Rotterdam Madness

What desire to call the attention here is that in a hegeliano dialtico process, the antithesis possesss the same importance of the thesis, therefore they are two parts that are necessary in the composition of the synthesis. Perscrutando desvelar of Madness, we have in the theater the esfacelamento of persona and presentation of the mystery, (following the definition presented for Hegel of that mystery would mean revelation, from there the necessity to know it) as we can evidence in the man who if travesti of woman and in such a way demonstrates the not-participation of the woman in the public presentation, as displayed Foucaut in its well ‘ ‘ History of the Sexuality – Book II’ ‘ , as well as the desire of this exactly man in displaying its feminilidade restringinda (here under a psicanaltica perspective of the recognition of andrgeno factor), going beyond, we have old that the good-tempered personage searchs its myth of the will in youth when incorporating, having also slave whom it sees fed, exactly of form representative, its anger of resentment (under a nitezschiana perspective concerning the resentment as anger against that it considers responsible for its depraved condition), therefore to if travestir of king, it confronts the monarch with evident an ironic subtility and at the same time that enrapturing Maquiavel would arrive, and finally, we have the mstica representation, that desnudada, transmits the nietzschiana idea of ‘ ‘ death of deus’ ‘. From this complexity, we obtain to demonstrate the baffling act of the Madness, that sends in them to the different state of that one which we find in them, becoming us flexible when being and transmutados in a desirous perception of future. Following the words of Rotterdam, on the life to be a comedy, I share the same of thought, since no matter how hard let us lead serious, in the end it preparation of manioc meal as a snow doll in the summer and if liquefaz, not completely, but as Sartre displays, gelatinous, something between rigid and the liquid, in transmitting this sensation to have and to escape the all instant, beyond the comedy to possess a complexity that also accumulates of stocks the seriousness, but without the limitante rigorismo of a style, only sliding between several, and when making it, she destroys and she constructs as a representation of Sheeva, bailando as Zaratustra and jeeing of the rigorismo and of it lacks of. Bibliographical reference: ROTTERDAM, Erasmo.