O sentido do trágico em Friedrich Hölderlin à luz das interpretações de Gerd Bornheim

Abstract

In the 18th century, in Germany, in the midst of the French Revolution, FriedrichHölderlin was born, a playwright (tragedian) and poet, who revolutionized the literary scene of the time. Hölderlin's dramaturgical proposal reconciles the Greek and the modern spirit, in the search for an art that represented the Germany of the time, however, in the face of this desire, he is faced with rejections from his contemporaries and conflicts that corroborate for his madness. Hölderlin left a great legacy with unfinished dramatic and poetic texts, however, endowed with intellectual richness. Two centuries later, in Brazil, Gerd Bornheim was born, a Brazilian philosopher and art critic who contributed and continues to contribute to academic and artistic research in the contemporary scene. Bornheim also left a rich collection of books, serials, articles and typescripts that address themes of different natures: politics, art/theatre, language, education, among others. Thus, this work arises from the fact that we perceive affinities between two authors from different eras, however, important for art criticism and theatrical art: the Brazilian Gerd Bornheim and the German Friedrich Hölderlin. From the transcription and analysis of Gerd Bornheim's unpublished typescripts on Hölderlin, we have studying the concept of theatrical tragedy by the Swabian playwright, with the aim of understanding how his theory of the tragic, also found after reading the three versions of the his dramatic text The Death of Empedocles, is presented in the scenario of theater and contemporary art. Therefore, it is a qualitative and bibliographic research of a historical-artistic and philosophical nature, which proposes to cover the interpretation of subjective questions related to the interpretations of the referred authors. Thus, with this research we bring Hölderlin's work from other perspectives: the reception/acceptance of his theatrical work that was denied and mentioned as a “failure” by many researchers; the poetic-aesthetic and creative opening mentioned by Bornheim which, in our view, are possibilities for positively appreciating Hölderlin's work; the communication crisis and art criticism as a basis for understanding the dramatic literature of our German writer, in addition to other propositions that will be discussed later.