Sertão, estilhaços e ruínas nas veredas riobaldianas

Abstract

This dissertation reflects on the backlands based on the literary work Grande Sertão: Veredas. We understand the backlands as a constructed space, among other forms, through discourses that are created and disseminated through political and cultural channels and even propagated by common sense. Based on Lukács, we understand that art has the potential to reflect or present reality. Grande Sertão: Veredas, in its artistic potential, reveals the reality of its time. These reflections occur based on the categories of singularity-particularity-universality reality, which, in turn, allow us to understand the backlands from its totality, from the subjectivity of the social individual to generic determinations that dialogue with the production of these backlands spaces. Entering the context presented in Rosiana's work is also seeking the fragments of the history of the construction of the backlands. Therefore, based on the work Grande Sertão: Veredas, we examine the concept of sertão, beyond the intentions of future domination that forge these spaces. We use Benjamin (1994) to reconstruct these ruins of the sertão based on the literary work. We understand this sertão as ruins and fragments of history. Thus, it was possible to reflect on how these spaces were historically appropriated and disposed to the process of modernization. We also use Moraes (2003) and (2005) to think about the concept of sertão. The sertão is the particularity that moves from the singularity of the gunman to the universality of the world. Thus, the sertão is not a space isolated from other spaces, but also a producer and produced from other spaces. If in the construction of the backlands, dualism, which is an issue inherent to modern society, is present through the backlands vs. the coast, traditional vs. modern, countryside vs. the city, in Grande Sertão: Veredas it is possible to think of some of these dualities as contradictions, especially when we approach the conflicts between gunmen Zé Bebelo and Joca Ramiro, who present ideals of modern and traditional orders. Although dualism is an intrinsic characteristic of Grande Sertão: Veredas, through various elements, including the doubt between this and that, while Riobaldo results in a reflection on this: Everything is and is not. The mystery of the pact and the figure of the devil in Grande Sertão: Veredas presents another layer of the backlands, in the face of mysticism, which is also a cultural aspect common to various backlands; in this case, based on Faustian elements, the pact also reveals modern characteristics. The backlands - as a geographical ideology, is constructed through its antipode: the spaces considered modern - confront the backlands presented in Grande Sertão: Veredas and presents a modernity that enters the backlands. This, in turn, comes as a proposal for appropriation of these backlands spaces, from modernization, it modifies these spaces, however, some structures remain. Furthermore, it does not remove from these spaces the condition that was attributed to them, of backlands.