Global Middle Ages ou as virtudes do anacronismo. A lição do texto medieval

Carlos Carreto

doi:10.53943/elcv.0119_10

Abstract

Has the Middle Ages invented globalization or revealed a clear consciousness of globality? On the other hand, may this anachronistic notion prove to be an appropriate and productive operative and analytical concept for rethinking medieval literature beyond its territorial and linguistic boundaries and the epistemological view of the world imposed by a (neo)positivist conception of the history of literature? Mapping the medieval literature in a global perspective implies a methodological repositioning and a process of deterritorialization of the concepts themselves that leads us to reinvest motives, forms, structuring notions (from the chivalric queste to the concept of romance as translatio, passing through the status of the marvelous) with new meanings and, consequently, new cultural and poetic implications.

Highlights

Palavras-Chaves: Literatura medieval; literatura-mundo e French Global Studies; poética medieval; literatura de viagem; conceito de maravilhoso
Has the Middle Ages invented globalization or revealed a clear consciousness of globality? On the other hand, may this anachronistic notion prove to be an appropriate and productive operative and analytical concept for rethinking medieval literature beyond its territorial and linguistic boundaries and the epistemological view of the world imposed by apositivist conception of the history of literature? Mapping the medieval literature in a global perspective implies a methodological repositioning and a process of deterritorialization of the concepts themselves that leads us to reinvest motives, forms, structuring notions with new meanings and, new cultural and poetic implications
Oferecendo uma visão do mundo confortavelmente fundada na circularidade do símbolo, a canção de gesta assenta primitivamente num paradigma da previsibilidade através do qual procura exorcizar ruturas ou ameaças tanto internas à ordem feudal (traição, conflitos no seio da nobreza ou entre a nobreza e o poder régio, emergência de valores ligados à cultura mercantil e ao desenvolvimento urbano, etc.) como exuma relativa circularidade espacial e temporal em que o Outro e a Diferença acabam sempre por ser subsumidos pelo Mesmo, o romance surge como abertura total perante o desconhecido, modelizada essencialmente por dois núcleos ou eixo temáticos: a errância e o maravilhoso