{"id":250674,"date":"2017-12-19T18:21:10","date_gmt":"2017-12-19T20:21:10","guid":{"rendered":"http:\/\/revistapesquisa.fapesp.br\/?p=250674\/"},"modified":"2017-12-19T18:21:10","modified_gmt":"2017-12-19T20:21:10","slug":"literature-as-a-system","status":"publish","type":"post","link":"https:\/\/revistapesquisa.fapesp.br\/en\/literature-as-a-system\/","title":{"rendered":"Literature as a system"},"content":{"rendered":"
\"\"

MADALENA SCHWARTZ \/ MOREIRA SALLES INSTITUTE COLLECTION<\/span><\/a> For the critic and professor (in a 1982 photo<\/em>), reading is essential for thinking about the literary work itselfMADALENA SCHWARTZ \/ MOREIRA SALLES INSTITUTE COLLECTION<\/span><\/p><\/div>\n

On December 7, 2015, the working group drafting the text for the Municipal Plan of the Book, Reading, Literature and Library of the city of S\u00e3o Paulo sent a letter to then-Mayor Fernando Haddad, suggesting that, upon ratification of the law to institute the plan, already unanimously approved in the House, a tribute be paid to Antonio Candido (1918-2017). The group\u2019s justification was that \u201camong all the great intellectual and civic attributes Professor Candido represents, his was one of the fundamental writings advocating literature as an inalienable right.\u201d<\/p>\n

Although the tribute ended up not taking place, the group\u2019s letter reveals the social impact of the work of Candido\u2013who died in May 2017\u2013beyond the university.\u00a0 Continual reference was made to the 1988 document entitled \u201cThe right to literature\u201d during the plenary sessions for drafting the plan, and called to mind several times by poet Ruivo Lopes, group representative for the work of the soir\u00e9es, literary collectives that are largely one of the more salient recent developments of hip hop culture. For the poets and writers from the city\u2019s periphery, the document in which Candido argues that \u201ca just society presumes respect for human rights and the implementation of art and literature in all its forms at all levels, as an inalienable right,\u201d was and continues to be key to the building of the social movement around reading.<\/p>\n

The importance surrounding the idea of reading as something essential for thinking about the literary work itself is deeply rooted in the thoughts of Candido, a sociologist, literary critic and emeritus professor of the University of S\u00e3o Paulo (USP).\u00a0Marisa Lajolo, a faculty member at Mackenzie Presbyterian University, collaborative professor at the University of Campinas (Unicamp) and former orientee of Candido, believes that reading is \u201cimplicit\u201d in the author\u2019s most famous work.\u00a0 Forma\u00e7\u00e3o da literatura brasileira <\/em>[The development of Brazilian literature], originally published in 1959, \u201cconceives of literature as the inclusion of authors, works and the public in an interconnected system and not as a random plurality\u2013although chronologically close\u2013of authors and works conceived independently of visual articulation in a system,\u201d Lajolo wrote in her piece \u201cA leitura na <\/em>Forma\u00e7\u00e3o da literatura brasileira<\/em> de Antonio Candido<\/em>,\u201d [Reading in Antonio Candido\u2019s development of Brazilian literature], published in Antonio Candido<\/em> (2003), edited by the last student the critic advised: Jorge Ruedas de la Serna.<\/p>\n

\"\"

EDUARDO CESAR <\/span><\/a> The critic began writing for the press in magazines such as Clima<\/em>…EDUARDO CESAR <\/span><\/p><\/div>\n

Candido believed that the notion of a literature that can be called Brazilian necessarily requires establishment of a particular \u201cliterary system,\u201d a key concept of his analysis.\u00a0 It is that system that allows a series of writings to be understood as literature and, by extension, a national literature.\u00a0 The writings that we consider \u201cliterary,\u201d to him do not start out as literature: it is the readers who give legitimacy to the works.\u00a0 In his essay \u201cThe seven breaths of a book\u201d (in the 1999 work entitled Sequ\u00eancias brasileiras<\/em>), Roberto Schwarz points to the uniqueness of Candido\u2019s work: \u201cHis sure-footed erudition, the latest of theories, voluminous research, balanced and elegant exposition and well-argued opinion, were all on a scale that was completely new to us.\u201d<\/p>\n

One of the issues highlighted in Forma\u00e7\u00e3o<\/em> is how to treat literature that was produced in Brazil before this system was established.\u00a0 To Candido, the word \u201cforma\u00e7\u00e3o<\/em>\u201d (development) was central to his proposed interpretation. It was not a history of the literature (the initial motivation for the project), but rather, an analysis of \u201cdecisive moments\u201d during the establishment of that literary system, in other words, Arcadianism and Romanticism. Candido uses the term \u201cliterary manifestations\u201d to refer to works produced before Arcadianism. His argument was that prior production lacked continuity between the generations of writers.\u00a0 In defining his work, he explained that he sought in the book to \u201cdetermine when and how uninterrupted continuity between works and authors began to be defined, almost always aware that they were part of a process of literary formation.\u201d\u00a0 He concluded by stating: \u201cFor lack of any better understanding, always likely in such cases, this occurs beginning in the mid-18th<\/sup> century and becomes fully clear in the first half of the 19th<\/sup> century (\u2026); it is through the Minas Gerais Arcadians, the last academicians, and certain famous intellectuals that we see the emergence of men of letters, forming a critical mass and manifesting, in varying degrees, the desire to write Brazilian literature<\/em>,\u201d (his italics).<\/p>\n

\"\"

ESTAD\u00c3O ARCHIVES<\/span><\/a> …and Suplemento Liter\u00e1rio do Estad\u00e3o<\/em>ESTAD\u00c3O ARCHIVES<\/span><\/p><\/div>\n

Kidnapping of the Baroque<\/strong>
\nIn a provocation that resulted in intense debate, the critic, poet and professor Haroldo de Campos (1929-2003) talked about Candido\u2019s \u201ckidnapping of the baroque\u201d\u2013in other words, the idea that literature would do away with high quality literary works, such as the writings attributed to Greg\u00f3rio de Mattos (1636-1696). Literary history would have jettisoned that poetry, where his quality lay. \u00a0\u201cWe thus find ourselves facing a veritable Borgian paradox, since the \u2018issue of origin\u2019 becomes part of the identity or pseudo-identity of a \u2018patronymic\u2019 author. One of the greatest Brazilian poets prior to Modernism, that whose existence is essential to our being able to coexist with him and feel that we are legatees of a living tradition, seems literally not to have existed in an \u2018historical perspective,\u2019 wrote Campos in O sequestro do Barroco na <\/em>forma\u00e7\u00e3o da literatura brasileira<\/em>: O caso de Greg\u00f3rio de Mattos<\/em> [The kidnapping of the Baroque in the development of Brazilian literature: The case of Greg\u00f3rio de Mattos] (1989).<\/p>\n

Candido, to Campos (who was his doctoral orientee), reinvigorated the nationalist character of Brazilian literary criticism.\u00a0 Candido\u2019s argument would revisit the historical issue of Brazilian literary debate, the question of national character, which would lead to the exclusion of everything produced before the literary movement associated with the country\u2019s fight for independence.\u00a0 The argument was refuted by Schwarz, in the abovementioned document, who pointed to the internationalism of Candido\u2019s ideas, which in no way interfered with his perception of the relevance of constituting a national literary space.<\/p>\n

Forma\u00e7\u00e3o<\/em> \u201cends\u201d in the 1880s, when realist projects dominated the literary scene. Machado de Assis is able to take an aesthetic leap now that production and circulation of works and readings allow the reworking of that tradition.\u00a0 And the naturalist writers now have a network of readers, critics and publications that lend a life of their own to literary production.<\/p>\n

\"\"

LUIZ CARLOS MARAUSKAS \/ FOLHAPRESS<\/span><\/a> Candido at an USP amphitheater in 2009: interested in social issuesLUIZ CARLOS MARAUSKAS \/ FOLHAPRESS<\/span><\/p><\/div>\n

Candido\u2019s idea of system is intimately linked to his sociological training\u2013his doctorate in the field was the result of publishing Os parceiros do Rio Bonito<\/em> [The partners of Rio Bonito] (1964)\u2013and his work as a sociology professor at USP during the 1940s, a time in which he began to develop the project Forma\u00e7\u00e3o<\/em> and when he wrote his thesis entitled \u201cIntroduction to the critical method of Silvio Romero\u201d (1945).<\/p>\n

Pedro Dolabela Chagas, a professor of literary theory at the Federal University of Paran\u00e1, asserts that the impact of Candido\u2019s sociological perspective has led to the emergence of interpretations of literary works with a marked metaphorical and allegorical leaning, giving preference to the narrative rather than to poetry.\u00a0 That would be one of the reasons for the difficulty in communicating with the perspectives of the group led by Haroldo and Augusto de Campos, in which poetry takes center stage. To Chagas, one of the legacies of Candido is his exhaustive research work, the notion that literary history cannot be built by exceptional readers and writers alone: for him, fully understanding the great authors requires research into critical texts and the \u201cminor\u201d literary production.<\/p>\n

The importance of history and sociology in analyzing Candido is one of the cornerstones of the rejection of the notion of literary system by Campos and critics associated with the journal Noigandres<\/em>. \u201cEven when you know that there is an Antonio Candido that came after [Forma\u00e7\u00e3o<\/em>], who wrote what are known as the \u2018definitive\u2019 essays, such as the \u2018Dial\u00e9tica da malandragem<\/em>\u2019 [Dialect of gangs] and \u2018De corti\u00e7o a corti\u00e7os,\u2019<\/em> [From tenement to tenement] that come back around to a certain formal interpretation of the works, we find ourselves faced with the sociologist who sees everything from the standpoint of literature and society,\u201d notes Leda Ten\u00f3rio da Motta, author of Sobre a cr\u00edtica liter\u00e1ria brasileira no \u00faltimo meio s\u00e9culo<\/em> [On Brazilian literary criticism in the last half century] (2002), professor in the Communications and Semiotics Program at the Pontifical Catholic University of S\u00e3o Paulo (PUC-SP) and scholar of the new critics.<\/p>\n

\"\"

WIKIMEDIA COMMONS<\/span><\/a> Machado de Assis…WIKIMEDIA COMMONS<\/span><\/p><\/div>\n

Social language<\/strong>
\nTen\u00f3rio da Mota is referring to two works included in the acclaimed book O discurso e a cidade<\/em> [The discourse and the city] (1993) that discusses more realistic novels.\u00a0 \u201cNo common denominator is possible between that focus and the formal interpretations of representatives of the other current who actually read language,\u201d she says, referring to the group from the Noigandres<\/em>. In the opinion of the professor, the legacy of Candido was \u201ca history of Brazilian literature with a beginning, a middle and an end, the end being S\u00e3o Paulo Modernism rather than the advent of Machadian realism.\u201d Ten\u00f3rio da Motta\u2019s interpretation of Candido\u2019s works extrapolates on Forma\u00e7\u00e3o<\/em> and includes the strong connection to the ideas of the 1922 literary movement, particularly the views of M\u00e1rio de Andrade.<\/p>\n

That view is contested by Maria Elisa Cevasco of the Department of Modern Literature at FFLCH-USP. She points out that Candido worked with the notion of \u201cobjective form:\u201d the artist would be the one able to transform the external, in other words, the socio-historical context, into something internal.\u00a0 Cevasco believes that Candido is not being reductionist by considering that context.\u00a0 On the contrary, what would be reductionist would be thinking about literature as something independent of that context.\u00a0 \u201cLanguage in itself is social.\u201d<\/p>\n

\"\"

WIKIMEDIA COMMONS<\/span><\/a> …and baroque poet Greg\u00f3rio de Mattos (title page of his 1775 book<\/em>) were subjects of debate among criticsWIKIMEDIA COMMONS<\/span><\/p><\/div>\n

Valentim Facioli, a retired professor of the Department of Classical and Vernacular Letters at the School of Philosophy, Literature and Human Sciences at the University of S\u00e3o Paulo (FFLCH-USP), in an analysis similar to that of Roberto Schwarz, sees Candido as someone who writes at a time in which the literary system described in Forma\u00e7\u00e3o<\/em> is undergoing a crisis, but still maintains a semblance of power. \u201cCandido writes long before the current system became dispersed: now, the literary system has become a mainstay in universities; outside universities, it has died,\u201d he said.\u00a0 Candido began writing in newspapers and magazines such as Clima<\/em>, and he had a hand in editing literary supplements such as that published by the daily O Estado de S. Paulo<\/em>, when literature was still, to a certain extent, a daily exercise engaged in by non-specialist readers.\u00a0 He would thus become one of the authors that mark that transition, no longer publishing regularly in newspapers, but instead beginning to circulate his most relevant 1980s and 1990s essays in academic journals at first and then in books rather than publications oriented towards the general public.<\/p>\n","protected":false},"excerpt":{"rendered":"The social reach of the work of Antonio Candido went beyond the university","protected":false},"author":633,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[165],"tags":[245],"coauthors":[1654],"class_list":["post-250674","post","type-post","status-publish","format-standard","hentry","category-humanities","tag-literature"],"acf":[],"_links":{"self":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/250674","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/users\/633"}],"replies":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/comments?post=250674"}],"version-history":[{"count":0,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/250674\/revisions"}],"wp:attachment":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/media?parent=250674"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/categories?post=250674"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/tags?post=250674"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/coauthors?post=250674"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}