UERJ 2013 – Questão 19

Linguagens / Inglês
The art of difference
Mutuality in recognizing and negotiating difference is crucial for people to deal with their past and the future; it is also essential in the process of creating a culture of responsibility. How can this be achieved and what is the role of art in this process?
A vision based on ideologies solves both challenges of sharing - the interpretation of the past and the projections of the future.1 But ideologies are somehow “total”, if not totalitarian, because there is not much space for serious public negotiation. Individuals, then, lose their integrity or are restricted to their private spheres and, in the end, their memories become part of the dominant identity discourse, their aspirations are delegated. Even in less obvious systems of ideological rule, where individual subscription to the official story line seems to be consciously voluntary and collective memories are willingly encouraged for the sake of collective identities, the negotiation of difference is often not welcome: exclusion happens quickly and non‑conformist doubts produce suspicion.2
A democratic vision - shared aspirations for the future, based on negotiated interpretations of the past that respect diversity - is necessarily found in complex processes of private and public discourse and participatory and inclusive culture. Yet, politics tends to reduce complexity and engineer the balance between the individual and the collective rather than invest in processes of negotiation. We have learned, though, that this social engineering is a phantasm,3 largely limited and limiting, and, even if successful, often creates paranoid and fatal structures of homogeneity
by trying to mould memories and hopes.
Humankind has gathered impressive knowledge about the limitations of the human will and the failures of such “engineering”. Nevertheless, despite this, and maybe even because of it, we cannot give up trying the impossible:4 to create conditions for equality and solidarity for individuals to flourish. These conditions should be accompanied by narratives of a just, fair and free commonwealth of all. If history and memory seem to make this dream an unlikely scenario, can art play this part?
The role of art is precisely to keep inspiration alive, to deconstruct ideology, to recall the necessary dream of freedom, of the individual and of the common good beyond the “either/or” and beyond simplicity. In this sense, art in general prevents false hopes, and thus generates hope in the most paradoxical way: the only way of hoping that reaches beyond the private sphere without some kind of ideological distortion.
What makes art so unique? And why? Because the best narratives of art are purpose‑free, uniquely non‑instrumental, simply human. Art narrates what we don’t understand in enlightened ways. Artists in particular offer a wealth of unseen perspectives and unexpected pathways of human exploration. Art makes us aware that all memories are personal, despite the power of collective narratives. Arts and culture empower people to think freely, to imagine the unimagined, to feel responsible across borders and boundaries. Hopefully, the narratives of the future will be intercultural - and art will be the ally in the art of difference that needs to be further developed. “Art is about difference, art is difference”, as stated by Igor Dobricic*. And it is difference that will be at the origin of the new bonding narratives of confidence.
 
Gottfried Wagner
alliancepublishing.org
 
*Igor Dobricic - dramaturgo sérvio
We have learned, though, that this social engineering is a phantasm, (ref. 3)
Nevertheless, despite this, and maybe even because of it, we cannot give up trying the impossible: (ref. 4)
The connectives underlined express the same notion.
They could be replaced by:
a) so.
b) thus.
c) however.
d) therefore.

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He insisted that, in politics, these euphemisms are “swindles” and “perversions” left deliberately vague in order to mislead. In the fragment above, the inverted commas are used with the following purpose: a) indicating the title of books b) signalling the quotation of terms c) conveying the sarcasm of the writer d) suggesting the misapplication of words