OSMAN LINS, PAVEL FLORIENSKI AND THE SENSES OF NON-PERSPECTIVISM
João Vianney Cavalcanti Nuto | 31-39
This essay confronts Osman Lins ideas about aperspectivism in modern art presented in his book Lima Barreto and the space in the novel, and Pavel Florensky' s reflections on the distortions of perspective - explicit in the Middle Ages and subtle in the Renaissance. Osman Lins sees in the abolition of perspective in modern art the overcoming of the humanist view promoted by the Renaissance. Florensky argues that the distortions of perspective used by medieval artists did not result from lack of knowledge, but it was intentional, in order to a better expression the theocentric view of the world. In his analysis of paintings, Florensky observes that Renaissance artists often violated the laws of perspective in order to give their achievements better expression. Following this comparison, I analyze some elements that characterize the aperspectivism of Osman Lins' narrative art from the collection of short stories Nove, novena (1966) and in the novels Avalovara and The Queen of Prisons in Greece. Among the elements which contribute to non-perspectivism in the narrative of Osman Lins, we highlight the ornamental ambiance, as cosmic representation; the representation of the same character simultaneously in three phases of life; and the oscillation of narrative focus.
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