Eis em cena o grotesco: ecos na poética de Álvares de Azevedo e de Bernardo Guimarães

Detalhes bibliográficos
Ano de defesa: 2023
Autor(a) principal: Costa, Ana Carolina Pereira da
Orientador(a): Fernandes, Geraldo Augusto
Banca de defesa: Não Informado pela instituição
Tipo de documento: Dissertação
Tipo de acesso: Acesso aberto
Idioma: por
Instituição de defesa: Não Informado pela instituição
Programa de Pós-Graduação: Não Informado pela instituição
Departamento: Não Informado pela instituição
País: Não Informado pela instituição
Área do conhecimento CNPq:
CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS
Link de acesso: http://repositorio.ufc.br/handle/riufc/78866
Resumo: The brazilian romantic lyric, especially the ultra-romantic one, expresses the most perfect song that the egotistic facet comprehends. However, there is another facet of the poetry from the second romantic generation that delved into other aesthetics, among them the grotesque. The ironic and satirical poetry of the period did not resonate with the canon, as humor went against the nationalist intentions undertaken. Therefore, the presence of laughter in brazilian romanticism occupied marginal spaces, used as an alternative to the exhaustion of sentimentality, a plural context for theorizations about modern poetry. Thus, the present research proposes to analyze the ironic and satirical poetry of Álvares de Azevedo and Bernardo Guimarães in light of relevant contradictions, seeking guidance in studies on the grotesque. The theoretical concepts of the grotesque explored are present in the theories of Bakhtin (2010), Hugo (2007), and Kayser (2013), aligned with theoretical contributions on laughter in Minois (2003) and modern poetry in Schlegel (1992, 2016). The analysis of the works of the mentioned poets started from recurring figures in the poems, such as the woman, death, and the poet, in order to identify how the grotesque manifests itself in this discordant lyric.
id UFC-7_39c1f98116a7345d8fc53efa8e9a20ce
oai_identifier_str oai:repositorio.ufc.br:riufc/78866
network_acronym_str UFC-7
network_name_str Repositório Institucional da Universidade Federal do Ceará (UFC)
repository_id_str
spelling Costa, Ana Carolina Pereira daFernandes, Geraldo Augusto2024-11-12T20:57:19Z2024-11-12T20:57:19Z2023COSTA, Ana Carolina Pereira da. Eis em cena o grotesco: ecos na poética de Álvares de Azevedo e de Bernardo Guimarães. Orientador: Geraldo Augusto Fernandes. 2023. 145 f. Dissertação (Mestrado em Letras) - Programa de Pós-graduação em Letras, Centro de Humanidades, Universidade Federal do Ceará, Fortaleza, 2023.http://repositorio.ufc.br/handle/riufc/78866The brazilian romantic lyric, especially the ultra-romantic one, expresses the most perfect song that the egotistic facet comprehends. However, there is another facet of the poetry from the second romantic generation that delved into other aesthetics, among them the grotesque. The ironic and satirical poetry of the period did not resonate with the canon, as humor went against the nationalist intentions undertaken. Therefore, the presence of laughter in brazilian romanticism occupied marginal spaces, used as an alternative to the exhaustion of sentimentality, a plural context for theorizations about modern poetry. Thus, the present research proposes to analyze the ironic and satirical poetry of Álvares de Azevedo and Bernardo Guimarães in light of relevant contradictions, seeking guidance in studies on the grotesque. The theoretical concepts of the grotesque explored are present in the theories of Bakhtin (2010), Hugo (2007), and Kayser (2013), aligned with theoretical contributions on laughter in Minois (2003) and modern poetry in Schlegel (1992, 2016). The analysis of the works of the mentioned poets started from recurring figures in the poems, such as the woman, death, and the poet, in order to identify how the grotesque manifests itself in this discordant lyric.A lírica romântica brasileira, e em especial a ultrarromântica, expressa o canto mais perfeito que a faceta egotista compreende. No entanto, há uma outra faceta da poesia da segunda geração romântica, que se enveredou por outras estéticas, dentre elas o grotesco. A poesia irônica e satírica do período não ressoou para o cânone, visto que o humor ia de frente aos intuitos nacionalistas empreendidos; logo, a presença do riso no Romantismo brasileiro ocupou espaços marginais, além de ser utilizado como alternativa para o esgotamento do sentimentalismo, um contexto plural para teorizações acerca da poesia moderna. Dessa forma, a presente pesquisa propõe analisarmos a poesia irônica e satírica de Álvares de Azevedo e de Bernardo Guimarães à luz das contradições pertinentes, buscando orientação nos estudos sobre o grotesco. Os conceitos teóricos do grotesco explorados estão presentes nas teorias de Bakhtin (2010), Hugo (2007) e Kayser (2013), alinhados ao aporte teórico sobre o riso em Minois (2003) e a poesia moderna em Schlegel (1992, 2016). A análise das obras dos referidos poetas partiu de figuras recorrentes nos poemas, como a mulher, a morte e o poeta, a fim de identificarmos como o grotesco se manifesta nessa lírica destoante.Eis em cena o grotesco: ecos na poética de Álvares de Azevedo e de Bernardo Guimarãesinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesisRomantismoGrotescoÁlvares de AzevedoBernardo GuimarãesRomanticismGrotesqueCNPQ::LINGUISTICA, LETRAS E ARTES::LETRASinfo:eu-repo/semantics/openAccessporreponame:Repositório Institucional da Universidade Federal do Ceará (UFC)instname:Universidade Federal do Ceará (UFC)instacron:UFChttp://lattes.cnpq.br/2600062512726166https://orcid.org/0000-0003-0526-3953http://lattes.cnpq.br/30818362494890942024-11-12ORIGINAL2023_dis_acpcosta.pdf2023_dis_acpcosta.pdfapplication/pdf1938146http://repositorio.ufc.br/bitstream/riufc/78866/1/2023_dis_acpcosta.pdfebb94f10532e8ead6b8c9fae5d1c7ff0MD51LICENSElicense.txtlicense.txttext/plain; charset=utf-81748http://repositorio.ufc.br/bitstream/riufc/78866/2/license.txt8a4605be74aa9ea9d79846c1fba20a33MD52riufc/788662024-11-12 17:59:08.731oai:repositorio.ufc.br:riufc/78866Tk9URTogUExBQ0UgWU9VUiBPV04gTElDRU5TRSBIRVJFClRoaXMgc2FtcGxlIGxpY2Vuc2UgaXMgcHJvdmlkZWQgZm9yIGluZm9ybWF0aW9uYWwgcHVycG9zZXMgb25seS4KCk5PTi1FWENMVVNJVkUgRElTVFJJQlVUSU9OIExJQ0VOU0UKCkJ5IHNpZ25pbmcgYW5kIHN1Ym1pdHRpbmcgdGhpcyBsaWNlbnNlLCB5b3UgKHRoZSBhdXRob3Iocykgb3IgY29weXJpZ2h0Cm93bmVyKSBncmFudHMgdG8gRFNwYWNlIFVuaXZlcnNpdHkgKERTVSkgdGhlIG5vbi1leGNsdXNpdmUgcmlnaHQgdG8gcmVwcm9kdWNlLAp0cmFuc2xhdGUgKGFzIGRlZmluZWQgYmVsb3cpLCBhbmQvb3IgZGlzdHJpYnV0ZSB5b3VyIHN1Ym1pc3Npb24gKGluY2x1ZGluZwp0aGUgYWJzdHJhY3QpIHdvcmxkd2lkZSBpbiBwcmludCBhbmQgZWxlY3Ryb25pYyBmb3JtYXQgYW5kIGluIGFueSBtZWRpdW0sCmluY2x1ZGluZyBidXQgbm90IGxpbWl0ZWQgdG8gYXVkaW8gb3IgdmlkZW8uCgpZb3UgYWdyZWUgdGhhdCBEU1UgbWF5LCB3aXRob3V0IGNoYW5naW5nIHRoZSBjb250ZW50LCB0cmFuc2xhdGUgdGhlCnN1Ym1pc3Npb24gdG8gYW55IG1lZGl1bSBvciBmb3JtYXQgZm9yIHRoZSBwdXJwb3NlIG9mIHByZXNlcnZhdGlvbi4KCllvdSBhbHNvIGFncmVlIHRoYXQgRFNVIG1heSBrZWVwIG1vcmUgdGhhbiBvbmUgY29weSBvZiB0aGlzIHN1Ym1pc3Npb24gZm9yCnB1cnBvc2VzIG9mIHNlY3VyaXR5LCBiYWNrLXVwIGFuZCBwcmVzZXJ2YXRpb24uCgpZb3UgcmVwcmVzZW50IHRoYXQgdGhlIHN1Ym1pc3Npb24gaXMgeW91ciBvcmlnaW5hbCB3b3JrLCBhbmQgdGhhdCB5b3UgaGF2ZQp0aGUgcmlnaHQgdG8gZ3JhbnQgdGhlIHJpZ2h0cyBjb250YWluZWQgaW4gdGhpcyBsaWNlbnNlLiBZb3UgYWxzbyByZXByZXNlbnQKdGhhdCB5b3VyIHN1Ym1pc3Npb24gZG9lcyBub3QsIHRvIHRoZSBiZXN0IG9mIHlvdXIga25vd2xlZGdlLCBpbmZyaW5nZSB1cG9uCmFueW9uZSdzIGNvcHlyaWdodC4KCklmIHRoZSBzdWJtaXNzaW9uIGNvbnRhaW5zIG1hdGVyaWFsIGZvciB3aGljaCB5b3UgZG8gbm90IGhvbGQgY29weXJpZ2h0LAp5b3UgcmVwcmVzZW50IHRoYXQgeW91IGhhdmUgb2J0YWluZWQgdGhlIHVucmVzdHJpY3RlZCBwZXJtaXNzaW9uIG9mIHRoZQpjb3B5cmlnaHQgb3duZXIgdG8gZ3JhbnQgRFNVIHRoZSByaWdodHMgcmVxdWlyZWQgYnkgdGhpcyBsaWNlbnNlLCBhbmQgdGhhdApzdWNoIHRoaXJkLXBhcnR5IG93bmVkIG1hdGVyaWFsIGlzIGNsZWFybHkgaWRlbnRpZmllZCBhbmQgYWNrbm93bGVkZ2VkCndpdGhpbiB0aGUgdGV4dCBvciBjb250ZW50IG9mIHRoZSBzdWJtaXNzaW9uLgoKSUYgVEhFIFNVQk1JU1NJT04gSVMgQkFTRUQgVVBPTiBXT1JLIFRIQVQgSEFTIEJFRU4gU1BPTlNPUkVEIE9SIFNVUFBPUlRFRApCWSBBTiBBR0VOQ1kgT1IgT1JHQU5JWkFUSU9OIE9USEVSIFRIQU4gRFNVLCBZT1UgUkVQUkVTRU5UIFRIQVQgWU9VIEhBVkUKRlVMRklMTEVEIEFOWSBSSUdIVCBPRiBSRVZJRVcgT1IgT1RIRVIgT0JMSUdBVElPTlMgUkVRVUlSRUQgQlkgU1VDSApDT05UUkFDVCBPUiBBR1JFRU1FTlQuCgpEU1Ugd2lsbCBjbGVhcmx5IGlkZW50aWZ5IHlvdXIgbmFtZShzKSBhcyB0aGUgYXV0aG9yKHMpIG9yIG93bmVyKHMpIG9mIHRoZQpzdWJtaXNzaW9uLCBhbmQgd2lsbCBub3QgbWFrZSBhbnkgYWx0ZXJhdGlvbiwgb3RoZXIgdGhhbiBhcyBhbGxvd2VkIGJ5IHRoaXMKbGljZW5zZSwgdG8geW91ciBzdWJtaXNzaW9uLgo=Repositório InstitucionalPUBhttp://www.repositorio.ufc.br/ri-oai/requestbu@ufc.br || repositorio@ufc.bropendoar:2024-11-12T20:59:08Repositório Institucional da Universidade Federal do Ceará (UFC) - Universidade Federal do Ceará (UFC)false
dc.title.pt_BR.fl_str_mv Eis em cena o grotesco: ecos na poética de Álvares de Azevedo e de Bernardo Guimarães
title Eis em cena o grotesco: ecos na poética de Álvares de Azevedo e de Bernardo Guimarães
spellingShingle Eis em cena o grotesco: ecos na poética de Álvares de Azevedo e de Bernardo Guimarães
Costa, Ana Carolina Pereira da
CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS
Romantismo
Grotesco
Álvares de Azevedo
Bernardo Guimarães
Romanticism
Grotesque
title_short Eis em cena o grotesco: ecos na poética de Álvares de Azevedo e de Bernardo Guimarães
title_full Eis em cena o grotesco: ecos na poética de Álvares de Azevedo e de Bernardo Guimarães
title_fullStr Eis em cena o grotesco: ecos na poética de Álvares de Azevedo e de Bernardo Guimarães
title_full_unstemmed Eis em cena o grotesco: ecos na poética de Álvares de Azevedo e de Bernardo Guimarães
title_sort Eis em cena o grotesco: ecos na poética de Álvares de Azevedo e de Bernardo Guimarães
author Costa, Ana Carolina Pereira da
author_facet Costa, Ana Carolina Pereira da
author_role author
dc.contributor.author.fl_str_mv Costa, Ana Carolina Pereira da
dc.contributor.advisor1.fl_str_mv Fernandes, Geraldo Augusto
contributor_str_mv Fernandes, Geraldo Augusto
dc.subject.cnpq.fl_str_mv CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS
topic CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS
Romantismo
Grotesco
Álvares de Azevedo
Bernardo Guimarães
Romanticism
Grotesque
dc.subject.ptbr.pt_BR.fl_str_mv Romantismo
Grotesco
Álvares de Azevedo
Bernardo Guimarães
dc.subject.en.pt_BR.fl_str_mv Romanticism
Grotesque
description The brazilian romantic lyric, especially the ultra-romantic one, expresses the most perfect song that the egotistic facet comprehends. However, there is another facet of the poetry from the second romantic generation that delved into other aesthetics, among them the grotesque. The ironic and satirical poetry of the period did not resonate with the canon, as humor went against the nationalist intentions undertaken. Therefore, the presence of laughter in brazilian romanticism occupied marginal spaces, used as an alternative to the exhaustion of sentimentality, a plural context for theorizations about modern poetry. Thus, the present research proposes to analyze the ironic and satirical poetry of Álvares de Azevedo and Bernardo Guimarães in light of relevant contradictions, seeking guidance in studies on the grotesque. The theoretical concepts of the grotesque explored are present in the theories of Bakhtin (2010), Hugo (2007), and Kayser (2013), aligned with theoretical contributions on laughter in Minois (2003) and modern poetry in Schlegel (1992, 2016). The analysis of the works of the mentioned poets started from recurring figures in the poems, such as the woman, death, and the poet, in order to identify how the grotesque manifests itself in this discordant lyric.
publishDate 2023
dc.date.issued.fl_str_mv 2023
dc.date.accessioned.fl_str_mv 2024-11-12T20:57:19Z
dc.date.available.fl_str_mv 2024-11-12T20:57:19Z
dc.type.status.fl_str_mv info:eu-repo/semantics/publishedVersion
dc.type.driver.fl_str_mv info:eu-repo/semantics/masterThesis
format masterThesis
status_str publishedVersion
dc.identifier.citation.fl_str_mv COSTA, Ana Carolina Pereira da. Eis em cena o grotesco: ecos na poética de Álvares de Azevedo e de Bernardo Guimarães. Orientador: Geraldo Augusto Fernandes. 2023. 145 f. Dissertação (Mestrado em Letras) - Programa de Pós-graduação em Letras, Centro de Humanidades, Universidade Federal do Ceará, Fortaleza, 2023.
dc.identifier.uri.fl_str_mv http://repositorio.ufc.br/handle/riufc/78866
identifier_str_mv COSTA, Ana Carolina Pereira da. Eis em cena o grotesco: ecos na poética de Álvares de Azevedo e de Bernardo Guimarães. Orientador: Geraldo Augusto Fernandes. 2023. 145 f. Dissertação (Mestrado em Letras) - Programa de Pós-graduação em Letras, Centro de Humanidades, Universidade Federal do Ceará, Fortaleza, 2023.
url http://repositorio.ufc.br/handle/riufc/78866
dc.language.iso.fl_str_mv por
language por
dc.rights.driver.fl_str_mv info:eu-repo/semantics/openAccess
eu_rights_str_mv openAccess
dc.source.none.fl_str_mv reponame:Repositório Institucional da Universidade Federal do Ceará (UFC)
instname:Universidade Federal do Ceará (UFC)
instacron:UFC
instname_str Universidade Federal do Ceará (UFC)
instacron_str UFC
institution UFC
reponame_str Repositório Institucional da Universidade Federal do Ceará (UFC)
collection Repositório Institucional da Universidade Federal do Ceará (UFC)
bitstream.url.fl_str_mv http://repositorio.ufc.br/bitstream/riufc/78866/1/2023_dis_acpcosta.pdf
http://repositorio.ufc.br/bitstream/riufc/78866/2/license.txt
bitstream.checksum.fl_str_mv ebb94f10532e8ead6b8c9fae5d1c7ff0
8a4605be74aa9ea9d79846c1fba20a33
bitstream.checksumAlgorithm.fl_str_mv MD5
MD5
repository.name.fl_str_mv Repositório Institucional da Universidade Federal do Ceará (UFC) - Universidade Federal do Ceará (UFC)
repository.mail.fl_str_mv bu@ufc.br || repositorio@ufc.br
_version_ 1847793275862253568

Registros relacionados