Lui Morais

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Luis Carlos de Morais Junior (Lui Morais) é um escritor brasileiro, nascido no Rio de Janeiro.
É Doutor em Ciência da Literatura pela Universidade Federal do Rio de Janeiro, Pós-doutor em Estudos Culturais pelo PACC/LETRAS/UFRJ, Mestre em Letras Vernáculas pela UFRJ e Especialista em Filosofia Moderna e Contemporânea pela UERJ.
Professor de Filosofia e Literatura do Instituto Superior do Rio de Janeiro (FAETEC), com experiência no magistério em muitas instituições (UFRJ, UERJ, CPII, SEEDUC e particulares).
Contatos:
E-mail: lmoraisjunior@uol.com.br
Celular: (21) 999268054
Telefone: (21) 24625040
Referências:
Site: http://luiscarlosdemoraisjunior.com.br/
Wikipedia: https://fr.wikipedia.org/wiki/Lui_Morais
Worldcat identities: https://www.worldcat.org/identities/lccn-n2006210779/
Viaf: https://viaf.org/viaf/41283331/
Library of Congress: http://id.loc.gov/authorities/names/n2006210779.html
Dicionário Cravo Albin: http://dicionariompb.com.br/luis-carlos-de-morais-junior
Livros: https://pt.scribd.com/user/53613183/Lui-Morais
Facebook: https://www.facebook.com/lui.morais
Lattes: http://lattes.cnpq.br/3950344656548378
Luis Carlos de Morais Junior é autor de 33 livros publicados sobre vários temas, a saber:
- Livros:
- Musicologia:
1. Crisólogo – O Estudante de Poesia Caetano Veloso. Rio de Janeiro: HP Comunicação, 2004.
2. Proteu ou: A Arte das Transmutações – Leituras, Audições e Visões da Obra de Jorge Mautner. Rio de Janeiro: HP Comunicação, 2004.
3. Proteu ou: A Arte das Transmutações – Leituras, Audições e Visões da Obra de Jorge Mautner. 2 ed., revista e ampliada. Contém 10 entrevistas inéditas com Jorge Mautner. Rio de Janeiro: Litteris, 2011.
4. O Estudante do Coração. Rio de Janeiro: Quártica, 2010.
5. O Estudante do Coração – Ensaios Sobre a Arte Pós-Moderna (Noel Rosa e outros autores). Segunda edição: revista e amplificada. Rio de Janeiro: Litteris, 2013.
6. O Sol Nasceu pra Todos – A História Secreta do Samba. Prefácio de Ricardo Cravo Albin. Rio de Janeiro: Litteris, 2011.
- Poesia:
7. Larápio. Rio de Janeiro: Kroart, 2004.
8. Pindorama. Rio de Janeiro: Litteris, 2004.
9. O Caminho de Pernambuco (com Eliane Blener). Rio de Janeiro: Quártica, 2010.
10. O amor dos dois polvinhos (com Eliane Marques Colchete de Morais). Rio de Janeiro: Quártica, 2019.
11. O Meteorito dos Homens Ab e Surdos. Rio de Janeiro: Quártica, 2011.
12. Natureza Viva. Rio de Janeiro: Quártica, 2012.
13. Abobrinhas Requintadas – Exquisite Zucchinis (com Eliane Marques Colchete). Rio de Janeiro: Quártica, 2012.
14. Eu Sou o Quinto Beatle. Rio de Janeiro: Quártica, 2012.
15. Linhas Cruzadas (com Caio Reis Morais et alii). Rio de Janeiro: Quártica, 2014.
16. Poesia de Reciclagem. Rio de Janeiro: Litteris, 2014.
17. Eu, o dono da verdade. Rio de Janeiro: Quártica, 2017.
- Romance:
18. Y e os Hippies (com Eliane Blener). Rio de Janeiro: Quártica, 2009.
19. Crisopeia (com Eliane Blener). Rio de Janeiro: Quártica, 2010.
20. Clone versus Gólem (com Eliane Blener). Rio de Janeiro: Quártica, 2010.
21. O Portal do Terceiro Milênio (com Eliane Colchete). Rio de Janeiro: Quártica, 2011.
22. Gigante. Rio de Janeiro: Quártica, 2012.
23. O Homem Secreto. Rio de Janeiro: Quártica, 2013.
24. Rocambole de Carne à Copacabana (com Cláudio Carvalho e Cid Valle). Rio de Janeiro: Litteris, 2013.
- Contos:
25. O superprocessador de emoções do aquecimento global {novelo ou: contogeração}. Rio de Janeiro: publicado na internet, 2016.
26.Metaneurônios Atomizados (com Marcus Vinicius de Medeiros). Rio de Janeiro: t.mais.oito, 2008.
- Surdez:
27. Os que ouvem mais que nós (com Carlos Hilton). Rio de Janeiro: Litteris, 2013.
28. Outras Palavras (com Claudio Carvalho). Rio de Janeiro: Litteris, 2014
- Teoria:
29. O Olho do Ciclope e os Novos Antropófagos – Antropofagia Cinematótica na Literatura Brasileira. Rio de Janeiro: Quártica, 2009.
30. As Vivências Pós-modernas (et alii). Rio de Janeiro: Quártica, 2013.
31. Encontros nas esquinas das palavras: cinematótica transtemporal e complexistória na lírica brasileira atual ou: impressões de vertigens, ou ainda: devires do soneto brasileiro. Rio de Janeiro: livro do pós-doutorado em Estudos Culturais realizado no PACC da Faculdade de Letras/UFRJ, 2015.
32. Laboratório de Letras (com Eliane Marques Colchete de Morais). Rio de Janeiro: Litteris, 2017.
- Filosofia:
33. A Formação da Filosofia Contemporânea (com Eliane Marques Colchete). Rio de Janeiro: Litteris, 2014.
- Misticismo:
34. Carlos Castaneda e a Fresta entre os Mundos – Vislumbres da Filosofia Ānahuacah no Século XXI. Contém entrevista inédita com Luiz Carlos Maciel, a carta a Robert Gordon Wasson e as notas de campo de Carlos Castaneda traduzidas. Rio de Janeiro: Litteris, 2012.
35. Alquimia: o Arquimagistério Solar. Rio de Janeiro: Quártica Premium, 2013.
Educação:
36. A Autoeducação e o Século 21. Rio de Janeiro: Litteris, 2014.
37. O pedagogo de si (a Educação e a Filosofia). Rio de Janeiro: Litteris, 2019.

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Books by Lui Morais

O Sol nasceu para todos (A história secreta do samba)

O Sol nasceu para todos (A história secreta do samba), 2011

História e estudo do desenvolvimento da música popular brasileira no século 20, o samba é visto c... more História e estudo do desenvolvimento da música popular brasileira no século 20, o samba é visto como um supergênero que englobo e traduz várias manifestações musicais no Brasil.
History and study of the development of Brazilian popular music in the 20th century, samba is seen as a super genre that encompasses and translates various musical manifestations in Brazil.

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O Estudante do Coração

O Estudante do Coração - Essays on postmodern art, 2011

Essays on postmodern art: literature, cinema, music in Brasil - second edition

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O Estudante do Coração

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Carlos Castaneda e a Fresta entre os mundos

Carlos Castaneda e a Fresta entre os mundos, 2012

About Carlos Castaneda`s works; 1 - Don Juan does not represent a culture, neither yaqui nor any ... more About Carlos Castaneda`s works; 1 - Don Juan does not represent a culture, neither yaqui nor any other. It is silly to say that who uses the Mescalito, peyotl, are the Huicholes, and not the yaquis (Margaret tells us that Carlos traveled with Don Juan to a Huicholes land, to participate of a great peyotl session, which is reported in A Separate Reality, and in which he explains that he was trying to find a tacit agreement and a non-verbal means of communication to define the content of the revelations, which, of course, he did not find ). Carlos is crystal clear about the fact that toltecáyotl (nauallotl), the toltec knowledge, its discipline and fight, are not restricted to a certain culture, to a specific syntax. On the contrary, what it is done here is to get rid of the values and limitations of any view of world, is to explore and go beyond the human possibilities. The toltec motto is plus ultra. The reactionary motto, thatthey never accept, is the nec plus ultra, the medieval slong that said: you cannot go any further. The European Middle Ages said that about the sea they knew, the current anti evolutionary say that about the “ocean of consciousness”, another expression from Carlos`s book. And that bothers many people, average people. Lets bear in mind that there is, in Don Juan`s line, warriors of various Indian nations, mexicans, descendants of Europeans, Americans, and at least one Chinese, the Nagual Lujan (the ancient, of Don Juan Matus`s line, not the current author of The Art of Stalking Parallel Perception, the Living Tapestry of Lujan Matus, of whon nothing is known, but who seems to be from the U.S.A by the English he uses, very likely, and who states to be an energetic apprentice and of dreaming of the ancient nagual, from whom he inherited the name). Still, Carlos was as faithful as possible in order to report the anthropological culture he found, but what he reports is the deep culture, that one which remained in many autochthonous peoples, as the great toltec plan that was there before the European invasion and that still remained, behind the many differences of the names of peoples in Mexico (and in America). 2 – Carlos`s “Ixtlan journey” is initiatory, and all the events and characters have pragmatic meaning, to engender in the reader a dream of power. He himself reinforces, his are the “Tales of Power”. It makes no sense to do practical verification in the preestablished schemes, such as: this cultural fact belongs to this tribe, this word is or is not spoken by this group, this plnat or this animal is found or not found in the mentioned region. His story is magical, like a dream, and anything can happen, and it does. They smile because it mentions plants which are not there in the Sonora desert,n or because it walks for hours through him along with Don Juan, what would make anyone dehydrated. They forget that in The Power of Silence Carlos is chased by a jaguar (and he also affirms there are no jaguars in the region, which Don Juan joked about), and becomes a giant in order to scape. Or that he moves kilometers in a few seconds, travels in the water, in the fire, through walls, through time, gets massless and enters other people`s bodies, turns into a crow, and turns into a giant earthworm with La Catalina. The text is magic, it is a machine for testing, and not a tame and docile list of proven or probable facts. What makes him not be literature (he is often related to the Latin American magical realism, which is genius, but it is another thing; this fantastic realism as important as a manifestation of the original Latin America, and so turned to literature of indigenous peoples ). It doesn`t even want to be this “social science”, not even any Western science, which are, and these are, or these also are, despite its pretension, and its conceit, myths. The toltecáyotl is built in Gay Science, Real Science, real here understood in the sense of reality and royalty. 3 – Likewise with all the “sherlockians” verifications, that search for proofs he was not where he said he was, or that the time was not enough to happen what he said that happened, etc. Well, the manipulation of the assamblage point and access to other emanations of the luminous cocoon (and even out of it) enables amazing feats, such as changing the mood, appearance, features, sex, height, age, and many other features of the sorcere. And it also enables condensing time in many modulations, because we all do it, time never goes “equal”. The sorcerer, however, condenses much more, being able to travel kilometers in seconds, to make a scene repeats in reality, or even to be at two different places, or more, at the same time. We can apply to everything, including Castaneda, the riddle of Nietzsche, no matter whether something is true or false, but that way of life it produces, if it is strong (powerful) or foolish. 4 – There were disappointed ex- disciples. The internet helped a lot in the the emergence of this phenomenon. Not all sites were against it, of course, most are laudatory, and/or brings resources and important information: downloads of books (especially in English and Spanish), the only field notes that have survived (see appendix A), pictures, interviews, reviews of books about him etc. The “granpa of all sites” of this kind was http://nagual.net/. Important ones too, among many others, are http://www.oldnagualnet.com/ and http://toltec-nagual.com/. The page Interviews of the Nagualism.com site http://www.nagualism.com/interviews-articles.html offers twenty-three interviews with Carlos, the whitches, tensegrity instructors and the energy trackers, in the English language, it brings seminars notes, in http://www.nagualism.com/warriors-notes.html, and also links, in http://www.nagualism.com/nagualism-links.html. Víctor Sánchez, and his organization AVP (La Arte de Vivir a Propósito), which promotes seminars, offers the site http://www.toltecas.com/. There is also the Sustained Action site, http://www.sustainedaction.org/, created by Corey Donovan, who was Carlos`s follower and got disappointed, and who brings brings the chronology of our author and his fellow witches (these chronologies, so violent towards the nagualism proposal, are a kind of filet mignon of the site, and they were repeated and easily accepted by everybody, whitouth questionings), Reproductions of documents, and plenty of arguments about the so-called non-scientific character of his work, misrepresentation, relations with other sources that could have been plagiarized, and explanation about the “personality cult” in sects, which he is also accused of. Well, Carlos was a three-plongged nagual, he should not reproduce in his line, he should not teach personal apprentices, but to bring out the knowledge in countless new lines, through his propagation, which, for sure, he did. The very fact that he was so honest, sincere and generous led him to be so criticized. He revealed too much, he gave all the evolutionary tools to anyone who was willing to learn. Yet, his technique of radial teaching led him to attack the egos and self-images of all, starting with himself. Many people cannot stand that, or the fact that he was not a “goody-goody”, a humanist, but evolutionary. Changing the subject, what can you tell us about the detractors of Carlos`s message? In general, they people who feel defrauded. It`s like if the Nagual had pomised them something and had not accomplished it. They are spiteful people. What they have is pure self-importance. 5 - Anthropologically and politically speaking, Carlos Castaneda opens among the academic enviroment and Western editorials the idea and also the real and serious proposal that the Indians from the Pre-Columbian America were not “primitives”, “wild” and “Neolithic”, but had a rather theoretical and practical knowledge that, at least, contains traces of complexity, rationality and functionality with science and philosophy of European origin. He brings the presence of a strong, wise, powerful and wise Indian. It is no longer the “philatelic” interest by words and artifacts, as silly curiosities. What he shows us is an incredibly powerful machine of transmutation and evolution, that exists nowadays, that is present, and is the real face of Pan-American culture of the Amerindian peoples and acculturated who have a lot to teach us: the toltecáyotl.

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