O médico, os músicos e o monstro: Josué de Castro, o Manguebeat e o heavy metal na (re)presentação do Nordeste
This work aims to understand how the circulation and transformation of the images and concepts of the novel Homens e caranguejos (published in 1965), by Josué de Castro, took place in the 1990s in their relationship with the debates on the spatial representations of northeastern regionality. We s...
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| Formato: | doctoralThesis |
| Idioma: | pt_BR |
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Universidade Federal do Rio Grande do Norte
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| Endereço do item: | https://repositorio.ufrn.br/handle/123456789/57398 |
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| Resumo: | This work aims to understand how the circulation and transformation of the images and
concepts of the novel Homens e caranguejos (published in 1965), by Josué de Castro, took place
in the 1990s in their relationship with the debates on the spatial representations of northeastern
regionality. We started from two assumptions: the fact that, in his fiction, the author recycled
notions and characters outlined in previous writings (from short stories from the 1930s, to his
geographical and sociological productions in the following decades) as well as what Castro called
of the autobiographical dimension of his literary text. From this, we first analyzed the operation
that resulted in the novel, in which a correlation was observed between spatial representations and
a personal meaning in the author's writing, in order to support the subsequent examination of the
readings of such content by the subjects of our study. cutout. In the end, it was found that Josué de
Castro's images and concepts, when placed in different times and spaces, assumed original and
unpredictable meanings, eventually breaking the awareness of their bond with the author. In this
regard, emphasis is placed on the meaning that such content took on from the readings carried out
by the exhibition Homem-gabiru: catalogação de uma espécie (exhibition of photographs,
illustrations and texts that took place in Recife in 1992) and by Manguebeat (an artistic movement
that took place in the capital of Pernambuco in the 1990s, which proposed a vision of local culture
that was updated and open to global influences). In this sense, we investigated how such
experiences went beyond the local space, being thematized in the national press, giving new
meanings to concepts inspired by Josué de Castro, as well as in broader cultural circuits, such as
the US metal scene, given its influence on albums Roots (1996), by Sepultura, and Soulfly (1998),
debut album by the band of the same name. Castro's writings, periodicals and various artistic
productions, such as booklets, songs and video clips, were used as sources. |
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