O sertanejo

Resumo: O presente estudo visa analisar o poema Uiara, de Octávio Sarmento (2007), por viés da Modernidade, que narra a saga de um cearense (Militão), enquanto a representação de um vasto painel da vida amazônica no início do século XX, cujo cenário se descreve por ser a região referência na exportação da borracha, para as fábricas de automóveis norte-americanas, no final do século XIX. Por conseguinte, através de uma abordagem bibliográfica e dialética, será observado o papel da Literatura na transgressão dessa modernidade, de inquietar o conservadorismo, revelar os códigos de atuação discursiva, as mazelas constituintes da realidade brasileira. Nisso, a investigação será mediada por teóricos que discursam sobre estudos de Expressão Amazônica, Literatura Amazonense e Teoria da Literatura, tais como Edneia Mascarenhas (2007), Alberto Rangel (2008), entre outros. Logo, percebeu-se que o imigrante, no poema de Sarmento, é resultado do surto, da opulência do Moderno, em Manaus. Palavras-chave: Literatura brasileira; Poesia; Sertanejo; Uiara. Abstract: The present study aims to analyze the poem Uiara, by Octávio Sarmento (2007), by Modernity bias, which tells the saga of a Ceará (Militão), while the representation of a vast panel of Amazonian life in the early twentieth century, whose scenario Is described as being the reference region for the export of rubber to American automobile factories in the late nineteenth century. Therefore, through a bibliographical and dialectical approach, the role of Literature in the transgression of this modernity, of disturbing conservatism, of revealing the codes of discursive action, the constituent ills of the Brazilian reality, will be observed. In this, the research will be mediated by theorists who speak about Amazonian Expression studies, Amazonian Literature and Literature Theory, such as Edneia Mascarenhas (2007), Alberto Rangel (2008), among others. Therefore, it was noticed that the immigrant, in the poem of Sarmento, is the result of the outbreak, of the opulence of the Modern, in Manaus.

Arguably, the majority of discourses produced in the late modern times to refer to the sertão do not seem to pose questions about its image as the iconic space of exile, backwardness, hopelessness, poverty and death. This paper intends to look into passages of Euclides da Cunha's Os Sertões (1902) in the light of the Early Modern Portuguese travelers' reports that depicted both Brazilian and African hinterlands as regions of naivety, wealth and hope worth to be further explored and exploited. My research delves into the possibility of a shift brought about da Cunha's work as playing a decisive role in consolidating an epistemological turn on the sertão's image that has been consistently reproduced thereafter.