Sertão como palco do mundo: a força do local e a difusão da cultura nordestina em Dom Pantero no Palco dos Pecadores: O Jumento Sedutor, de Ariano Suassuna.

• Autor(a) principal: Assis, Thaísa Menezes de
• Data de Publicação: 2022
• Outros Autores: [e-mail]
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/19540
• topic: Class-performance; Circus; Hinterland (Sertão); Aby Warburg; Ariano Suassuna; Aula-espetáculo; Circo; Dom Pantero; Jumento Sedutor; Sertão; Suassuna, Ariano, 1927-2014 – Crítica e interpretação; Suassuna, Ariano, 1927-2014. Romance de Dom Pantero no palco dos pecadores; Warburg, Aby, 1866-1929 - Crítica e interpretação; Circos; Brasil, Nordeste – Cultura popular; LINGUISTICA, LETRAS E ARTES::LETRAS::LITERATURA BRASILEIRA

The Hinterland (o Sertão) gathers a vast nomenclature capable of giving it diverse meanings, depending on the perspective of the person who perceives it. From the perspective of Physical Geography, it is a region distant from the coast, inland and sparsely populated, with a climate between semi-arid and arid. For Cultural Geography, the images associated with it are associated with the scarcity of natural resources, poverty and aridity. However, there are several hinterlands (sertões) beyond the backwoods region. Literary, it is prodigious in plots both tragic and comic, fatalistic and optimistic; fertile authors and writings that never fail to interest beginners and academics alike. To approach the theme of theatricality in the rustic (sertaneja) living, it is necessary to recognize the boundaries between the geographical setting and the literary horizon, in which this theme is fertile. In the discussion of this imaginary, we highlight the influx of local roots, heritages, and memories that Ariano Suassuna elects for the creation of the mythical-poetic-imagetic space that integrates the book I of the novel Dom Pantero: O Jumento Sedutor (2017). We bring The Armorial Movement (Movimento Armorial), an aesthetic project idealized by the author and disseminated in consonance with other intellectuals. To address the Hinterland (Sertão), we launch to the concepts of landscape, space, place and location (Claval, 2004, and others), from social scientists such as Antonio Filho (2011), Bhabha (1998); Bourdieu (1989) and Castro (1992). For the reflection on the combination of literary and artistic materials, besides the circus universe, we rely on the contributions of Newton Júnior (2000), Aby Warburg (2010), Didi-Huberman (2013) and others; to handle the iconographic part of the reference text of this research, we propose an articulation between Suassuna and the art historian Aby Warburg based on proposals and concepts. From this, we highlight how much the fictional space is nurtured by the physicality and sociology of the Hinterland (Sertão); the relevance of the traditions present in the hinterland (sertão), the collective imaginary and the individual and cultural memories, the authenticity of its Iberian-Northeastern roots. This study demonstrates that the Hinterland (Sertão) described and [re]invented by the author from Paraíba, in his posthumous writing, by combining the influence of the local and the project of spreading the culture of the Northeast, achieves the universality of his novel creation, as well as the revelation of the Hinterland (Sertão) as a overwhelming metaphor for the stage of the World.