Banca de QUALIFICAÇÃO: ALTIERRES SANTOS DE MEDEIROS

Uma banca de QUALIFICAÇÃO de MESTRADO foi cadastrada pelo programa.
DISCENTE : ALTIERRES SANTOS DE MEDEIROS
DATA : 20/12/2018
HORA: 09:30
LOCAL: Auditório B do CCHLA
TÍTULO:

MEMÓRIA CULTURAL NA POESIA DE LUÍS CARLOS GUIMARÃES

PALAVRAS-CHAVES:

Memory. Cultural Memory. Potiguar’s Memory. Serido’s Memory. Luís Carlos Guimarães.

PÁGINAS: 75
GRANDE ÁREA: Linguística, Letras e Artes
ÁREA: Letras
SUBÁREA: Literatura Comparada
RESUMO:

This research analyzes evidences of cultural memory in excerpts from the work of the curraisnovense’s writer Luís Carlos Guimarães. Two books of poetry studied: O Aprendiz e a canção (1961) andAs cores do dia (1965). Of the first one was chosen "O Galo" (1961), of the second "O Curral" and "O Pai” (1965). In the foreground we have a poetic tendency to represent/ reminisce architectural landmarks that inhabit the Seridó’s culture and imaginary, to note: the farmhouse, the warehouses, the corrals, among others; on the other hand, there is also a lyrical self that seeks to record and construct in its particular way various cultural practices which, like the inherent architectural landmarks, also populate Serido’s imaginary. Agriculture and cattle ranching are listed with both cultural practices that have greater influence and recurrence. In that second moment there is an intersection, reducing limits between the memories of the persona, the explicit voice of the poem, and the poet's own memories. The relationship between them tends to become more flexible, offering margins to possible autobiographical interpretations. The result of both poles is a singular and particular representation of a bucolic and notably sertanejo’s environment. By crossing both biographical information and cultural characteristics present in the poem, it becomes possible to attribute to Seridó, more precisely Currais Novos or Caicó, the setting of the poems with such a regional tone. All the poems recover, by means of cultural memories, true symbols of high identity content, made possible both an analysis of the poetic representation of the symbols, as well as the unique perspective of the poet who frames and eternalizes them. For the proposed discussion we use the following studies: Assmann (1995; 1998; 2008;); Assmann (2011); Erll and Nunning (2003; 2008) and José (2012) regarding the theoretical perspective of cultural memory adopted; the ideas of Nora (1993), Bosi (1994), Le Goff (2013), Halbwachs (2006), Ricœur (2007) and to ground discussions on memory; the postulates of Cascudo (1956, 1984, 1999), Lamartine (1965), Cirne (1979), Mariz and Suassuna (2005), Trindade (2010) and Macêdo (2012) and with regard to the seridoense and potiguar’s culture/history; the postulates of Gurgel (2001) as a contribution to reflections on the intersection between literature and potiguar’s memory.

MEMBROS DA BANCA:
Presidente - 1675070 - JOSE LUIZ FERREIRA
Interno - 1299003 - DERIVALDO DOS SANTOS
Interno - 155.661.454-34 - HUMBERTO HERMENEGILDO DE ARAUJO - UFRN