O CARÁTER SOCIAL E POLÍTICO DAS OBRAS DE JORGE AMADO, DA DÉCADA DE 1930
2024; Volume: 16; Linguagem: Inglês
10.33726/akd2447-7656v16a10year2024p106a125
ISSN2674-7561
Autores Tópico(s)Cultural, Media, and Literary Studies
ResumoIn this article, we will once again look at the way in which the writer Jorge Amado (1912-2001) describes the existential particularity of homo brasiliensis in some of his works, especially in those discussed here. By means of a literature review, this examination highlights the fact that Amado's narrative bias reveals to his countless readers, from various generations, aspects of a Brazilian society that lives tirelessly undecided between political, social and economic trajectories of success and failure. In this sense, the immediate result of this examination is that we see in this research a Jorge Amado who is still eager to contribute to raising awareness among the country's most suffering pobpulation through his fiction, regarding certain nuances of the class struggle, a maxim that is so moldy in our memories and is taken as a basic premise of his texts, in the same way that the equally rusty Revolution emerges in these same works as a dialectical overcoming of the fictionally given concept. The aim of this paper, in short, is precisely to awaken our contemporaries to issues that, if they are riddled with archaisms, on the one hand, on the other hand, have not yet been completely overcome and require further struggles. Our study is justified by the fact that if the periodic re-readings of Jorge Amado still make some sense, it may be a sign that our idols may still be the same (Capitalism, Totalitarianism, Dogmatism, etc.). In the corpus of analysis, then, we must call for “Jubiabá” (1935) to exert new iconoclasms, otherwise we will be condemned to live forever in “O País do Carnaval” (1931), to the rhythm of samba, “Suor” (1934), “Cacau” (1933) and tears, ending up drowned in a “Mar Morto” (1936), until the “Capitães da Areia” (1937) come to save us from it.
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