Memória e identidade na poética de Manoel de Barros

• Autor(a) principal: Yamamoto, Cícera Rosa Segredo
• Data de Publicação: 2016
• Tipo de documento: Tese
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações do Mackenzie
• Texto Completo: http://dspace.mackenzie.br/handle/10899/25166
• topic: ars poetica; discurso poético; exotopia; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS

Manoel de Barros is a poet and as defines itself, "word of poet", whose poems are closely related to the Pantanal (South) of Mato Grosso, putting on display the close relationship between the work and the context. We search to answer along the thesis, three questions: if the "poetic inspiration" by Manoel de Barros transcends his personal experience in his books, or the place and time where pronounced are so present in the works that ultimately enroll them autobiography traces; if the traits that make up the poetic writer can do (or not) identify in their works a poet "local" or a universalizing poetic; such as (South) Mato Grosso writer, chronologically enrolled in the "45 generation" articulates tradition and innovation in his poetic construction. Confirming or deconstructing "truths" published on the poetics of the author and searching new constructs and aesthetic effects that literary production, we have the following objectives: identify regularities and dispersions in the form and content of the poems; discuss the relationship between local and universal, between tradition and modernity, between memory and invention and among selves / others who live in the works; search identifying traits of poetic writer. To this end, we elected as corpus of research two works of Manoel de Barros: Poemas concebidos sem pecados (1937), the first book of the writer, and Memórias inventadas: A terceira infância (2008), searching to bridge the gap between the first and one of the last books the poet. Compliance with the proposed objectives requires, however, in addition to "face" the work, to provide himself with a theoretical foundation. Thus, we use of Candido (2000) to treat the issue of the location of the dialectic and universal literary decolonization, as well as the relationship of author-work-public. To clarify concepts or principles "technical" essential to the analysis, such as "tradition," "influence" and "intertextuality", we called to Nitrini (2000), to whom we add Bakhtin (2011), mainly to treat style, aesthetics and exotopy, and Paz (1972; 1991). For understanding the concept of identity, the support came from Hall (2011) and other invited authors to the reflections on identity and memory, as Gusdorf (1951, 1990, 1991), Bergson (2006), Halbwachs (2003), Ricoeur (2007) and Candau (2014). In addition to these authors, some others will emerge in due course, because indispensable to poetry reading Manoel de Barros. We found that Barros excluded from his poetry any purpose of describing landscapes or historicizing costumes, putting on display the dialogue, rapprochement and the gap between the selves, times and spaces. Barros attributed his lyricism to "a desert in the eye" and to express it, took a seemingly autobiographical format, just like the invention feature because sang "what was not," but what had missing "for not having been "revealing us exotopy spoken by Bakhtin (2011). From our reading, the memory was not as "representation" but as "eye divination" in tone and unmistakable verses of Manoel de Barros.