No coração da tempestade: uma reflexão sobre o insólito em Vinte e zinco, de Mia Couto

• Autor(a) principal: Trindade Junior, João Olinto
• Data de Publicação: 2013
• 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/1/6586
• topic: Fictional Insolito; Real Animismo; April 25th; Mozambique; Miscegenation; Insólito Ficcional; Real Animismo; 25 de Abril; Moçambique; Mestiçagem; Couto, Mia, 1955- Crítica e interpretação; Couto, Mia, 1955-. Vinte e zinco; Literatura fantástica moçambicana; Realismo fantástico (Literatura); Ficção fantástica moçambicana História e crítica; Ficção histórica moçambicana; Portugal - História - Revolução, 1974; Mestiçagem na literatura; Animismo; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::OUTRAS LITERATURAS VERNACULAS

In Vinte e Zinco, the Mozambican writer Mia Couto, appealing to the telluric universe of his country, tries to reclaim, in fiction, a chronological period which spans the days right away before and after the Revolução dos Cravos in Portugal, when the salazar regime had fallen, on April 25th, 1974, beginning the narrative on April 19th and finishing on 30th. The writer makes use of ludic resources, peculiar to the fictional production, added to the esthetics possibilities offered along the sociocultural process rescue of land values. So, he tells a story in which the elements of Maravilhoso are as legible as usual to the everyday reality. The narrative presents the function of House of Castro- the members of the family and their relation to Africa and of the other characters who transit around them in the figure of black and of some white people; these last ones, reversely assimilated or not. These characters together even if they were, in some moment, on opposite sides they walk, like a colonial duality representation, going ahead to the apotheotic unusual scene in which happens Napolo s rise and the storm falling at the end, defiling the land on the eve of April 25th. Mia Couto, in a universe surrounded by myths, beliefs and traditions, makes the invisible become visible, reflecting, on the diegesis plan, the reality of this scenery, and he reclaims, through the cultural exchanges along the centuries, fictional narrative strategies creation developed in the Latin American literatures, aiming to represent Mozambique in his work. So, he appropriates of the Real Maravilhoso precepts, on its African influences here called Real Animismo Miacoutiano to present this cultural miscegenation with multivalent images of the real