Acordes da identidade brasileira: leitura comparada de O selvagem da ópera, de Rubem Fonseca, e de Ana em Veneza, de João Silvério Trevisan
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Data
2018-04-27
Autores
Alves, Rebeca [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
No ano de 1994, coincidentemente, dois romancistas brasileiros, Rubem Fonseca (1925) e João Silvério Trevisan (1944), se propuseram a romancear a biografia de dois músicos nacionais que fizeram carreira no século XIX, são eles: Carlos Gomes (1836-1896) e Alberto Nepomuceno (1864-1920). Embora protagonistas de trajetórias distintas, os dois músicos carregam a semelhança de terem saído do Brasil, com o auxílio do governo, para realizarem seus estudos na Europa. Carlos Gomes, o personagem histórico do romance O selvagem da ópera, de Fonseca, vive atormentado pela sombra da influência e da imitação de um modelo de ópera consolidado na Europa, e Alberto Nepomuceno, protagonista do romance Ana em Veneza, de Trevisan, parece herdar a crise vivida pelo seu compatriota anos antes, embora tenha uma visão mais modernista em relação às reais condições de se criar uma arte nacional. Ao utilizarem a imagem de músicos brasileiros como personagens ficcionais, Fonseca e Trevisan fazem uma releitura da construção da identidade brasileira e possibilitam uma reflexão acerca das perspectivas histórico-literárias desse projeto identitário, pensado a partir do romantismo. Dessa maneira, o trabalho pretende verificar o modo como esses escritores releem a nossa busca por uma arte tipicamente brasileira, ao proporem um diálogo com o projeto de construção da identidade que permeia o século XIX e avança para o século XX. A partir disso, será possível discutir como esse projeto passa a ser compreendido, na visão desses escritores, no momento em que o mundo já tem o seu olhar voltado para o século XXI.
In 1994, two brazilian novelists, Rubem Fonseca (1925) and João Silvério Trevisan (1944), proposed to write a fiction with the biography of two brazilian musicians who made their career in the 19th century: Carlos Gomes (1836-1896) and Alberto Nepomuceno (1864-1920). Although protagonists of distinct trajectories, the two musicians left their countries, with the aid of the government, to carry out their studies in Europe. Carlos Gomes, the historical character in Fonseca's novel, O selvagem da ópera, is tormented by the shadow of influence and imitation of a consolidated model of opera in Europe, and Alberto Nepomuceno, the protagonist of Trevisan's novel, Ana em Veneza, seems to inherit the crisis experienced by his compatriot years before, although he has a more modernist view of the real conditions of creating a national art. By using the image of brazilian musicians as fictional characters, Fonseca and Trevisan re-read the construction of the brazilian identity and make possible a reflection on the historical-literary perspectives of this identity project, thoughts from romanticism. In this way, the thesis intends to verify how these writers re-read our search for a typically brazilian art, when proposing a dialogue with the construction project of the identity that permeates the nineteenth century and advances to the twentieth century. From this, it will be possible to discuss how this project comes to be understood, in the view of these writers, at a time when the world already has its gaze turned towards the 21st century.
In 1994, two brazilian novelists, Rubem Fonseca (1925) and João Silvério Trevisan (1944), proposed to write a fiction with the biography of two brazilian musicians who made their career in the 19th century: Carlos Gomes (1836-1896) and Alberto Nepomuceno (1864-1920). Although protagonists of distinct trajectories, the two musicians left their countries, with the aid of the government, to carry out their studies in Europe. Carlos Gomes, the historical character in Fonseca's novel, O selvagem da ópera, is tormented by the shadow of influence and imitation of a consolidated model of opera in Europe, and Alberto Nepomuceno, the protagonist of Trevisan's novel, Ana em Veneza, seems to inherit the crisis experienced by his compatriot years before, although he has a more modernist view of the real conditions of creating a national art. By using the image of brazilian musicians as fictional characters, Fonseca and Trevisan re-read the construction of the brazilian identity and make possible a reflection on the historical-literary perspectives of this identity project, thoughts from romanticism. In this way, the thesis intends to verify how these writers re-read our search for a typically brazilian art, when proposing a dialogue with the construction project of the identity that permeates the nineteenth century and advances to the twentieth century. From this, it will be possible to discuss how this project comes to be understood, in the view of these writers, at a time when the world already has its gaze turned towards the 21st century.
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Palavras-chave
Rubem Fonseca, O selvagem da ópera, João Silvério Trevisan, Ana em Veneza, Identidade nacional, Metaficção historiográfica, National identity, Historiographic metafiction