Camilo Castelo Branco e o retrato da Imprensa em Coração, Cabeça e Estômago e na trilogia da Felicidade
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Data
2021-06-21
Autores
Greco, Letícia de Freitas
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Universidade Estadual Paulista (Unesp)
Resumo
Impulsionada pela Revolução Industrial e pelas Revoluções liberais dos séculos XVIII e XIX, a Imprensa cresce e se desenvolve, conforme o número de leitores aumenta. Ao contar com a colaboração de notáveis escritores a partir do século XIX, torna-se uma importante Instituição com capacidade de mobilização da opinião pública. Um desses colaboradores, em Portugal, foi Camilo Castelo Branco, que como escritor utilizou o espaço dos jornais para publicar folhetins e como jornalista aproveitou os jornais como um meio para polemizar e criticar setores diversos, inclusive a própria Imprensa. Desta maneira, Jornalismo e Literatura caminhavam juntos, estalecendo entre si uma relação cada vez mais estreita. Conhecendo de perto ambas as Instituições, Camilo retratou em pelo menos sete romances personagens que assim como ele eram jornalistas, escritores e poetas. O objetivo deste trabalho é analisar quatro destes romances – Coração, Cabeça e Estômago (1862) e as três obras que compõem a chamada trilogia da Felicidade: Onde Está a Felicidade? (1856), Um Homem de Brios (1856) e Memórias de Guilherme do Amaral (1863), buscando verificar o retrato que Camilo faz da Imprensa e da Literatura, enfatizando a análise nos personagens-jornalistas dos romances citados. Para isso, utilizamos trabalhos de pesquisadores da Imprensa, da História da Imprensa, da História de Portugal e do Romantismo, movimento literário em voga no período das publicações. Sendo assim, como resultados encontramos nos quatro romances a predominância de uma face camiliana ambígua e satírica, que não hesita em tecer críticas negativas, por meio da voz de seus personagens, à sociedade do Porto, ao Romantismo e à própria Imprensa, retratada como uma Instiuição pobre, com rotinas árduas e rígidas, e que age de modo parcial. Os jornalistas, por sua vez, são retratados, em muitas situações, como profissionais motivados pela busca de ascensão financeira e social. Por outro lado, Camilo defende a Insituição ao retratar o tema da liberdade de Imprensa e criticar a censura.
Driven by the Industrial Revolution and liberal Revolutions of the 18th and 19th centuries, the Press grows and develops, as the number of readers increases. With the collaboration of notable writers from the 19th century onwards, it became an important institution with the capacity to mobilize public opinion. One of these collaborators, in Portugal, was Camilo Castelo Branco, who as a writer used the space of newspapers to publish feuilleton and as a journalist took advantage of newspapers as a means for polemicizing and criticizing different sectors, including the press itself. In this way, Journalism and Literature went together, creating an ever closer relationship between them. Knowing both institutions closely, Camilo portrayed in at least seven novels characters who, like him, were journalists, writers and poets. The objective of this work is to analyze four of these novels – Coração, Cabeça e Estômago (1862) and the three novels that make up the so-called Happiness trilogy: Onde Está a Felicidade? (1856), Um Homem de Brios (1856) and Memórias de Guilherme do Amaral (1863), seeking to verify the portrait that Camilo makes of the Press and Literature, emphasizing the analysis in the characters-journalists of the mentioned novels. To understand it, we used works by researchers from the Press, from the History of the Press, from the History of Portugal and from Romanticism, a literary movement in vogue in the period of publications. Therefore, as a result we find in the four novels the predominance of an ambiguous and satirical Camillian face, who doesn´t hesitate to make negative criticisms, through the voice of its characters, to the society of Porto, Romanticism and to the Press itself, portrayed as a poor institution, with arduous and rigid routines, and which acts in a partial way. The journalists, in its turns, are portrayed, in many situations, as professionals motivated by the search for financial and social ascension. On the other hand, Camilo defends the Insitution by portraying the theme of press freedom and criticizing censorship.
Driven by the Industrial Revolution and liberal Revolutions of the 18th and 19th centuries, the Press grows and develops, as the number of readers increases. With the collaboration of notable writers from the 19th century onwards, it became an important institution with the capacity to mobilize public opinion. One of these collaborators, in Portugal, was Camilo Castelo Branco, who as a writer used the space of newspapers to publish feuilleton and as a journalist took advantage of newspapers as a means for polemicizing and criticizing different sectors, including the press itself. In this way, Journalism and Literature went together, creating an ever closer relationship between them. Knowing both institutions closely, Camilo portrayed in at least seven novels characters who, like him, were journalists, writers and poets. The objective of this work is to analyze four of these novels – Coração, Cabeça e Estômago (1862) and the three novels that make up the so-called Happiness trilogy: Onde Está a Felicidade? (1856), Um Homem de Brios (1856) and Memórias de Guilherme do Amaral (1863), seeking to verify the portrait that Camilo makes of the Press and Literature, emphasizing the analysis in the characters-journalists of the mentioned novels. To understand it, we used works by researchers from the Press, from the History of the Press, from the History of Portugal and from Romanticism, a literary movement in vogue in the period of publications. Therefore, as a result we find in the four novels the predominance of an ambiguous and satirical Camillian face, who doesn´t hesitate to make negative criticisms, through the voice of its characters, to the society of Porto, Romanticism and to the Press itself, portrayed as a poor institution, with arduous and rigid routines, and which acts in a partial way. The journalists, in its turns, are portrayed, in many situations, as professionals motivated by the search for financial and social ascension. On the other hand, Camilo defends the Insitution by portraying the theme of press freedom and criticizing censorship.
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Palavras-chave
Imprensa, Coração, Cabeça e Estômago, A trilogia da Felicidade, Camilo Castelo Branco, Press, Happiness trilogy