Quem quiser comprar o livro  favor contactar  Joyce Martins Carvalhaes-  e-mail:” jmcarvalhaes@gmail.com

To purchase a copy of the book please contact Joyce Martins Carvalhaes by e-mail:” jmcarvalhaes@gmail.com 

OI PAI. DIALOGOS IMAGINARIOS DE UM FILHO COM O PAI QUE JA SE FOI. IMAGINARIO DE UM PAI ENCANTADO.

TRANSGRESSIONS: RELIGION AND PERFORMANCE ART

More Information about the books below

Title: Oi Pai

“Prepare o seu coração para as coisas do seu Waldemar, para as coisas que o Cláudio escreveu, para as coisas que eles vão falar.  Prepare o seu coração antes de entrar nesta liturgia de pranto e canto.  Prepare o seu coração para um banquete de sete cursos, preparado por um poeta brasileiro condenado por Deus a ser teólogo, liturgista, pastor de palavras, que fala das coisas mais complicadas – coisas da vida e da morte – com as palavras mais simples, sem exibição, sem afetação… Prepare o seu coração pra ler um texto que lê você.  Sim, o texto do Cláudio lê o que você tem no coração.  Nele você se vê… Tudo isso e muito mais, nas conversas de um filho morrendo de saudades de seu pai.”

Ruy Costa – Do Prelúdio

Introdução

Este é um livro incomum. É a narração de conversas imaginárias de um filho com o pai que ficou encantado depois que faleceu. Por um ano, Cláudio Carvalhaes escreveu nos cafés de Nova York como se estivesse conversando com seu pai, sobre o seu pai, sobre ele mesmo e sobre o interrompimento abrupto dessa relação de amor pelo advento da morte. Estruturado em forma de uma liturgia, o que se vê em todo o livro é o lidar doloroso e penoso dos restos que a morte deixa, e a tentativa de coreografar e capturar a intensidade do vazio que a morte de um pai imensamente querido traz. Usando vários estilos da linguagem, teologia, liturgia e teoria critica, o livro traz uma gama de assuntos tão diversos quanto inesperados, uma conversa (des)contínua, fraturada pela ausência e pela esperança de um tempo de delicadeza, que no dizer de nosso poeta Chico Buarque, é “um tempo que refaz o que desfez”.

E nas palavras do autor escritas na introdução do livro,

Ao contar minhas histórias/estórias com meu pai, e com o que a morte nos deixa, que a princípio não tinham intenção nenhuma de serem compartilhadas, meu desejo é… apresentar a vida do meu pai, o seu Waldemar, um cidadão brasileiro, (quase) tão comum como qualquer um de nós, e as estórias/histórias dos meus dias que se sucederam por um ano após sua morte. Assim, espero que essa contação sirva, quem sabe, tanto de suporte quanto de uma possível tradução, a quem vive a violência, o horror, o absurdo, a dor e a bênção da morte de alguém amado.

Nesse imaginário encantado, o Prelúdio foi escrito por Ruy Costa e o Poslúdio por Zé Lima. 

Title: Transgressions: RELIGION AND PERFORMANCE ART

Index

* Religion Among the signs of Post-Modernity
* Religion, Ritual and Belief In a post-structuralist view
* Halloween and the Christian Religion: the Strange, Parasite and Memory
* Religion, Art and Culture
* “Come Spirit, Come” – About Art, Faith and Performance
* Promises Epiphanies – Religion and Aesthetics In Veils and Saffron Gates in Central Park in New York

About the book:
In this series of tests, Claudio Carvalhaes uses tools postmodern and poststructuralist to deconstruct the notion of religion as conceived in the Christian West. It is an attempt (bad) to violate the rationality of religion, exposing its metaphysical structure exclusionary, its universality and its conceptual desire ownership and autonomy. Seeking to recover what has been neglected in Christian discourse, Carvalhaes evokes / invokes the art as a vital partner to create a performance space and liturgical able to include those who were not blessed with the gift of faith or can not believe how demanding the creeds and confessions.

What did people say about the book:

* Each essay in the book carries a very own brand of the author. The language, metaphors, style, way of developing ideas … In “Come Spirit, Come” – About Art, Faith and Performance , for instance, is like a ball of thread had been rolled out and spread the floor. The wires form figures and follow a set path, but mysterious. The challenge is not finding the end of the line – because that is already in the hands of the beholder, in this case, the author – but his eyes go the way of the wire.
Selma Rose Adams, Professor of South American Theological Faculty

* The beautiful book Carvalhaes Claudio is in your hands. Do not want to be treated dogmatic nor pamphlet to teach what is not known. Part of the same creative breath of the Spirit. It is the sharing of experiences that can only be shared by those who also experience the transgressions on the shores and beyond them.
Jaci Maraschin
Professor of Philosophy and Religion

About me

Claudio Carvalhaes, born and raised in Sao Paulo, he studied theology at the Independent Presbyterian Seminary of St. Paul and earned a Masters of Science in Religion at the Ecumenical Institute of Graduate Studies of Sao Bernardo do Campo, Brazil where he developed his dissertation on “Albert Camus and Christianity “. He made a specialization in ecumenism at the World Council of Churches in Geneva, Switzerland, and currently makes his doctorate at Union Theological Seminary and Columbia University in New York in the United States. Carvalhaes is a founding member of the Paul Tillich Society of Brazil, a founding member and part of the editorial board of the Brazilian Association for the Study of Post-Modernity (ABEP) Camusian Studies Society, the Society for the Arts, Religion and Contemporary Culture ( ARC) in the United States, the American Academy of Religion (AAR) and Visiting Fellow of the American Academy of Liturgy (NaAl). To learn more about their Récents projects, published articles and also to contact, visit its website: www. claudiocarvalhaes.com

..::| PRESENTATION |::..

The Brazilian Association for the Study of Post-Modernity (ABEP) as part of its program of action, offers readers more in this text to reflect on issues related to religion and art in view of the concerns of postmodernity. The author of this book, Claudio Carvalhaes  was a student of Masters in UMESP in the 90s.

I was pleased to be his advisor. At that time I was fascinated by existentialism and deservedly won the title of master of science with religion and elaborated dissertation on relations between the thought of Albert Camus and Christianity. Thereafter, he moved to the Boston area, USA and in 2001 won a scholarship to do his doctorate at Union Theological Seminary and Columbia University in New York. When founded in UMESP research group on “Religion and Postmodernism”, invited him to join our academic activities, which he gladly accepted. Despite the geographical distance, Claudio regularly participates in our activities and collaborates as a member of the editorial in the journal Margins.

Claudio directs its research between the boundaries of religion and art as epistemological framework taking the thought of Jacques Derrida, John D. Caputo and Mark C. Taylor who has been a student. Although they had ecumenical in the fullest sense of the term, focuses on the Christian religion, to which it belongs. However, by his peregrina more margins than the center and sometimes seems to transgress the boundaries that define the names try their fields of action. The title of this book emphasizes what I mean, Transgressions: religion, art and performance . It is the act of transgression that “works” thinking so-called postmodern.

In what way religion moves between the signs of postmodernity? Who’s bothered? Just recently I read an article in the newspaper “O Estado de Sao Paulo” on the great diversity of evangelical religious forms in Brazil. They all depict some post-modern phenomena such as the fragmentation of ecclesiastical institutions, the discrediting of the ecclesiastical authorities loyalists and freedom of liturgical expression. Furthermore, based on modern bases and even pre-modern, noted the devotion to biblical fundamentalism, the willingness to rallying the faithful and the use of dogmatic formulas incarcerated in certainties and precise definitions. One can not therefore say that this avalanche of new forms of evangelical religion is postmodern. Sociologists of religion strive to describe and analyze the growth of these religious forms, often charismatic or Pentecostal in nature, as they like to say. It’s not about them, however, that the reflections of Claudio Carvalhaes are addressed. When I said he walks the “margins” I would also say that he is interested in “marginalized” who do not conform with the “right doctrine” nor the “infallible teachings” of those who believe hold the key to the mystery and mastery of the sacred. I know an Anglican sect, in Recife, which proclaims itself the guardian of “sound doctrine” and that he believes to be “knowing, living and affirming the truth,” as if that were possible. Claudio knows that “truth” of the sects is pure humbug. You also know that Jesus the Christ, was never interested in making any doctrinal system, but quite the contrary, deconstruct the systems that were suffocating the people of his time with legal and moral requirements. Jesus was not crucified because of his fidelity to his beliefs, but because it showed the decay of religious and political hypocrisy of his time.
Instead of right doctrine and knowledge of the truth, Carvalhaes turns to blow the indomitable spirit. It is worth mentioning that despite the difficulties to understand the meaning of the word “truth” throughout the history of thought, one can say that at least our Western Christian culture has been guided by two attitudes: truth as adequacy of the concept thing, and truth as the ratio of heart already mentioned by Pascal. Students of the history of philosophy very well remember the statement that “the heart has its reasons which reason knows nothing.” It is true that dealing with religion and art. We read in John’s Gospel: “Ye shall know the truth and the truth shall make you free.” The truth of Jesus is the heart. Not the truth of dogma. It is the truth of the dogma that the truth will free us from the heart. Paradoxically, the words of the gospel calls us to this kind of knowledge that “passeth all understanding” so that it liberates us from the fact that the understanding remains limited. The phrase can then be read as follows: “Know the truth and the truth shall make you free the truth.” In the chapter entitled, “Come, Spirit, come!” He shows us the freedom of creation and the possibility of impossibilities. The sectarian loyalties have been infidelities to the breath of the Spirit. Our images of God, whatever, will always be “our images of God” and as such idolaters. I recall the experience of mystics ever advancing beyond the God that lies in the definitions.

Carvalhaes is not cynical. Vattimo How could he say, “I believe what I believe.” Believe, however, is different from “own truth”, ie the truth of logic. It’s much more a matter of wonder and ecstasy of that of rationality. At this point he prefers to be guided by the faith of Kierkegaard than the scholasticism of Thomas Aquinas. That is why also the author of this book emphasizes the close relationship between religion and art. It is better not to define them. Spiritual experiences are liberating. There are things that can be taught. Beyond the realm of “truth” in science and technology. They are not struggling with this kind of truth. Belong to another dimension of reality. That’s why he dazzles with the artistic experience of Christ, when filled with saffron-colored gates paths of Central Park in New York in February 2005. Some people looked at those gates with their flags in the wind and saw nothing. Thing as religion.
Claudio enthused about the glare caused by the Spirit that blows where it wants and how. And realize that blow around in the works of art and expressions of love. That is why, too, that the word “performance” becomes important in these chapters. This is the term used in the art world to indicate what it does and how it’s done. Takes into account the body and its various ways of being. It is the body that we are spirit, I once wrote. This is why religion and art can only exist in body size. They are, each in its way, “performances”. It is likely that the art was more “body” of that religion, although in the long history of creeds and liturgical expressions of the body has always been a decisive factor in their practices. The Old Testament is exemplary in this regard. The liturgical directives of the religion of Israel come to details that many of our evangelical fundamentalists do anything to forget. But are there. And even the angels, regarded as spiritual beings in biblical imagery, have wings and beautiful bodies.

The beautiful book of Claudio Carvalhaes  is in your hands. It does not want to be treated dogmatic nor as a pamphlet to teach what is not known. But it is part of the same creative breath of the Spirit. It is the sharing of experiences that can only be shared by those who also experience the transgressions on the shores and beyond them.

Jaci Maraschin
Professor of Philosophy and Religion