Questão FC170999
Text I Despite the tricky and life-threatening relationship between Paleolithic humans and the megafauna that comprised so much of their environment, twentieth-century scholars ten
Questões sem classificação de assunto
CEBRASPE (CESPE) · 2024
Despite the tricky and life-threatening relationship between Paleolithic humans and the megafauna that comprised so much of their environment, twentieth-century scholars tended to claim cave art as evidence of an unalloyed triumph for our species. It was a “great spiritual symbol,” of a time when “man had just emerged from a purely zoological existence, when instead of being dominated by animals, he began to dominate them.” But the child-like and highly stylized stick figures found in caves do not radiate triumph. By the standards of our own time, they are excessively self-effacing and, compared to the animals portrayed around them, pathetically weak.
While twentieth-century archeologists tended to solemnize prehistoric art as “magico-religious” or “shamanic,” today’s more secular viewers sometimes detect a vein of sheer silliness. India’s Mesolithic rock art portrays few human stick figures; those that are portrayed have been described by modern viewers as “comical,” “animalized” and “grotesque.” As Judith Thurman wrote about the artists, “despite their penchant fornaturalism, rarely did they choose to depict human beings, and then did so with a crudeness that smacks of mockery.”
But who are they mocking, other than themselves and, by extension, their distant descendants, ourselves? Of course, our reactions to Paleolithic art may bear no connection to the intentions or feelings of the artists. Yet there are reasons to believe that Paleolithic people had a sense of humor not all that dissimilar from our own.
Barbara Ehrenreich. The Humanoid Stain. Later on. Internet: <https://leisureguy.ca> (adapted).
The author sides with those who take cave art to be a ‘great spiritual symbol’, as stated in the first paragraph.
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Comentário: A afirmação está errada porque o autor não apoia a ideia de que a arte rupestre é um "grande símbolo espiritual". Na verdade, ele critica essa visão, argumentando que as figuras humanas nas cavernas não transmitem triunfo, mas sim fraqueza e uma certa comicidade. O autor menciona que a arte é vista de forma diferente hoje em dia, com uma percepção que desafia a solenidade atribuída por estudiosos do século XX, sugerindo que os artistas paleolíticos podiam ter um senso de humor similar ao nosso, o que contradiz a ideia de um símbolo espiritual absoluto.
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