O Manguezal — Revista de Filosofia

O SAMBA A CONTRAPELO EM OS “ANJOS DA GUARDA”, UMA CANÇÃO AFIRMATIVA E A CRÍTICA DA HISTÓRIA POR HANNAH ARENDT

Uílder do Espírito Santo Celestino

UFS

https://orcid.org/0000-0002-4116-308X

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Abstract

This article is divided into two parts. In the first of them, considering that samba does not need any historical seals, we sought, in a free way and with open writing, to present the song "anjos da guarda" (1995) popularized in the voice of Leci Brandão as a possible expression of a concept of history, "escovada a contrapelo" and integrated into the "tradition of the oppressed" according to Walter Benjamin’s (2013) formulation. In the second moment, it presents a critique of modern theories regarding the history and academic production of social sciences offered by the text by political scientist Hannah Arendt (2011; 2016a; 2016b) when she considered that such areas were too focused on capturing patterns and functions, a kind of continuity of positivism in social sciences and history. In this second moment, we sought to treat discussions about the concept of history seriously, seeking to distance ourselves from these modern sciences and approaching a modern condition by producing a consciousness, according to which we can act on any hypotheses " to make them function " both in the aspect of logic and even in the scope of reality. Faced with this " consciousness ", Hannah Arendt’s arguments did not point to the "end of history ", but to "everything being possible " both in theory, in memory and in history (LE GOFF, 1990). It is logical that such a statement could not be taken at length by itself, saying that "everything is possible " becomes more likely in the field of ideas, and in part of the realization of ideas, so much so that, later, regarding the difficulties arising from the attempt of capturing reality itself, Hannah Arendt swung to another extreme: "Reality is different from the totality of facts and occurrences and more than this totality, which, in any case, is unverifiable " (ARENDT, 2016, p. 323). This reality as a contingency finally understood is not a conclusion about the end of history or the absence of memory, nor is it the absence of a method, as considered by Hobsbawn (2015), but, logically, the possibility of an investigation of history conducted at least with distrust, a maxim valid even for everything thought and written by Hannah Arendt. It is not a question of distrusting the “concept of history”, which “modern” scientists accuse of “preconceptions”, but of logically distrusting the production of these scientists. Hannah Arendt's conclusion on this topic was to say that, despite the certainty that writing (or history) works in different senses of contingencies, we are faced with stories that can and should be rewritten as the lived process of human actions in time does not disappear.

 

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Author Biography

Uílder do Espírito Santo Celestino, UFS

Doutorando em Filosofia, Mestre em Sociologia, especialista e licenciado em História pela Universidade Federal de Sergipe (UFS).