Sobre a dimensão estética do conceito de leitura literária: perspectivas de uma Dialética Negativa.

Abstract

Different researches have been found the failure of literature teaching as well as many functions that the literary text has been loading in it self to legitimate its space in school institutes and in selective processes. The present thesis consists in a theoretical – bibliographical research and part of the finding of a precarious reader's training diagnosed by studies in the field. Besides these findings, some aspects approached by the research Retratos de Leitura no Brasil and by the Parâmetros Curriculares Nacionais were considered, compared to researches in the field of literature teaching, seeking the impasses by those who teach this subject. From a conceptual displacement, it was considered that the pseudo-activity's reader is the one who lives in an utilitarian world, in which the reading purposes tend to last shortly and converge to transform in measures to other ends and not the humanization of people nor the training of historical – political subject. This concept, dialoguing with the concept of semi-formation, demonstrates the need of an experience that does not initiate in any moral activity, any finality, nor in any concept, neither seeking an elevated spirit. Its only ending would need to be in itself, as an unintentional practice, denying authorities, postulates and valuations. The categories here presented are originated from barriers to reader's training and they start to be discussed from letters exchanged between Theodor Adorno and Walter Benjamin. The conceptions of negative dialects, dialectical image, constellation thinking, which have as grounds the subjective production of similarities while principles of involvement between concept and object, are those mainly approached to recognize the need of a literary reading that means to a mimeses – non-conceptual and by unintentional practices, once to a cultural formation. However, it is important that literary reading constitutes itself as integral part of the ability to carry out sensitive experiences, of involving with the not nominated, the nothing and the non-conceptual, to go to the extreme of its possible in the constructions of new senses, beyond the potential given as known, and walking hand in hand with its own uncertainty. It brings up, to one that performs it, a moment of experience subordinated to the most diverse and inconstant truths to the reader that, a priori, cannot be replaced by any reduction.