A construção do telúrico e do imaginário em Osório Alves de Castro

Abstract

This work aims to analyse the romanesque production by the Bahian writer Osório Alves de Castro, it delimited the way he stablishes the construction of telluric elements in Porto Calendário (1961) and its imaginary from Maria Fecha a porta prau boi não te pegar(1978). The research has bibliographic nature, considering the pluridimensional character of the work focused, then proceeds thematic approach of the referred events presented in the corpus. The existential approach and philosophical openness distinguish the Osorian narrative, as well as the insertion in the social criticism, characteristic of the post-1930 generation. Thus, initially in the work we think of the fabric of the author's writing and underlines issues spread in the text, namely the complex socio-historical references and the poetic-philosophical composition of the work (ARAÚJO, 2008; 2009); (VALVERDE, 2007; 2008). The country space / landscape narrated by Osório immerses itself in a given plurissignificant and symbolic telurism, seen beyond the fixed and surrounding aspect, crossed by the imaginary and due to articulations with the power of the myth. From this, the second section focuses on the telluric, but also the ambience, that is, the natural elements connected to it, seeks to analyze possible readings of poetic and geopoetic materiality in Osório's work (BACHELARD, 2003; 2008); (Chevalier, 2006); (Macedo, 2018). At the last moment, the composition of the imagination and myth is approached as a tissue that involves spatiality and narrative. The imaginary as a set of images that, related to each other, constitute the thought of man (DURAND, 2012). Therefore, the primacy of the text is considered and, from that, it mobilizes theoretical contributions as reading operators instruments on the analysis of the sections. It seeks to revisit the Osorian work to appreciate its creative field and motivate the theoretical discussion about it, introducing readers who do not know it.