O Simbolismo Animal Medieval: um safári literário em Moacyr Scliar e Manoel de Barros

• Ano de defesa: 2009
• Autor(a) principal: FREITAS JUNIOR, Dario Taciano de
• Orientador(a): FONSECA, Pedro Carlos Louzada
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Goiás
• Programa de Pós-Graduação: Mestrado em Letras e Linguística
• Departamento: Lingüística, Letras e Artes
• País: BR
• Palavras-chave em Português: Literatura, Imaginário, Bestiário, Simbolismo, Moacyr Scliar, Manoel de Barros
• Palavras-chave em Inglês: Literature, Imaginary, Bestiary, Symbolism, Moacyr Scliar, Manoel de Barros
• Área do conhecimento CNPq: CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS
• Link de acesso: http://repositorio.bc.ufg.br/tede/handle/tde/2449

It s known that the esthetic creation of diverse brazilian literature authors, has been the aim of study of several treatments, theoretic approach, critical and analytical, regarding its image content, symbolic and figurative. Although recurrent, the theoretic works that scrutinizes the animal figure, few productions are dedicated to its literary meaning, what, somehow, shows the lack of attention related to this issue. Without decreasing the importance of the traditional studies, that just presents the animal figure as own human s implicit form, this study tries to fill the critical lack, analyzing literary contemporaneous brazilian productions that contemplates the animal figure based in its symbolical aspects. Thus, as much of the imaginary and symbolism, arose in the bestiary medieval tradition, its recurrent found in the current literature, the following authors, of recognized prominence and importance in the context of national literature, were chosen to be analyzed: Moacyr Scliar and Manoel de Barros. So, there will be a descriptive, analytical, critical and interpretative study of the symbolical and imaginary presence of animals, respectively, in tales of O carnaval dos animais (1968) and in the poetry book Arranjos para assobio (1982), from its own distinction, its gender and its singularity, since each of this works, in addition being part of a particular historical context, it s marked by distinctive aspects of each author