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Diálogos de além-mar : contributo para um estudo das figuras da ficção nos romances Vidas secas e Uma abelha na chuva
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Advisor(s)
Abstract(s)
A presente dissertação consiste num estudo teórico-analítico sobre a personagem,
enquanto importante categoria narrativa, nos romances Vidas secas, de Graciliano
Ramos, e Uma abelha na chuva, de Carlos de Oliveira.
O tema escolhido inscreve-se no diálogo mantido entre as literaturas brasileira e
portuguesa nas décadas de 30-40 do século passado. Esta perspetiva comparada é
sobejamente enriquecedora para o universo literário dos países de língua portuguesa,
estabelecendo pontes que avivam os laços entre povos que partilham uma vivência e uma
história em comum.
Este estreitamento de laços entre ambas as literaturas ocorreu graças à publicação
recorrente, na época, de autores brasileiros em Portugal. O romance social brasileiro de
30 revelou grandes nomes da literatura brasileira como Rachel de Queiroz, Jorge Amado,
José Lins do Rego, Érico Veríssimo e o maior romancista desse período: Graciliano
Ramos. Este seleto grupo tinha na problemática da terra uma temática privilegiada e um
forte e engajado compromisso com as questões sociais.
A visão comprometida da literatura, em sintonia com a estética do marxismo e do
materialismo histórico e dialético, chegou às terras lusitanas através das páginas das
revistas ligadas às manifestações teóricas e doutrinárias do neorrealismo português.
No primeiro capítulo, esboçamos um breve mas imprescindível apontamento sobre
o romance social brasileiro de 30, os seus principais autores – especialmente aqueles que
influenciaram os escritores portugueses na década posterior, destacando-se Graciliano
Ramos e os romances Caetés, São Bernardo e Angústia.
O segundo capítulo é dedicado a uma sucinta abordagem contextualizadora do
neorrealismo português, ressaltando o diálogo estabelecido com os escritores de além-mar.
Destacam-se a figura de Carlos de Oliveira, o maior dos escritores neorrealistas, e
os seus romances Casa na duna, Alcateia, Pequenos burgueses e Finisterra – paisagem
e povoamento.O terceiro capítulo é a coluna vertebral do presente trabalho, pois apresenta uma
leitura pessoal dos romances que constituem o seu corpus principal, Vidas secas e Uma
abelha na chuva, bem como uma minuciosa análise das suas personagens.
O quarto e último capítulo ocupa-se das adaptações cinematográficas dos romances
supracitados, cujas longas-metragens são, ainda hoje, consideradas marcos importantes
tanto do cinema brasileiro e como do seu homólogo português. Os filmes Vidas secas de
ii
Nelson Pereira dos Santos e “A Abelha” de Fernando Lopes traduzem-se em releituras
valiosas e pessoais feitas por esses dois grandes expoentes do cinema novo de língua
portuguesa de ambos os lados do Atlântico: Brasil e Portugal.
A metodologia escolhida centra-se na perspetiva comparada e no confronto dos
textos narrativos, identificando semelhanças e diferenças, tanto na forma, como no
conteúdo, sendo que o ponto de partida foi o estudo aprofundado das fontes primárias,
secundárias e teóricas de que a bibliografia, sobretudo a passiva, listada no fim do
trabalho, é um exemplo que se pretendeu que fosse coerente e elucidativo do percurso de
investigação empreendido.
This dissertation consists of a theoretical-analytical study about the character, as an important narrative category, in the novels Vidas secas, by Graciliano Ramos, and Uma abelha na chuva, by Carlos de Oliveira. The chosen theme is part of the dialogue between Brazilian and Portuguese literature in the 30-40s of the last century. This comparative perspective is overwhelmingly enriching for the literary universe of the Portuguese-speaking countries, establishing bridges that enliven the ties between people who share a common experience and history. This tightening of ties between both literatures took place thanks to the recurrent publication, at the time, of Brazilian authors in Portugal. The Brazilian social novel of the 30s revealed great names in Brazilian literature such as Rachel de Queiroz, Jorge Amado, José Lins do Rego, Érico Veríssimo and the greatest novelist of this period: Graciliano Ramos. This select group had in the problematic of the earth, a privileged thematic and a strong and dedicated commitment with the social issues in question. The committed view of literature, in tune with the aesthetics of Marxism and historical and dialectical materialism, reached Portuguese lands through the pages of magazines linked to the theoretical and doctrinal manifestations of Portuguese neorealism. In the first chapter, we outline a brief but essential note about the Brazilian social novel of the 30s, its main authors - especially those who influenced Portuguese writers in the later decade, notably Graciliano Ramos and the novels Caetés, São Bernardo and Angústia. The second chapter is devoted to a succinct contextualizing approach to Portuguese neorealism, highlighting the dialogue established with writers from overseas. Of particular interest is the figure of Carlos de Oliveira, the greatest of neorealist writers, and his novels Casa na duna, Alcateia, Pequenos burgueses and Finisterra – paisagem e poavoamento. The third chapter is the backbone of this work, as it presents a personal reading of the novels that make up his main corpus, Dried Lives and A Bee in the Rain, as well as a thorough analysis of his characters. The fourth and last chapter deals with the cinematographic adaptations of the novels mentioned above, whose feature films are still considered important milestones both of Brazilian cinema and of its Portuguese counterpart. The films Vidas secas by Nelson Pereira dos Santos and “A Abelha” by Fernando Lopes translate into valuable and personal re-readings made by these two great exponents of the new Portuguese-language cinema made on both sides of the Atlantic: Brazil and Portugal. The methodology chosen focuses on the comparative perspective and the confrontation of narrative texts, identifying similarities and differences, both in form and in content. The starting point was the in-depth study of the primary, secondary and theoretical sources from which the bibliography, especially the passive one, listed at the end of the work, is an example that was intended to be coherent and elucidative of the course of investigation undertaken.
This dissertation consists of a theoretical-analytical study about the character, as an important narrative category, in the novels Vidas secas, by Graciliano Ramos, and Uma abelha na chuva, by Carlos de Oliveira. The chosen theme is part of the dialogue between Brazilian and Portuguese literature in the 30-40s of the last century. This comparative perspective is overwhelmingly enriching for the literary universe of the Portuguese-speaking countries, establishing bridges that enliven the ties between people who share a common experience and history. This tightening of ties between both literatures took place thanks to the recurrent publication, at the time, of Brazilian authors in Portugal. The Brazilian social novel of the 30s revealed great names in Brazilian literature such as Rachel de Queiroz, Jorge Amado, José Lins do Rego, Érico Veríssimo and the greatest novelist of this period: Graciliano Ramos. This select group had in the problematic of the earth, a privileged thematic and a strong and dedicated commitment with the social issues in question. The committed view of literature, in tune with the aesthetics of Marxism and historical and dialectical materialism, reached Portuguese lands through the pages of magazines linked to the theoretical and doctrinal manifestations of Portuguese neorealism. In the first chapter, we outline a brief but essential note about the Brazilian social novel of the 30s, its main authors - especially those who influenced Portuguese writers in the later decade, notably Graciliano Ramos and the novels Caetés, São Bernardo and Angústia. The second chapter is devoted to a succinct contextualizing approach to Portuguese neorealism, highlighting the dialogue established with writers from overseas. Of particular interest is the figure of Carlos de Oliveira, the greatest of neorealist writers, and his novels Casa na duna, Alcateia, Pequenos burgueses and Finisterra – paisagem e poavoamento. The third chapter is the backbone of this work, as it presents a personal reading of the novels that make up his main corpus, Dried Lives and A Bee in the Rain, as well as a thorough analysis of his characters. The fourth and last chapter deals with the cinematographic adaptations of the novels mentioned above, whose feature films are still considered important milestones both of Brazilian cinema and of its Portuguese counterpart. The films Vidas secas by Nelson Pereira dos Santos and “A Abelha” by Fernando Lopes translate into valuable and personal re-readings made by these two great exponents of the new Portuguese-language cinema made on both sides of the Atlantic: Brazil and Portugal. The methodology chosen focuses on the comparative perspective and the confrontation of narrative texts, identifying similarities and differences, both in form and in content. The starting point was the in-depth study of the primary, secondary and theoretical sources from which the bibliography, especially the passive one, listed at the end of the work, is an example that was intended to be coherent and elucidative of the course of investigation undertaken.
Description
Keywords
Personagens Ficção Diálogos Adaptação cinematográfica Romance social Cinema novo Neorrealismo Brasil Portugal Brazilian social novel of 30 Portuguese neorealism Characters of Vidas secas and Uma abelha na chuva New cinema - Nelson Pereira dos Santos New cinema - Fernando Lopes
Citation
Padeira, Ana Rita Soveral - Diálogos de além-mar 8Em linha]: contributo para um estudo das figuras da ficção nos romances Vidas secas e Uma abelha na chuva. [S.l.]: [s.n.], 2018. 128 p.