Nomadism as an aesthetic function in Lima Barreto’s short stories
From Francisco de Assis Barbosa, in the 1950s, to scholars, such as Sevcenko (1985), Resende (2004) and more recently Schwarcz (2017), critical studies on Lima Barreto’s oeuvre have categorized it as a socially engaged writing, especially in relation to ideological and racial issues. This paper aims...
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Humberlan Arruda de Oliveira, Francisco Aily Franco de Camargo, Kátia |
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Humberlan Arruda de Oliveira, Francisco Aily Franco de Camargo, Kátia Nomadism as an aesthetic function in Lima Barreto’s short stories |
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Humberlan Arruda de Oliveira, Francisco Aily Franco de Camargo, Kátia |
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Humberlan Arruda de Oliveira, Francisco |
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Nomadism as an aesthetic function in Lima Barreto’s short stories |
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Nomadism as an aesthetic function in Lima Barreto’s short stories |
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Nomadism as an aesthetic function in Lima Barreto’s short stories |
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Nomadism as an aesthetic function in Lima Barreto’s short stories |
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Nomadism as an aesthetic function in Lima Barreto’s short stories |
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nomadism as an aesthetic function in lima barreto’s short stories |
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From Francisco de Assis Barbosa, in the 1950s, to scholars, such as Sevcenko (1985), Resende (2004) and more recently Schwarcz (2017), critical studies on Lima Barreto’s oeuvre have categorized it as a socially engaged writing, especially in relation to ideological and racial issues. This paper aims to analyze Barreto’s literary output under the approach of nomadism, which explains the existence of approximation and rejection in his work to different social groups, such as the black, the suburban, the academy, etc. This paradox cannot be explained by cultural criticism because the author and his work would be placed in an ideological web in which the aesthetic aspects of the text are not observed. In this sense, this article defines and analyzes the aesthetic resources used in Lima Barreto’s short stories as the first element of the investigation; then, the semantic and contextual analysis is carried out, and, finally, the material under analysis is explained in the light of Flusser’s idea of nomadism (2007). It is possible to infer that the aesthetic elements analyzed herein suggest displacements of values and the assumption of others — this nomadic approach fulfills a function: art is an element of communion among men, because when it is detached from values considered eternal, such as identity and social class, prejudices are also eliminated. In light of this, his writing is fluid; it is not fixed — culturally or socially — at a specific point. It moves like a nomad who needs to cut off ties with ideological sectarianism and keep distant from social groupings in order to better observe their paradoxes: what is at issue is not a social flag, but an aesthetic defense. |
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2019 |
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https://periodicos.ufrn.br/odisseia/article/view/18297 |
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oai:periodicos.ufrn.br:article-182972019-08-08T20:12:02Z Nomadism as an aesthetic function in Lima Barreto’s short stories O nomadismo como função estética nos contos de Lima Barreto Humberlan Arruda de Oliveira, Francisco Aily Franco de Camargo, Kátia Short stories Aesthetics Lima Barreto Nomadism Conto Estética Lima Barreto Nomadismo From Francisco de Assis Barbosa, in the 1950s, to scholars, such as Sevcenko (1985), Resende (2004) and more recently Schwarcz (2017), critical studies on Lima Barreto’s oeuvre have categorized it as a socially engaged writing, especially in relation to ideological and racial issues. This paper aims to analyze Barreto’s literary output under the approach of nomadism, which explains the existence of approximation and rejection in his work to different social groups, such as the black, the suburban, the academy, etc. This paradox cannot be explained by cultural criticism because the author and his work would be placed in an ideological web in which the aesthetic aspects of the text are not observed. In this sense, this article defines and analyzes the aesthetic resources used in Lima Barreto’s short stories as the first element of the investigation; then, the semantic and contextual analysis is carried out, and, finally, the material under analysis is explained in the light of Flusser’s idea of nomadism (2007). It is possible to infer that the aesthetic elements analyzed herein suggest displacements of values and the assumption of others — this nomadic approach fulfills a function: art is an element of communion among men, because when it is detached from values considered eternal, such as identity and social class, prejudices are also eliminated. In light of this, his writing is fluid; it is not fixed — culturally or socially — at a specific point. It moves like a nomad who needs to cut off ties with ideological sectarianism and keep distant from social groupings in order to better observe their paradoxes: what is at issue is not a social flag, but an aesthetic defense. O estudo crítico sobre o conjunto da obra de Lima Barreto tem se posicionado, desde Francisco de Assis Barbosa, na década de 1950, passando por estudiosos como Sevcenko (1985), Resende (2004) e, mais recentemente, Schwarcz (2017), na perspectiva de escrita engajada socialmente, em especial com questões ideológica e racial. O objetivo deste trabalho é analisar a produção barretiana sob o viés nômade, o que explicaria a aproximação e a repulsa, em sua obra, a diversos nichos sociais – como o negro, o suburbano, a academia, etc.. Esses paradoxos não conseguem ser explicados pela crítica cultural, pois inserem autor e obra numa redoma ideológica em que os aspectos estéticos do texto não são observados. Nesse sentido, este artigo define e analisa recursos estéticos nos contos de Lima Barreto como primeiro passo de investigação, em seguida, procede-se à análise semântica e contextual e, por fim, à explicação do material em estudo à luz do nomadismo de Flusser (2007). É possível inferir que os elementos estéticos analisados aqui sugerem deslocamentos de valores e assunção de outros – esse gesto nômade cumpre uma função: a arte como elemento de comunhão entre os homens, pois ao se desprender de valores considerados eternos, como, por exemplo, identidade e classe social, eliminam-se também os preconceitos. Nesse sentido, sua escrita é fluida, não se fixando – cultural ou socialmente – em um ponto específico, transita entre estes, como um nômade que precisa cortar os laços com o sectarismo ideológico e manter a distância dos agrupamentos sociais para melhor observar seus paradoxos, pois o que está em jogo não é uma bandeira social, e sim uma defesa estética. UFRN 2019-08-07 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://periodicos.ufrn.br/odisseia/article/view/18297 Odisseia; Vol. 4 No. 2 (2019); p. 16 - 33 Revue Odisseia; Vol. 4 No. 2 (2019); p. 16 - 33 Revista Odisseia; v. 4 n. 2 (2019); p. 16 - 33 1983-2435 10.21680/1983-2435.2019v4n2 por https://periodicos.ufrn.br/odisseia/article/view/18297/11925 Copyright (c) 2019 Revista Odisseia |