Detalhes bibliográficos
| Ano de defesa: |
2019 |
| Autor(a) principal: |
Oliveira, Maria Aparecida Barros de
 |
| Orientador(a): |
Yokozawa, Solange Fiuza Cardoso
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| Banca de defesa: |
Yokozawa, Solange Fiuza Cardoso,
Saraiva, Arnaldo,
Pessoa, Silvana,
Paula, Marcelo Ferraz de,
Canedo, Rogério |
| Tipo de documento: |
Tese
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| Tipo de acesso: |
Acesso aberto |
| Idioma: |
por |
| Instituição de defesa: |
Universidade Federal de Goiás
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| Programa de Pós-Graduação: |
Programa de Pós-graduação em Letras e Linguística (FL)
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| Departamento: |
Faculdade de Letras - FL (RG)
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| País: |
Brasil
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| Palavras-chave em Português: |
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| Palavras-chave em Inglês: |
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| Área do conhecimento CNPq: |
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| Link de acesso: |
http://repositorio.bc.ufg.br/tede/handle/tede/9664
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Resumo: |
In order to investigate the representation of the world in poetry, from the human figure, having as corpus poems by Cesário Verde (1855-1886) and João Cabral de Melo Neto (1920-1999), based on studies of mimesis and heroism in modernity, from theories such as Nelson Goodman’s exemplification and the modern hero from the perspective of Charles Baudelaire (1821-1867), Walter Benjamin (1892-1940) and Marshall Berman (1940-2013), we selected works whose reference point is anchored in the relationship between poetry and things, with a special focus on the national heroes who pass through the poetics of both authors. It is known that João Cabral establishes a productive dialogue with the portuguese poetic tradition. That dialogue is marked by distances and approximations. It is remarkable his admiration for portuguese writers such as Camilo Castelo Branco (1825-1890), Camilo Pessanha (1867-1926), Vitorino Nemésio (1901- 1978), Miguel Torga (1907-1995), Sophia de Mello Breyner Andresen (1919-2004), among others. However, his favorite writer is Cesário Verde – to the detriment of Fernando Pessoa, the great portuguese poet, acclaimed in several countries. In cesário Verde, the brazilian poet admires the way he incorporates the world to his poetry. Without embarking on abstractionism and exacerbated lyricism, Cesário Verde observes reality and incorporates it into the poem from analysis and creative imagination, giving rise to a poetry marked by the approximation of two images: the real and the imagined. Through that resource the portuguese poet denounces the injustices of his time concomitante with the appreciation he reveals for the poor and marginalized workers – the heroes of his poetry – thus reconfiguring the realism of the nineteenth century. João Cabral also chose as heroes the farmworkers who often migrate to the city in search of better living conditions, but they end up find the same reality. They are socially excluded individuals who live the challenge – conscious or not – of surviving in an extremely unequal society. To portray them, the poet brings them closer to the natural landscape and incorporates them into the text in order to “give to see” this reality from the language himself. In fact, in João Cabral the representation of the world in poetry takes place through samples constituted from disparate elements but that share some properties among themselves. The images constructed from this technique reveal that both tha author of O Sentimento dum Ocidental and that of O Cão sem Pluma, respectively, think the representation of the world in poetry not from the idea of imitation,of copy, but of the creation of a reality that, in part, resembles the “sensible real”, functioning as a sample of the world of which it speaks. Thus, the reconfiguration of epic heroism comes from the focus of the marginalized man, devoid of the aura, given to his own luck. This hero figure is an indicator of the modernity of Cesário Verde in Portugal and the way in which João Cabral turns to the human figure of the Northeastern region, but now in a key diferente from the regionalismo of 1930, because in a formally tense language. |
