Cultura da criança e modernidade: experiência e infância em Walter Benjamin
Carregando...
Data
2017-03-16
Autores
Sanches, Eduardo Oliveira [UNESP]
Título da Revista
ISSN da Revista
Título de Volume
Editor
Universidade Estadual Paulista (Unesp)
Resumo
Este estudo de natureza teórica busca, na Filosofia e na Filosofia da Educação, subsídios para investigar a relação entre infância e experiência na Obra de Walter Benjamin, sob a perspectiva do que Bolle (1984) denominou de cultura da criança no contexto da modernidade. Para direcionarmos nossa investigação, recorremos à análise dos ensaios bejaminianos em que, privilegiadamente, o tema da infância aparece: “Reflexões sobre a criança, o brinquedo, a educação” (2002); “Infância berlinense: 1900” (2013) e “A hora das crianças: narrativas radiofônicas de Walter Benjamin” (2015). A cultura da criança constitui-se e é apresentada nos ensaios de Benjamin por meio de caminhos em que a memória e história se cruzam. Encontramos a noção da cultura da criança em percursos onde o autor recompõe a memória da própria infância, vivida no limiar entre os séculos XIX e XX, em Berlim, bem como em outros trajetos dedicados pelo autor a pensar sobre a criança, realçar e refletir aspectos, tais como sua sensibilidade ou sua condição na modernidade. A cultura da criança, portanto, aparece diluída nos elementos históricos que registram uma temporalidade em transformação e reacomodação dos papéis sociais na sociedade moderna em que a própria ideia de infância é redefinida. No terreno da cultura da criança a expressão lúdica é uma marca de ambivalência entre a imitação e a transformação. Este exercício, na sua autenticidade, não apropriada ideologicamente, provoca tensão à percepção, colocando-a entre o óbvio e o inusitado, uma vez que desarticula uma dada ordenação estabelecida de significados. Nesta noção de lúdico está implicada uma nova qualidade de vínculo com o tempo presente; envolve mesmo uma nova estética, uma nova maneira de perceber e significar as situações, como atitude profanadora. Tal noção aproxima a imagem alegórica da criança de personagens importantes para o autor em suas reflexões, tais como o flâneur e o colecionador. Pensar a infância nesse contexto possibilita pensá-la de modo atemporal, como uma infância do homem e, nessa vertente, como condição humana para a profanação. Enquanto ser dotado de linguagem, a perspectiva de infância do homem prevê um estado de mudez ou gagueira frente ao agoras benjaminianos. Experiência e infância nos conduzem, também, ao que denominamos de infância da criança, para diferenciar aquilo que se destina a uma concepção alegórica de criança e infância em nosso estudo. Para essa ideia, há uma criança cujo protagonismo é um fator muito relevante para a emancipação. Para ela Benjamin dedica uma forma sutil de pedagogia profana por meio das ondas do rádio. Encontramos nas peças radiofônicas a consubstanciação de uma pensar sobre a infância em uma práxis desenvolvida como tentativa promover a resistência e a emancipação da criança em um momento histórico no qual a Juventude Hitlerista pressionava infância e juventude em direção a seu projeto social de dominação. Nesse sentido, pensar uma infância do homem e outra da criança pode ser compreendido, também, como uma tentativa de recuperar ou construir de modo novo as relações entre crianças e adultos, professores e alunos, em nosso tempo presente no século XXI – Jetztzeit: Profanar e resistir!
This theoretical study seeks, in Philosophy and Philosophy of Education, subsidies to investigate the relationship between childhood and experience in the Work of Walter Benjamin, from the perspective of what Bolle (1984) called child culture in the context of modernity. In order to direct our research, we appealed to the analysis of the Bejaminian trials in which, in a privileged way, the theme of childhood appears: "Reflections on the child, the toy, the education" (2002), "Berlin childhood: 1900" (2013) and "The children's hour: Walter Benjamin's radio narratives "(2015). The culture of the child is constituted and presented in Benjamin's trials through paths in which memory and history intersect. We find the notion of the child's culture in journeys where the author recomposes the memory of his own childhood, lived on the threshold between the nineteenth and twentieth centuries in Berlin, as well as in other paths dedicated by the author to think about the child, to highlight and reflect aspects, such as its sensitivity or its condition in modernity. The culture of the child, therefore, appears diluted in the historical elements that register a temporality in transformation and rearrangement of social roles in modern society in which the idea of childhood itself is redefined. In the field of child culture, playful expression is a mark of ambivalence between imitation and transformation. This exercise, in its authenticity, not appropriated ideologically, causes tension to the perception, placing it between the obvious and the unusual, since it disarticulate a given established ordination of meanings. In this idea of play it is implied a new quality of bond with the present time; it involves a new esthetic, a new way of perceiving and signifying situations, as profanatory attitude. Such a notion approximates the allegorical image of the child of important characters to the author in his reflections, such as the flâneur and the collector. Thinking about childhood in this context makes it possible to think of it in a timeless way, as a childhood of mankind and, in this way, as a human condition for profanation. While being endowed with language, man's perspective of childhood predicts a state of dumbness or stutter in the face of Benjamin's time of present. Experience and childhood also lead us to what we call the infancy of the child, to differentiate what is intended for an allegorical conception of children and childhood in our study. For this idea, there is a child whose protagonism is a very relevant factor for emancipation. For the child, Benjamin devotes a subtle form of profane pedagogy to radio waves. We find in the radio plays the consubstantiation of a thought about childhood in a praxis developed as an attempt to promote the resistance and emancipation of the child in a historical moment in which the Hitlerite Youth pressed childhood and youth toward their social project of domination. In this sense, thinking about a man´s childhood and one of a child´s childhood, can also be understood, as an attempt to recover or build in a new way the relationships between children and adults, teachers and students, in our actual time, in the twenty-first century - Jetztzeit: To profane and to resist!
This theoretical study seeks, in Philosophy and Philosophy of Education, subsidies to investigate the relationship between childhood and experience in the Work of Walter Benjamin, from the perspective of what Bolle (1984) called child culture in the context of modernity. In order to direct our research, we appealed to the analysis of the Bejaminian trials in which, in a privileged way, the theme of childhood appears: "Reflections on the child, the toy, the education" (2002), "Berlin childhood: 1900" (2013) and "The children's hour: Walter Benjamin's radio narratives "(2015). The culture of the child is constituted and presented in Benjamin's trials through paths in which memory and history intersect. We find the notion of the child's culture in journeys where the author recomposes the memory of his own childhood, lived on the threshold between the nineteenth and twentieth centuries in Berlin, as well as in other paths dedicated by the author to think about the child, to highlight and reflect aspects, such as its sensitivity or its condition in modernity. The culture of the child, therefore, appears diluted in the historical elements that register a temporality in transformation and rearrangement of social roles in modern society in which the idea of childhood itself is redefined. In the field of child culture, playful expression is a mark of ambivalence between imitation and transformation. This exercise, in its authenticity, not appropriated ideologically, causes tension to the perception, placing it between the obvious and the unusual, since it disarticulate a given established ordination of meanings. In this idea of play it is implied a new quality of bond with the present time; it involves a new esthetic, a new way of perceiving and signifying situations, as profanatory attitude. Such a notion approximates the allegorical image of the child of important characters to the author in his reflections, such as the flâneur and the collector. Thinking about childhood in this context makes it possible to think of it in a timeless way, as a childhood of mankind and, in this way, as a human condition for profanation. While being endowed with language, man's perspective of childhood predicts a state of dumbness or stutter in the face of Benjamin's time of present. Experience and childhood also lead us to what we call the infancy of the child, to differentiate what is intended for an allegorical conception of children and childhood in our study. For this idea, there is a child whose protagonism is a very relevant factor for emancipation. For the child, Benjamin devotes a subtle form of profane pedagogy to radio waves. We find in the radio plays the consubstantiation of a thought about childhood in a praxis developed as an attempt to promote the resistance and emancipation of the child in a historical moment in which the Hitlerite Youth pressed childhood and youth toward their social project of domination. In this sense, thinking about a man´s childhood and one of a child´s childhood, can also be understood, as an attempt to recover or build in a new way the relationships between children and adults, teachers and students, in our actual time, in the twenty-first century - Jetztzeit: To profane and to resist!
Descrição
Palavras-chave
Experiência, Infância, Cultura da criança, Profanação, Limiar, Walter Benjamin