Uma voz que amplifica a Aldeia: as imagens do sertão na obra de Patativa do Assaré - do corpo às novas mídias

• Autor(a) principal: Brito, Antonio Iraildo Alves de
• Data de Publicação: 2018
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da PUC_SP
• Texto Completo: https://tede2.pucsp.br/handle/handle/21325
• topic: Sertões na literatura; Imagem corporal; Patativa [1909-2002] - Crítica e interpretação; Body image; Patativa [1909-2002] - Criticism and interpretation; CNPQ::CIENCIAS SOCIAIS APLICADAS::COMUNICACAO

The research deals with analyzing and interpreting the images of the sertão in the poetry of Patativa do Assaré. The poet is a voice. The voice as a “symbolic place that cannot be defined otherwise than by a relation, a distance, a link between the subject and the object, between the object and the other” (ZUMTHOR, 2007, p. 83). Patativa would be “the echo of a very alive poetic time from the low antiquity” (ZUMTHOR, 1993, p. 73). The hypothesis is that it would be possible to find in the work of the sertanejo images that characterize a sertão in which, beyond the problems, there is life, fertility, beauty. It is known that the narrative about the sertão, in general, has a certain amount of stereotype or exotic veneer. In literature, for example, writers and intellectuals who are fond of only fad, without regard to translation and varied repertoires, offer the exoticism of the sertão, reducing human problems to a picturesque element (CÂNDIDO, 2006a). In the mainstream media is no different. The popular talk is caricatured, and the sertão is almost always sterile, without color, with disfigured human types. In the work of Patativa do Assaré, however, it would be possible to verify the landscapes of a beautiful sertão, which is capable of multiple interactions. As a baroque composition, it includes human types, fauna, flora, music, dance, clothing, garments, food, walking, talking, working, and celebrating; which is a picture of complexity, of affection, of compassion. By his language, which is neither high nor low, but the mixture of the two, the poet is mediation (MARTÍN-BARBERO, 2013). He uses a language that does not originate from the impositions charged by the commercialization and adaptation of the taste to some formats, but from the modes of the popular narrating, permeated by a peculiar linguistic variety. His work seems to translate a sertão of many mixes; mestizo and caboclo, presenting a possible horizon of continuities and extensions (LAPLANTINE; NOUSS, 2002). Or in other words, a plot of a sertão made of mobile processes in its multiple connections, of paths to be transposed: borders (FERREIRA, 2010). Thus, In this study, the body is considered as source and origin of communication. The body as a catalyst for communicational environments, simply because it is present (BAITELLO, 2008, p. 99); hence the constitutive aspects of performance, especially the gesture and the role of the voice. The work takes into account “communication as a search for relationship and sharing with the other” (WOLTON, 2006). The poet would find himself in the same perspective as “many creators, artists and writers (who) project in the blends of the world new lights that the social sciences do not always provide” (GRUZINSKI, 2001, p. 41). The interpretative analytical method takes into account the poems themselves, the fittings and the mediations contained in them (PINHEIRO, 2013)