Usuário:Ebvc1

De A Onça e a Diferença

Eduardo Viveiros de Castro é o 'fundador' - termo técnico - do wiki A Onça e a Diferença (AmaZone). É professor do Departamento de Antropologia da Universidade Federal do Rio de Janeiro e membro do Programa de Pós-Graduação em Antropologia Social do Museu Nacional.

            I too, dislike it: there are things that are important beyond all this fiddle. 
               Reading it, however, with a perfect contempt for it, one discovers that there is 
               in it after all, a place for the genuine. 
                   Hands that can grasp, eyes 
                   that can dilate, hair that can rise 
                       if it must, these things are important not because a 
            high sounding interpretation can be put upon them but because they are 
               useful; when they become so derivative as to become unintelligible, 
               the same thing may be said for all of us, that we 
                   do not admire what 
                   we cannot understand: the bat, 
                       holding on upside down or in quest of something to 
            eat, elephants pushing, a wild horse taking a roll, a tireless wolf under 
               a tree, the immovable critic twitching his skin like a horse that feels a flea, the baseˇ 
               ball fan, the statistician -- 
                   nor is it valid 
                       to discriminate against "business documents and 
            school-books": all these phenomena are important. One must make a distinction 
               however: when dragged into prominence by half poets, the result is not poetry, 
               nor till the poets among us can be 
                   "literalists of 
                   the imagination" -- above 
                       insolence and triviality and can present 
            for inspection, imaginary gardens with real toads in them, shall we have 
               it. In the meantime, if you demand on one hand, 
               the raw material of poetry in 
                   all its rawness and 
                   that which is on the other hand 
                       genuine, then you are interested in poetry.
               
           (Mariane Moore)

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La philosophie est une refléxion pour qui toute matière étrangère est bonne, et nous dirions volontiers pour qui toute bonne matière doit être étrangère. (G. Canguilhem)

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La flèche que les uns ne voient pas partir, les autres la voient arriver.

(Hubert & Mauss, ”Esquisse d'une théorie générale de la magie”)

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La rigueur de cette estrange metamorphose…(A. Thevet)

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It's a poor sort of memory that only works backward (Lewis Carroll)

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A Thanksgiving Prayer, by William S. Burroughs

For John Dillinger

In hope he is still alive

Thanksgiving Day, November 28, 1986

Thanks for the wild turkey and the Passenger Pigeons, destined to be shit out through wholesome American guts —

thanks for a Continent to despoil and poison —

thanks for Indians to provide a modicum of challenge and danger —

thanks for vast herds of bison to kill and skin, leaving the carcass to rot —

thanks for bounties on wolves and coyotes —

thanks for the AMERICAN DREAM to vulgarize and falsify until the bare lies shine through

thanks for the KKK, for nigger-killing lawmen feeling their notches, for decent church-going women with their mean, pinched, bitter, evil faces —

thanks for "Kill a Queer for Christ" stickers —

thanks for laboratory AIDS —

thanks for Prohibition and the War Against Drugs —

thanks for a country where nobody is allowed to mind his own business —

thanks for a nation of finks — yes, thanks for all the memories... all right, let's see your arms... you always were a headache and you always were a bore —

thanks for the last and greatest betrayal of the last and greatest of human dreams.

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[editar] A onça é a diferença

A fazer: uma pequena análise transperspectivista de Meu tio o iauaretê e A metamorfose. O caboclo rosiano anônimo que se transforma de dentro para fora, e isso depois do fim da narrativa, digamos, pois que não chega a virar, é morto no "processo"; do outro lado, o Gregor Samsa kafkiano que se transforma, ou melhor, é transformado de fora para dentro e antes do início da narrativa, e que morre miseravelmente sem chegar a desvirar. A atmosfera avuncular-afinal do conto rosiano (o tio jaguar só pode ser irmão da mãe índia do caboclo, o qual é apaixonado pela onça Maria-Maria), o clima parental-edipiano que envolve Gregor Samsa, seu pai, sua mãe, sua horrível e anti-incestuosa irmã. Os usos antipodais da linguagem e dos regimes enunciativos nos dois contos. A fome característica de ambos os protagonistas, a onça mineira e a barata austro-húngara. Etc. --Eduardo 20:47, 29 Mai 2005 (UTC)