Literatura Brasileira no Modernismo tardio, sob o prisma do "Grande sertão: veredas"
Keywords:Grande sertão: veredas, Modernism, Postmodernism, tradition, break
Brazilian Literature in Late Modernism, under the prism of the "Grande sertão: veredas"
Brazilian Modernism was used to accomplish, through the novel Grande Sertão: veredas (1956), this crossing through the identity of the area between Goiás and Minas Gerais. The objective is to show that the retaking by Guimarães Rosa (1908-1967) of the aesthetic foundations that demarcated this phase in its initial moment in the 1920s without abandoning the works and literary aspects that followed it and striking historical facts, generated an atypical modernism that, because it did not completely break with tradition, is called the late modernism. In the work of the fictionist in question the rupture appears more forcefully than in other works of the third moment of Modernism, which led to the inauguration of Postmodernism. In Grande Sertão: veredas, a point of contact with historiography is the symbol of infinity at the end of the work that indicates that the crossing of Riobaldo and Diadorim is a journey that transcends the narration. In order to accomplish the results, the work was read and compared with other works from the same period and the first phase of Modernism; in addition to it, the compatibility between the work and the cultural context in which it was inserted was practiced. Thus, the comparative reading and the theses of Hermeneutics were used as methodology. The result to which the research underlying this text has arrived is that Riobaldo’s guilt is the same one shared by all men who are led by circumstances, narrowing their view on the surface of reality, while in the deep the occurrences that determine and guide the destinations of the world abound. Another result inscribed in the objective expressed above indicates that the work in question contributed to the start new phase in Brazilian literature.
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