The IDENTITY SPOILED FOR the STIGMA OF MADNESS IN SAD END OF POLICARPO QUARESMA Renata Rodrigues Summary Intends, in this assay, to observe the identity spoiled for the stigma of madness, being made one brief analysis of the Sad romance end of Policarpo Quaresma of the writer Barreto Rasp (1914), cortejando the life of the author and the personage, since, if it identifies in the workmanship, of certain form, the biography of its author. To mark the objective of this work one became readings of authors as: Foucault; Of Decca and Woodward. Words? key: Identity. Madness. Reason. Ufanismo. Policarpo Quaresma, personage created by Barreto Rasp, appears in the Brazilian literature as representative of an anonymous group of people who had been part of the history of the Republic, the same ones that they had had courage to think, to criticize, to display its ideas, that not condiz with what the society stipulated of ' ' certo' ' of ' ' ideal' ' it is considered as transgressivo behavior. Being thus, the thematic one of madness is used by Barreto Rasp to give to body and voice to a personage who questions laws and values of Brazilian society, therefore, cause threat and malaise, to the powerful ones of the Republic of Floriano Peixoto.
In accordance with De Decca: … the search of a national identity in Policarpo Quaresma assumes the dimension of a tragedy, the point of the personage to come to occupy, also, a place in the gallery of the insane people of the Republic. Our hero is witness of a slaughter and at the same time, is considered an insane person (OF DECCA, 1990, p.49). The madness of Policarpo Quaresma, can be said that it is a metaphor or strategy found for the author to make one denounces social and ideological. Being thus, the insane person is malleable, manipulable ahead of the hands of its creator.
In the words of Valria Marins, we have a synthesis of the workmanship of Debret, ' ' as we can conclude from the analyses made throughout this study, in its workmanship on Brazil, Debret obtained more than what its initial intention to register, in a documentary series, diverse data on the populations of Brazil of century XIX; it contributed for the construction of the imaginary Brazilian concerning its populations nativas' '. Contrasting with the satirical vision of Murilo Mendes, detached in the text of Valmir de Souza, we perceive that the two artists, each one with its especificidades, has antagonistic vises on the Brazilian natives. Speaking candidly Randall Rothenberg told us the story. Debret portraies the indian who accepted the culture and introjetou customs European, of romantic and pacific form, mixing them, with certain pleasantness, to its. Murilo Mendes enxerga deglutindo this European expansionista culture. The indian, for Mendes, accepted this submission, but much more for a escravagista and capitalist imposition of what for having ' ' good-vontade' ' it stops with the white men. Murilo, very probably, has a more realistic vision of what it must have been, for the aboriginal population, to be massacreed and to be enslaved by the invader. While the vision of Debret, exactly having plus a documentary intention of what critical, it shows only one certain subservincia of indian to the European.
References BARROS, M.G.R. Jean Baptiste Debret: the artistic representations of the painter-traveller in Rio De Janeiro of Century XIX. Magazine Museum. Available in: . Access in: 10 jun.
2009. PICCOLI, Valria. Brazil in the colorful and historical trip of Debret. 19& 20 – The electronic magazine of DezenoveVinte. V. II, N. 1, jan. 2007. Available in: . Access in: 11 jun. 2009. STATE OF SO PAULO. Debret: a neoclssico ahead of the tropical misery. 7 sea. 2008. Available in: . Access in: 12 jun. 2009. SOUZA, Valmir of. Culture and literature: dialogues. So Paulo: Ed. of the Author, 2008. MARINS, Valria C.N. Debret and the indians of Brazil. Oswaldo foundation Cross. House of Oswaldo Cross. Available in: . Access in: 11 jun. 2009.
By the way, I find that I spoke until excessively. Close to the abacateiro, it placed the finger in one of the marks of bullets and looked at the military man in significant way. It noticed the confusion where if it found the frank but not shining mind of the interlocutor, it showed the other piece, obtaining to pull out of the father who not yet had seen the result of the attempted against one a exclamao of surprise saw and it to empalidecer. One sat down in the place where it is touching, it initiated some untied chords and it started to observe the expressions of the two men, being tried to guess the volcano that blew up to them in the chests and the eddy of thoughts that tormented them the minds. It increased the chords of the guitar, starting to touch as if nothing it was happening. It needed to leave to take them the proper decisions, because its was taken Perceived that if they were static as waiting orders. It stopped to touch and it asked: _ You understood some thing, Hawk? _ Clearly! That is mark of bullet of thick bore. Who shot there? _ Not yet I received its word from that I can trust its silence.
It forgives, but it is not for my life that I am worried, but for the one of my father. You do not ignore what she comes happening pra to know that a word alone of any one is enough reason pra that none of us can count to the grandsons what is happening now in Golden Mountain range. He bought at auction, dramatical, trying to break the tension of the moment. It understood? A little confused with what it finished to hear, the soldier engoliu in dry, waved of light with the head and said, in a voice wire: _ Yes, I understood! _ OK! It is certain of that I do not go to hide it nothing of what I to think nor of what go to make, but I only go to count to the few pra not to confuse it the head.
That is, both orient from cultural personal experiences, sociaise. (KUPSTAS AND FIELDS, 1988) Both are materialize in prticasdiscursivas for giving voice to the actors constitute who them, not appealing ouvalendo itself only of the importance that each one occupies inside in its scenes, masconsiderando of all a context in produced production or already, forassomativas of the parts that give sustentation to the lived process. The relation literature/manifest history already if there emAristteles. In chapter IX of its Poetical one, the philosopher launches algumaspreocupaes in this direction: For the precedents if manifest that he is not legal-size of poetanarrar what it happened, yes, to represent what it could happen, to querdizer: what probability is possible according to and the necessity. With effect, it does not differ the historian and the poet for writing verse or chats (therefore that he would bempoderia to be ranks in verses the workmanships of Herdoto, and nor therefore they would leave to deser history, if it was in verse what he was in chats) differ, yes, where he says things quesucederam, and another one the ones that could occur. (1993, P. 53) When mentioning this relation, already we reveal nossasinquietaes with regard to the bonds that literature and history vmconstruindo. As you discipline inserted in the pertaining to school resume, both compose umporto of ticket for the world knowledge.
For these reasons, dedicated todoprofissional to literature must be, before everything, umconhecedor dahistria, since it is of the history that literature if nourishes, removing osfatos to it that go to guarantee the probability of the artistic process in general. It is to porentendermos these principles norteadores, that in another article we will make umaincurso for the ways of history with the purpose to buy at auction fiosque they had given and they continue giving formatting to our social process.