Descrição
Dadas las diferencias obvias entre contar una historia y el establecimiento de una teoría filosófica o un argumento cuidadosamente razonado, la narrativa filosófica es, a primera vista, un género improbable. Aún más problemático es el caso de la novela filosófica para niños, siendo considerados filosofía y niños, a los ojos de la tradición, una combinación no menos problemática. Las novelas filosóficas de Mathew Lipman constituyen, ciertamente, una prueba de que dicho género es posible. Sin embargo el mero hecho de que el intento haya sido realizado no anula el reclamo de que la forma está desfigurada. Inclusive, sin un exámen más detenido ¿quién puede decir que la novela filosófica no es sino un engendro de filosofía y de literatura? ¿O que una novela escrita para chicos pueda ser llamada filosófica sólo por cortesía? En este trabajo destaco lo que hace filosófica a una escritura para luego aplicarlo a las novelas filosóficas para niños con el objeto de explorar tanto las dificultades como las posibilidades de este género.||Given the obvious differences between telling a story and setting out a philosophical theory or a carefully reasoned argument, the philosophical narrative is, on the face of it, an unlikely genre. It is rendered even more problematic when we come to the philosophical narrative for children, with philosophy and children being, in the eyes of tradition, an equally dubious combination. The philosophical novels of Matthew Lipman and others constitute an existence proof that such a genre is possible, of course, but the mere fact that the attempt has been made does not nullify the claim that the form is disfigured or misbegotten. Indeed, without further examination, who is to say that the philosophical narrative for children is not a mongrel as both philosophy and literature, or that it can be called philosophical only by courtesy? In what follows I remark briefly on what makes writing philosophical and then apply those remarks to the philosophical narrative for children in order to explore both the difficulties and allure of the genre.||Dada as diferenças óbvias entre contar uma história e o estabelecimento de uma teoria filosófica ou um argumento cuidadosamente raciocinado, a narrativa filosófica é, a primeira vista, um gênero improvável. Ainda mais problemático é o caso da novela filosófica para crianças, sendo considerados filosofia e crianças, nos olhos da tradição, como um conjunto não menos problemático. As novelas filosóficas de Matthew Lipman têm constituído desde há muito tempo uma prova de que tal gênero é possível. No entanto, o mero feito de sua possibilidade não anula a ponderação de que a forma está desfigurada. De fato, sem um exame mais detido, quem pode dizer que a novela filosófica não é senão um mestiço como a filosofia e a literatura? Uma novela escrita para crianças pode ser chamada de filosófica somente por cortesia? Neste trabalho destaco o que faz uma escritura filosófica para logo aplicá-lo às novelas filosóficas para crianças com o objetivo de explorar tanto as dificuldades quanto as possibilidades deste gênero.||Given the obvious differences between telling a story and setting out a philosophical theory or a carefully reasoned argument, the philosophical narrative is, on the face of it, an unlikely genre. It is rendered even more problematic when we come to the philosophical narrative for children, with philosophy and children being, in the eyes of tradition, an equally dubious combination. The philosophical novels of Matthew Lipman and others constitute an existence proof that such a genre is possible, of course, but the mere fact that the attempt has been made does not nullify the claim that the form is disfigured or misbegotten. Indeed, without further examination, who is to say that the philosophical narrative for children is not a mongrel as both philosophy and literature, or that it can be called philosophical only by courtesy? In what follows I remark briefly on what makes writing philosophical and then apply those remarks to the philosophical narrative for children in order to explore both the difficulties and allure of the genre.||Given the obvious differences between telling a story and setting out a philosophical theory or a carefully reasoned argument, the philosophical narrative is, on the face of it, an unlikely genre. It is rendered even more problematic when we come to the philosophical narrative for children, with philosophy and children being, in the eyes of tradition, an equally dubious combination. The philosophical novels of Matthew Lipman and others constitute an existence proof that such a genre is possible, of course, but the mere fact that the attempt has been made does not nullify the claim that the form is disfigured or misbegotten. Indeed, without further examination, who is to say that the philosophical narrative for children is not a mongrel as both philosophy and literature, or that it can be called philosophical only by courtesy? In what follows I remark briefly on what makes writing philosophical and then apply those remarks to the philosophical narrative for children in order to explore both the difficulties and allure of the genre.
