O "omelete ecumênico" : reescritas do (outro) sertão no Corpo de baile de Guimarães Rosa
| Ano de defesa: | 2017 |
|---|---|
| Autor(a) principal: | |
| Orientador(a): | |
| Banca de defesa: | |
| Tipo de documento: | Tese |
| Tipo de acesso: | Acesso aberto |
| Idioma: | por |
| Instituição de defesa: |
Universidade Federal de Minas Gerais
UFMG |
| Programa de Pós-Graduação: |
Não Informado pela instituição
|
| Departamento: |
Não Informado pela instituição
|
| País: |
Não Informado pela instituição
|
| Palavras-chave em Português: | |
| Link de acesso: | http://hdl.handle.net/1843/BUBD-AWFM8V |
Resumo: | The present work conceives Corpo de Baile Book, set of novels published by Guimarães Rosa in 1956, as a rewriting of the Brazilian sertão that confronts globalizing notions of history, homogeneities of time and space. This is a reconfiguration in the literaty´s singularities. They present another sertão in the fictional body, between violence and sexuality that confronts the moralities and expectations of a static backwoods. Thus, Corpo de Baile is conceived as a tangle of repertoires, which, in the peculiarity of literary form and narrative rhythm, images and sounds in dance, generates new possibilities of readings of the Brazilian sertão, in the narrative dimension of the work that metaphorizes the very existence narrative of the artistic, thinking as a way of writing history. In this way, we understand Corpo de Baile dialoguing with the issues related to the field of Writing of History, thought mainly from the French historian Michel de Certeau. In this way, the expression "omelete ecumênico", used by Guimarães Rosa alluding to the artistic, its production and exhibition, is thought of in this work as a meeting of diverse places that are set in motion in fiction. It is generated in the making of the book through the meetings between the writer and his others, people, experiences and repertoires that cross the paths of Guimarães Rosa. In this way, fiction becomes a 'belief' professed in the travel dimension of history, produced in its writing, performed in the aesthetic Corpo de Baile Book also as a contestation of a 'faithful rescue' of the sertão. Thus, we read the concreteness of history in the reconfiguration of past rewritten in the poetic of the work, its form of dance, open and unfinished, which extends in the infinite possibilities of readings of the set of Rosianas novels |