Jogo de espelhos: a noção de demoníaco em Schopenhauer, Machado de Assis e Freud
Data
2020-12-22
Autores
Torres, Ricardo Rodrigues 
Orientadores
Imbrizi, Jaquelina Maria
Tipo
Dissertação de mestrado
Título da Revista
ISSN da Revista
Título de Volume
Resumo
O uso da palavra demoníaco por Freud, não muito frequente, suscitou uma reflexão sobre o sentido para que aponta esta noção, haja vista não se tratar de um conceito. Ver o termo como um sinônimo de malignidade não parecia corresponder ao conjunto de significância do fraseado. Assim posta a problemática, vislumbrou-se uma via de acesso à questão a partir da literatura machadiana que, em muitas passagens de sua obra, aborda o jogo de forças a se manifestar na trajetória da existência humana, metamorfoseadas nas figuras alegóricas do Diabo, Pandora ou simplesmente natureza. Um importante comentador de Machado de Assis, Raymundo Faoro, identifica na ideia de natureza que transparece na obra do escritor brasileiro uma matriz schopenhauriana, a Vontade. O mesmo comentador encontra também ressonâncias na natureza machadiana do conjunto de ponderações (existenciais, filosóficas, estéticas, literárias) ao qual Goethe veio a nomear de demoníaco. Com Machado de Assis reencontramos, transpostos à realidade brasileira da época e à assimilação estética do gênio tupiniquim, um certo aspecto do universo da cultura de língua germânica. Assim, procuramos discernir, a partir de um conto de Machado, os impulsos demoníacos e naturais da criação literária e as fontes intelectuais de tais noções envolvidas para comparar ao uso do termo pelo Pai da Psicanálise. Freud dizia que os poetas haviam percebido com antecedência certas descobertas psicanalíticas, embora não as sistematizassem. Levando a sério essas considerações, o presente exame busca colocar os textos estudados frente a frente, à maneira especular, sem hierarquizá-los, para nesse “jogo de espelhos” trazer à tona as nuances de sentido no uso do vocábulo demoníaco. A pesquisa resultou que, nos reflexos produzidos, vislumbramos que a potência fisiológica/sexual na criação literária do cônego de Machado configurava a mesma força produtiva obscura de sintomas e sonhos denominada por Freud de demoníaca. A força da natureza que no conto machadiano produz a obra artística não se opõe à significação que o termo demoníaco vem a desenvolver num segundo momento da obra psicanalítica de seu pai fundador, quando suaviza o sentido de produção (embora mantenha essa nuance semântica) para repetição, característica que aponta para tendências conservadoras dos instintos dos seres orgânicos (no nível psíquico) em direção ao estado originário de quietude absoluta, porque tudo que é demoníaco é também natural. Faz-se admissível que, do mesmo modo que o daimon representava um intermediário entre homens e deuses para os gregos, o uso do termo demoníaco por Freud represente uma transição do universo mítico/poético para o mundo do realismo científico professado pelo psicanalista.
The use of word demonic by Freud, not very often used, aroused a reflection on the meaning for which this notion points out, since this is not a concept. Seeing the word as a synonym for malignancy did not seem to correspond to its real meaning. Thus, with this point raised, a way of access the issue was envisaged from Machado de Assis literature which, in his literary work, approaches the play of forces to manifest the trajectory of human´s life, metamorphosed into the allegorical figures of the Devil, Pandora or simply the nature. An important Machado de Assis commentator, Raymundo Faoro, identifies the idea of nature which transnotes in the literary work of the Brazilian writer a Schopenhaurian matrix, which is the Will. Faoro also finds resonances in the Machado de Assis nature from an set of weights (existential, philosophical, aesthetic, literary) to which Goethe came to name it demonic. With Machado de Assis we refound, transposed to the Brazilian reality of the time and to the aesthetic assimilation of the tupiniquim genius, a certain aspect of the universe of Germanic language culture. Thus, we try to discern, from a short story of Machado, the demonic and natural impulses of literary creation and the intellectual sources of such interests involved to compare to the use of the term by the Father of Psychoanalysis. Freud said that poets had noticed in advance certain psychoanalytic discoveries, although they did not systematize them. Taking these considerations seriously, this examination seeks to place the texts studied face to face, in the way that is speculated, without hierarchizing them, so that this "play of mirrors" brings out the nuances of meaning in the use of the word demonic. The research outcome shows that we envision the physiological/sexual power in the literary creation of Machado's clergyman configured the same obscure productive force of symptoms and dreams Freud called demonic. The power of nature that in machadian’s short story produces the artistic work is not opposed to the meaning that the term demonic which comes to develop in a second moment of the psychoanalytic work of its founding father. When it softens the sense of production (although it maintains its semantic nuance) for repetition, a characteristic that points to conservative tendencies of the instincts of organic beings (at the psychic level) towards the original state of absolute stillness, because everything that is demonic is also natural. It is acceptable that, just as daimon represented an intermediary between men and gods for the Greeks, Freud's use of the term demonic represents a transition from the mythical/poetic universe to the world of scientific realism professed by the psychoanalyst.
The use of word demonic by Freud, not very often used, aroused a reflection on the meaning for which this notion points out, since this is not a concept. Seeing the word as a synonym for malignancy did not seem to correspond to its real meaning. Thus, with this point raised, a way of access the issue was envisaged from Machado de Assis literature which, in his literary work, approaches the play of forces to manifest the trajectory of human´s life, metamorphosed into the allegorical figures of the Devil, Pandora or simply the nature. An important Machado de Assis commentator, Raymundo Faoro, identifies the idea of nature which transnotes in the literary work of the Brazilian writer a Schopenhaurian matrix, which is the Will. Faoro also finds resonances in the Machado de Assis nature from an set of weights (existential, philosophical, aesthetic, literary) to which Goethe came to name it demonic. With Machado de Assis we refound, transposed to the Brazilian reality of the time and to the aesthetic assimilation of the tupiniquim genius, a certain aspect of the universe of Germanic language culture. Thus, we try to discern, from a short story of Machado, the demonic and natural impulses of literary creation and the intellectual sources of such interests involved to compare to the use of the term by the Father of Psychoanalysis. Freud said that poets had noticed in advance certain psychoanalytic discoveries, although they did not systematize them. Taking these considerations seriously, this examination seeks to place the texts studied face to face, in the way that is speculated, without hierarchizing them, so that this "play of mirrors" brings out the nuances of meaning in the use of the word demonic. The research outcome shows that we envision the physiological/sexual power in the literary creation of Machado's clergyman configured the same obscure productive force of symptoms and dreams Freud called demonic. The power of nature that in machadian’s short story produces the artistic work is not opposed to the meaning that the term demonic which comes to develop in a second moment of the psychoanalytic work of its founding father. When it softens the sense of production (although it maintains its semantic nuance) for repetition, a characteristic that points to conservative tendencies of the instincts of organic beings (at the psychic level) towards the original state of absolute stillness, because everything that is demonic is also natural. It is acceptable that, just as daimon represented an intermediary between men and gods for the Greeks, Freud's use of the term demonic represents a transition from the mythical/poetic universe to the world of scientific realism professed by the psychoanalyst.
Descrição
Citação
TORRES, Ricardo Rodrigues. Jogo de espelhos: a noção de demoníaco em Schopenhauer, Machado de Assis e Freud. 2020. 126 f. Dissertação (Mestrado Interdisciplinar em Ciências da Saúde) - Instituto de Saúde e Sociedade, Universidade Federal de São Paulo, Santos, 2020.