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A ARTE COMO OBSCURECIMENTO
Acercada Inesttticado "H y a" em Levinas
1. Situa$&oda EstfeticaLevinasiana
quea problematica
Constatamos as questoesquecomumente
respeitante
tais como,o problemada essenciada arte,da
se situamnoterrenoda est£tica,
naturezada experienciaestetica,da rela$aoda artecoma natureza,funda-
mental dogostoe da beleza,etc.,naoocupamumlugarderelevonoconjunto
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64 RevistaPortuguesade Filosofia
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A ArtecomoObscurecimento 65
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66 RevistaPortuguesade Filosofia
2. A Artecomo perda
Na perspectivade Levinas,a arte e a experienciaesteticasituam-se
aqu£mdohumano,domundoda verdade,da vidae dotempo.Esta surpreen-
dentedemarcate*do"estetico" intricadonumprocessode desmundificac&o e
denegatividade, colidecoma visaomaisfrequente da esteticafenomenol6gica,
que consideraa arte comocapacidadede revelarum mundo,de desvelara
verdade,de evocara presen^ado ser,enfim, de comele instaurar,atrav£sda
sua linguagemindirecta, uma aproximapao proficua.
De facto,uma tal potencia;aoda arte 6, para Levinas,aparentee
ilus6ria.Na sua obra Sur MauriceBlanchot,Levinas retomaas teses de
Blanchot,das quais o nosso autor se sente particularmente pr6ximo.Ai
declaraque "escrevernao conduzkverdadedo ser,mas simao 'errordo ser'
- ao sercomolugarde errancia,ao inabitdveF(cf.SMB, 19);porisso,na arte,
realiza-seo "acontecimentodoproprioobscurecimento", ou seja,"umachega-
da da noite,uma invasaoda sombra"(RO, 773).
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A ArtecomoObscurecimento 67
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68 RevistaPortuguesade Filosofia
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A ArtecomoObscurecimento 69
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70 RevistaPortuguesade Filosofia
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A ArtecomoObscurecimento 71
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72 RevistaPortuguesade Filosofia
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A ArtecomoObscurecimento 73
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74 RevistaPortuguesade Filosofia
4. A Artecomo pris&ono/doTempo
Levinasdefinea consistencia pr6priada artecomosendoa doinstante
que se evadiu do tempo,como"uma paragemdo tempoou melhoro seu
retardamento sobresi mesmo"(RO,782),"degeneraffio da temporalidade"34,
e porisso 6 uma aparenciaenganadorado existirporqueo eventoestetico
declina-sena capturade um tempoforade si mesmo,tempoque nao pode
acontecer.
E sobretudo na descrif
Soda imobilidade pldsticada estetua-paradigma
da imagem/idoloque o autorexplicitao paradoxo" de uminstanteque dura
-
semdevir/ocorrer "
(RO, 782);instanteque nao e nuncaa somadostemposda
sua durapao,masinstantedotadode umapropensaopara durarinfinitamen-
te, numaquase eternidade35 . Em suma,a obrade arte estacionanumdevir
eternamente est&tico, numapromessadeumtempofuturo quejamais deixard
de ser ilusao porquejamais acontecerd, comonumdevirjamais ocorrido, a
tempoonde sofobrao tempohistdrico" (SMB, 15). E desta maneiraque se
concebea crepita^aoesteticada obra,comosin6nimo da pr6priadenega(aodo
tempo,j& que poe de manifesto a sua estruturalincapacidadede tersidoou
de vira ser.
E paraestetempoinumanoque o mesmofundoinumanoda obradearte
nos atira, tempoimpessoal,sem passado nem futuro,este tempo sem
temporalidade, que 6 o tempoda arte.Instantean6nimo,dizLevinas,jamais
resolvidoempresente,comose delese tivesseausentadotodaa realidade:na
verdade,a vida a que toda a obra aspira apaga-se na inexequibilidadedo
pr6prioinstante.Aspiragaoapenas, e nada mais,pretensaode vida,isto6,
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A ArtecomoObscurecimento 75
5. Experienciada evas&o
Por tudoquantoj& foidescrito,percebe-seque a experienciaestetica
nao 6 bomabrigopara o homem.0 universoest£ticonao 6 um bomsitiode
habitapao.Aartenaonosrevelaummundocomolaracolhedore confortivel.
ComentandoBlanchot,Levinasdeixatransparecer toda a friezain6spitada
ausenciade lugare de casa que a artenos mostra.E muitoelucidativaesta
sua descripao:"longede aclarar o mundo,a arte deixa avistar o subsolo
desolado,fechadoa toda a luz que o susteme devolvek nossa estadia a sua
essencia de exilioe &s maravilhasda nossa arquitecturaa sua fun^aode
cabanas no deserto"(SMB,23).
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76 RevistaPortuguesade Filosofia
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A ArtecomoObscurecimento 77
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78 RevistaPortuguesadeFilosofia
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A ArtecomoObscurecimento 79
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80 RevistaPortuguesade Filosofia
"Ibidem, p. 50.
50Cf.tesede FrancescoPaolo
Ciglia,op. cit.p. 278.
61Levinasfala,concretamente,
dointelectualismo da literatura, entreoutros,
que remonta,
a Shakespeare.(RO, 789).
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A ArtecomoObscurecimento 81
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82 de Filosofia
RevistaPortuguese!
56aSe o acontecimento
est^ticonfioforsubmetido kcrftica de arte(preliminar) e sobretudo
a crfticametafisicaaniquilandoos deuses mfticos (...), ele sera incapaz (...) de nos abrira
transcendencia verdadeirado Rosto."BernardForthomme, op. tit, pp.69-70.
"Quanto ao problemade analisarse a est^ticapodeou nao sereticizada,em Levinas,cf.
GiorgioFranck,op.cit.tpp. 55 e ss. Tamb6mBernardForthomme debateesta quest&o,cf.op.
cit, p. 77.
u No mesmosentido,comentaComolli:As
imagensda pintura,as palavrasda literatura
afastamas coisase fazemouviro ecodo ser(op.cit.p. 221).
**"Sottostante"
comoa ela se refereFrancescoP. Ciglia,op.cit.p. 274.
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A ArtecomoObscurecimento 83
"CUbidem, p. 271.
81MikelDufrenne,P/^nom^no/o^de/'£;^rtem;e£;si^^MC,Tomel"Liobjete8th^iq^^
PUF, Paris,2.e edition,p. 126.
"Ibidem, p. 129.
88Ibidem,p. 128.
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84 RevistaPortuguesade Filosofia
"Ibidem,?. 129.
86Ibidem, 131.
p.
86Cf.Ibidem.
87Ibidem, 129.
p.
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A ArtecomoObscurecimento 85
"Ibidem, p. 130.
"Ibidem.
70Ibidem,p. 131.
71Ibidem,pp. 131-132.
72Cf.o comentdrio da obrae da sua respectiva
de M. Dufrennek impossibilidade/morte
experidnciaestetica,centradonas teses de Blanchot,in Esthttiqueet Philosophie,Tome 2,
Paris,p. 180e ss.
Kincklesieck,
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86 RevistaPortuguesade Filosofia
Resume*
Esthetics to Levinas
Abstract
Thisstudyseekstodemonstrate thatesthetics,
thought nota majorthemein thework
ofLevinasconsidered initsentirety,
offersa wayofclerifyinghisnotionofilya, whichconstitutes
infactan important topicinhisthought;
itis infunction
ofthisthemethatLevinascriticizes the
treatment ofesthetics intheWesterntradition ingeneraland,particularly,inphenomenological
philosophy.It is stressedthat,byinsertingofestheticsin theobscuring natureofilya , there
wouldbe a declinein art'sandtheestheticexperience's capacitytopresenttruthandsense.To
avoidthis,one thoughtto reconsider form as the projective elementofthe estheticobject's
immanentmeaning.From this viewpoint,Mikel Duflrenne'scommentary is especially
enlightening,as we hopeto haveshownhere.
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