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A auto-representação na obra artística e literária de António Carneiro : -"(...) a excelsa ponte /Que à vida leva o caminheiro triste"
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Orientador(es)
Resumo(s)
As últimas décadas do seculo XIX e as primeiras do seculo XX testemunharam uma forte mudanca de paradigma (e um dilema) quer no campo das artes visuais quer no universo da produção literária: abandonar o vocabulário realista ou criar novos parâmetros de linguagem que pudessem alterar os padrões estéticos. Em Portugal, o clima de mudança e acentuado pelo contexto político, reforçando o sentimento de decadência que já grassava internacionalmente. Esta instabilidade conhece uma reacção mais assertiva na literatura do que nas artes. Enquanto as tendências literárias se sucediam com maior intensidade, nas academias de Belas-Artes o ensino estagnara, preso a um paisagismo naturalista, bucólico e pitoresco. Parecendo digno de bilhete-postal, na realidade as representações artísticas mais comuns do virar do seculo mostravam um Portugal impregnado de nacionalismo, mas sem capacidade de se afirmar. Situando a figura de António Carneiro (1872-1930) na época em questão, este estudo tem como objectivo principal a análise do problema da auto-representação na obra artística e literária do pintor amarantino. A abordagem ao modo enunciação do sujeito baseia-se num corpus criteriosamente seleccionado, do qual constam, em particular, os seus múltiplos auto-retratos, mas também o diário da viagem que o pintor fez a Itália em 1899 e um livro de sonetos, este ultimo publicado postumamente (em 1936 e em 1980). Seguindo uma perspectiva comparatista, traçam-se correspondências e estabelece-se a relação entre os diferentes modos discursivos. Assim, esta tese contribui para evidenciar a forma como o sujeito se coloca em questionamento permanente, na procura de respostas que lhe permitam aceder mais profundamente a sua identidade.
The last decades of the 19th century, as well as the first ones of the 20th, were witness to a considerable change of paradigm (and pose a dilemma) regarding both the visual arts and literary productions: to abandon the realistic vocabulary or to create new speech parameters that could change the aesthetic standards. In Portugal, the feeling of change is emphasized by the political context, reinforcing the sense of decadence that was already felt worldwide. This instability has a more assertive reaction in literature than in the arts. While literary trends succeeded with greater intensity, the teaching contents taught in the Academies of Fine Arts had stagnated, focusing mainly on naturalistic landscaping, the bucolic and the picturesque. This “picture perfect” landscapes, in reality the most common artistic representations of the turn of the century in Portugal, were ladened with nationalistic echoes and unable to assert themselves. Placing the figure of Antonio Carneiro (1872-1930) in this specific period, the main purpose of this study is to analyse the question of the artist’s self-representation on both his artistic and literary work. The enunciation of the self is based on a carefully selected corpus, regarding his multiple self-portraits, as well as the diary of the painter’s journey to Italy in 1899 and a sonnets’ book, which was published posthumously (in 1936 and 1980). Following a comparative approach, liasons are drawn and relationships are established between the different discursive modes. Thus, this thesis aims to demonstrate how the self is placed in permanent questioning, in a quest for answers that will allow him deeper access to his own identity.
The last decades of the 19th century, as well as the first ones of the 20th, were witness to a considerable change of paradigm (and pose a dilemma) regarding both the visual arts and literary productions: to abandon the realistic vocabulary or to create new speech parameters that could change the aesthetic standards. In Portugal, the feeling of change is emphasized by the political context, reinforcing the sense of decadence that was already felt worldwide. This instability has a more assertive reaction in literature than in the arts. While literary trends succeeded with greater intensity, the teaching contents taught in the Academies of Fine Arts had stagnated, focusing mainly on naturalistic landscaping, the bucolic and the picturesque. This “picture perfect” landscapes, in reality the most common artistic representations of the turn of the century in Portugal, were ladened with nationalistic echoes and unable to assert themselves. Placing the figure of Antonio Carneiro (1872-1930) in this specific period, the main purpose of this study is to analyse the question of the artist’s self-representation on both his artistic and literary work. The enunciation of the self is based on a carefully selected corpus, regarding his multiple self-portraits, as well as the diary of the painter’s journey to Italy in 1899 and a sonnets’ book, which was published posthumously (in 1936 and 1980). Following a comparative approach, liasons are drawn and relationships are established between the different discursive modes. Thus, this thesis aims to demonstrate how the self is placed in permanent questioning, in a quest for answers that will allow him deeper access to his own identity.
Descrição
Tese de doutoramento, Estudos de Literatura e Cultura (Estudos Comparatistas), Universidade de Lisboa, Faculdade de Letras, 2013
Palavras-chave
Teses de doutoramento - 2013