A voz do povo do boi em obras de autores escolhidos da Literatura de Cordel e de João Guimarães Rosa

Abstract

The thesis aims to observe the way(s) how the traces of the real are inscribed in the selected works that refer to the "cycle of the ox", an expression used by Bráulio do Nascimento, to name traditional stories that bring to the fore, in the universe of farms, most often, the adventures of brave bois and brave cowboys, characters par excellence of this challenging universe. Thus, the corpus of the research comprises a triad of novels of this cycle considered the oldest of the string literature: História do Boi Misterioso (1901?), by Leandro Gomes de Barros (Pombal-PB, 1865 - Recife-PE, 1918); História sertaneja do valente Zé Garcia (1938?), by João Melchíades Ferreira da Silva (Bananeiras-PB, 1869 - João Pessoa-PB, 1933); História do boi Mandingueiro e o cavalo Misterioso (1942?), by Luiz da Costa Pinheiro (Goianinha-RN,? - Fortaleza-CE, 1963?). Complete the literary set addressed the novel-poem of Corpo de baile (1956), by João Guimarães Rosa (Cordisburgo-MG, 1908 - Rio de Janeiro-RJ, 1967) - “Uma estória de amor”. Other narratives of Corpo de baile are contemplated with less emphasis - “A estória de Lélio e Lina", "Campo geral" and "Cara-de-Bronze". The cut-out literary production, therefore, is limited from the beginning to the mid-twentieth century. The focus of the reading undertaken is on the "people of the ox" - an expression coined by João Guimarães Rosa to designate, most nothes, the small stingray of the swidden or the backcountry gleba. All the texts indicated contribute in different ways to our comparative reading of sociocultural bias free from the mirage of objectivity and impartiality of the researcher. Because "oral poetry", an expression chosen by Paul Zumthor, is the matrix source of the corpus, it is proposed to highlight three of his oldest stories – O Rabicho da Geralda, O Boi Espácio and A Vaca do Burel. These poems matter, because they inspired in some way both the works of the poets of the bench cited as those of Rosa. In this sense, the moving character or the "move", another Zumthorian formulation that refers to the dinamicity of the voice in the face of the letter, is verified. Finally, to account for the plurality of poetics marked by distinct aesthetics - are appreciated the reflections of Martine Kunz ([2001] 2011), Capistrano de Abreu ([1907] 2000), Câmara Cascudo (1955; 1969), Paul Zumthor ([1983] 2010); [1989] 1993), Idelette Muzart-Fonseca ds=os Santos ([1997] 2006), Márcia Abreu (1999), Bráulio do Nascimento (1986), Antonio Candido ([1965] 2011), Roger Chartier ([1988] 2002) e Sandra Guardini Teixeira Vasconcelos (1997).