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This article analyzes the presence of Shoah in Brazilian literature. Despite the Brazilian participation in the fronts of the Second World War against the Nazi forces, we cannot realize the culture of this country the strong presence of this fact. Even today, at the beginning of the 21 century, with the importance attached by the cultural studies journal dedicated to the study of the reports of survivors and persecuted minorities, this panorama has not changed, at least with respect to the Shoah. The survivors who for a number of reasons varied ended up arriving in Brazil, they found there a welcoming audience to their testimonies. And, similarly, the Brazilian writer who eventually turned to this theme, nor responded to a cultural issue seen as important.

Whenever the Shoah is raised – such as the diaspora and the Inquisition, but the Holocaust is the most terrible and closer – whether in schools, family and community meetings, we say that we should remember that the facts do not recur, because forgetting leads to repetition of facts. If the disasters have happened, we remind them to avoid their return, and must honour those who were with the statement of what happened. The memory is similar to justice; the Zakhor Act is writing the history of losers, destroyed, annihilated by the March of history. This writing, being responsible for an account – it is written that the story unfolds – assumes the ethical commitment to remember to prevent new disasters.

The goal of this test is to reflect on the aspects of intolerance to Jews, built on the basis of the nature of religious theological and ecclesiastical thought.

This article discusses the issue of eclipse of God in Martin Buber. The Israeli religious experience part of two converging understandings of God: He is the Lord of history and creator of the world and of man. All that is not explained by yourself, it refers to the creator. From that point of view, God will be focused and the Holocaust.

Poesía contra Poesía de Jean Bollack es uno de esos libros que nos incitan, que nos impiden la pasividad, que nos ahogan desde el comienzo cualquier giro neutral; su lectura constituye un desafío de primera magnitud allí donde queda establecida una prohibición: de ahora en más el abordaje de la obra de Paul Celan tendrá como uno de sus referentes ineludibles a ese libro erudito y apasionado en el que el filólogo desnuda, para los lectores, el núcleo duro, intransigente, de la poesía celaniana.

Este artículo analiza la hermosa obra de Ruth Klüger, Paisajes de la memoria: autobiografía de una sobreviviente del Holocausto, publicada en Brasil en 2005, escrito entre 1989 y 1991 y publicada en Alemania en 1992.

Read a novel accurately as fiction is our duty to readers; produce fictions capable of challenging our sense of reality, our vision of the world and of history, is, so to speak, the strict letter of the writer. The novel Peças em fuga, by Anne Michaels, three men, Jakob, Athos and Ben – your paper creatures – indulge in this craft. This article discusses, in this fictional novel, the memory of the Shoah.

Fumaça nos meus olhos, nevoeiro, cortinas de infortúnio tão pressagas a perturbarem os reflexos d’água espelhando o balouço das palmeiras.  

Vapores que se mesclam ao frisarternos de festa antes que a luz no oestedefinhe e o ferro em brasa a faiscardesenhe a última curva e não restemigalha de fermento no alguidar.

Holocaust Day

My musselman statue

Resenha a: HERSON, Bella. Benjamin: de prisioneiro de guerra a industrial brasileiro. São Paulo: Perspectiva, 2001. 254p.

Resenha a: SCLIAR, Moacyr. O texto: ou - a vida. Rio de Janeiro: Bertrand do Brasil, 2007. 272p.

Resenha a: OZ, Amos. De amor e de trevas. Trad. Milton Lando. São Paulo: Companhia das Letras, 2006. 624p.

Resenha a: KATINA, Henry. De Halmeu a Belo Horizonte. Belo Horizonte: Edição do Autor, 2003.dá e no Brasil.

Anjos

Adão e a aparição de Eva

Escrita

The biblical narrative paradigm chosen by Auerbach – which is contrasted to the Homeric episode of the discovery of the scar on the thigh of Ulysses, Odyssey–is, precisely, that of the sacrifice of Abraham. The plot prototypical by obscurity makes a glimpse of the signifier’s manifests into strange conflict with what cannot be expressed. The voice of God, as demonstrated by Auerbach, emerges from somewhere obscure, getting even so the prompt response of Abraham that, despite everything, was prepared to respond immediately and obediently to the so-called mysterious and that even is shifted, once the area of its manifestation isn’t etched in short narrative of the episode.

What is the influence of Jewish mystical thought of Abraham Joshua Heschel (1907-1972)? During the years in which he served as professor of Jewish Philosophy Department of the Jewish Theological Seminary in New York, between 1945 and 1972, the year of his death, Heschel taught a course whose title is quite flashy: mystical and ethics.