpfen went to Belgium. He stayed there for about a year and then went to Brazil, where he changed his last name to Carpeaux. At first, he was given a simple rural job, but eventually, through newspapers, he became an established literary critic, introducing writers such as Franz Kafka and Robert Musil to Brazilian audiences, along with the literary criticism of Wilhelm Dilthey, Benedetto Croce, Walter Benjamin and others.
Perhaps the peak of Carpeaux's production was his eight-volume História da Literatura Ocidental (History of Western Literature), unfortunately available only in Portuguese. Late critic José Lino Grünewald labelled it one of the brightest moments of the language in prose, despite the fact that Carpeaux was not a native speaker. It was written over a period of two years with a limited amount of research; the author depended primarily on his memory.[citation needed:] It is also unique in that it focuses on creating links between all periods, in order to create an organic vision of the literary history he is telling. The book also include more than 8,000 brief criticisms and expositions of the majority of the figures discussed along the way, minus the ones cited in passing; all are dealt with in their original languages, both in expositions and quotations and in the bibliography offered. The total bibliographical amount of cited works is on the merge of 30,000 books or more.
After a transition to the Brazilian left, marked by his fight against the military dictatorship that came to power in 1964, Carpeaux abandoned his literary writings by 1968, although he participated in an encyclopedia called Mirador. He died of a heart attack in 1978.
Recently, his essays have been compiled by Brazilian philosopher Olavo de Carvalho, with an added introduction. Critic Mauro Souza Ventura released De Karpfen a Carpeaux, a study in the life and work of Carpeaux. Carpeaux's other works include a dense history of German literature, several books of literary criticism, a popular history of Western music and various political writings.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 2 of 2 reviews
October 30, 2013
Finalizei o trabalho monumental do Carpeaux. Destaco um comentário bastante agradável sobre Joyce:
“Do país dos sonhos, Joyce não cessou de completar o outro país, o nosso, observando-o com os olhos de outlaw, ou então para empregar um termo de Herzen, com independência absoluta, de quem está “na outra ribeira”. E, sendo Joyce antes de tudo um grande humorista, da estirpe de Rabelais e Cervantes, a cidade de Dublin, do dia 16 de junho de 1904, tornou-se caricatura grandiosa, daumieresca, de outra cidade: da ‘Cidade sem Deus’ do nosso tempo; e Ulysses, em que Joyce depositou todas as suas experiências e todos os seus conhecimentos enciclopédicos, de todas as línguas, literaturas, filosofias e ciências, tornou-se a ‘Suma apocalíptica da nossa época’. Joyce é o Dante anticatólico do século XX. Edmund Wilson chamou a atenção para a grandiosa poesia noturna das cenas no hospital e no bordel. Ulysses inteiro é um ‘Inferno’. No ‘Inferno’ (VII, 1) Dante introduziu algumas palavras incompreensíveis para imitar a língua estranha dos diabos; Joyce fez disso um recurso permanente; ele, que T.S Eliot chama de ‘o maior mestre da língua inglesa desde Milton’.” (CARPEAUX, p.2579-80)
“Do país dos sonhos, Joyce não cessou de completar o outro país, o nosso, observando-o com os olhos de outlaw, ou então para empregar um termo de Herzen, com independência absoluta, de quem está “na outra ribeira”. E, sendo Joyce antes de tudo um grande humorista, da estirpe de Rabelais e Cervantes, a cidade de Dublin, do dia 16 de junho de 1904, tornou-se caricatura grandiosa, daumieresca, de outra cidade: da ‘Cidade sem Deus’ do nosso tempo; e Ulysses, em que Joyce depositou todas as suas experiências e todos os seus conhecimentos enciclopédicos, de todas as línguas, literaturas, filosofias e ciências, tornou-se a ‘Suma apocalíptica da nossa época’. Joyce é o Dante anticatólico do século XX. Edmund Wilson chamou a atenção para a grandiosa poesia noturna das cenas no hospital e no bordel. Ulysses inteiro é um ‘Inferno’. No ‘Inferno’ (VII, 1) Dante introduziu algumas palavras incompreensíveis para imitar a língua estranha dos diabos; Joyce fez disso um recurso permanente; ele, que T.S Eliot chama de ‘o maior mestre da língua inglesa desde Milton’.” (CARPEAUX, p.2579-80)
July 11, 2020
Li com afinco e denodo, marcando os livros que haveria de ler e traçando projetos de leitura. Tendo aprendido as línguas dos originais e aprofundando-me na leitura dos livros e das respectivas fortunas críticas, me desapontei com o Carpeaux. Em sua história muito aparece de arbitrário, frouxo e (paradoxalmente) anacrônico. Muito me valeu em outros tempos mas não recomendaria hoje.
Displaying 1 - 2 of 2 reviews