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Previous issue date: 2015-03-04 / A musical style that is considered the national song in Portugal, the Fado arose in Lisbon
suburb in 1840. From the 1860 s, it is possible to observe it circulating between the various
strata of the Portuguese society. This paper investigates two images of the Fado made
between the second half of the nineteenth century and the early years of the twentieth century,
in order to unravel the fabric that plotted such pictures through time. The aim is, thus, to
demonstrate the historicity in the construction of national symbols and the changing character
of the concept of nation, by seizing these "images" of the Fado built in two moments in
Portugal s History: sometimes as an element unable to appear as symbol of the Portuguese
nation, sometimes as a genuinely Portuguese cultural object. Established in the context in
which one perceives the change in time frame analysis of Portugal's history, when the
Portuguese intelligentsia breaks with a past tradition in the nation's design and opens up the
possibility of rethinking it based on the assumptions with conditions of consolidation in the
future, the "images" of the Fado in question, it is argued, were linked to the "aesthetic of
identity recomposition" developed by the Portuguese culture. Through the articulation of
temporality expressed by the categories of "space experience" and "horizon of expectation", it
is noted, as well, the establishment of these "aesthetic" by two logical thoughts linked to ideas
around two intellectual groups. The first, marked by so-called Gera??o de 1870, of scientistic
slant on the realistic literary trend and the rational model of nation of enlightenment
inspiration, is summarized in the works of Eca de Queiroz, O Primo Basilio (1878) and A
Ilustre Casa de Ramires (1900), in which Fado is disregarded as a national symbol. The
second logical thought, attributed to the alleged Gera??o de 1890, whose ideas are
characterized by a nationalist bias related to post-Ultimatum context of 1890, connected to the
symbolist literary trend and an ethnocultural model nation of romantic inspiration, are
present in the works of olisipography (study of Lisbon) by Pinto de Carvalho, Hist?ria do
Fado (1903), and Alberto Pimentel, A Triste Can??o do Sul (1904), in which the Fado
figures as an expression of "national soul". / O fado, g?nero musical considerado can??o nacional em Portugal, surge na periferia da cidade de Lisboa na d?cada de 1840. A partir dos anos 1860, j? ? poss?vel observ?-lo circulando entre as diversas camadas da sociedade portuguesa. Este trabalho investiga duas imagens do fado compostas entre a segunda metade do s?culo XIX e os primeiros anos do s?culo XX, a fim de desemaranhar a tessitura que tramou tais retratos atrav?s do tempo. Busca-se, assim, demonstrar a historicidade na constru??o dos s?mbolos nacionais, bem como o car?ter mut?vel do conceito de na??o, atrav?s da apreens?o dessas imagens do fado constru?das em dois momentos da hist?ria de Portugal: ora como elemento incapaz de figurar como s?mbolo da na??o portuguesa, ora como objeto cultural genuinamente portugu?s. Constitu?das no contexto em que se percebe a altera??o da perspectiva temporal de an?lise da hist?ria de Portugal, quando a intelectualidade portuguesa rompe com uma tradi??o passadista na concep??o da na??o e descortina a possiblidade de repens?-la segundo pressupostos com condi??es de consolida??o no futuro, as imagens do fado em quest?o, defende-se, estiveram ligadas ?s est?ticas de recomposi??o identit?ria desenvolvidas pela cultura portuguesa. Atrav?s da articula??o das temporalidades expressas pelas categorias de espa?o de experi?ncia e horizonte de expetativa, aponta-se, assim, a elabora??o das referidas est?ticas por duas l?gicas de pensamento vinculadas ?s ideias em torno de dois agrupamentos de intelectuais. A primeira, demarcada pela chamada Gera??o de 1870, de cunho cientificista ligado ? corrente liter?ria realista e a um modelo racional de na??o de inspira??o classicista-humanista, encontra s?ntese nas obras de E?a de Queir?s, O Primo Bas?lio (1878) e A Ilustre Casa de Ramires (1900), nas quais o fado ? desconsiderado como s?mbolo nacional. A segunda l?gica de pensamento, atribu?da ? dita Gera??o de 1890, cujas ideias caracterizam-se por um vi?s nacionalista relacionado ao contexto p?s-Ultimatum de 1890, ligada ? corrente liter?ria simbolista e a um modelo etnocultural de na??o de inspira??o rom?ntica, est?o presentes nas obras dos olisip?grafos Pinto de Carvalho, Hist?ria do Fado (1903), e Alberto Pimentel, A Triste Can??o do Sul (1904), nas quais o fado figura como express?o da alma nacional.
| Identifer | oai:union.ndltd.org:IBICT/oai:tede2.pucrs.br:tede/2519 |
| Date | 04 March 2015 |
| Creators | Gasparotto, Lucas Andr? |
| Contributors | Paredes, Mar?al de Menezes |
| Publisher | Pontif?cia Universidade Cat?lica do Rio Grande do Sul, Programa de P?s-Gradua??o em Hist?ria, PUCRS, BR, Faculdade de Filosofia e Ci?ncias Humanas |
| Source Sets | IBICT Brazilian ETDs |
| Language | Portuguese |
| Detected Language | English |
| Type | info:eu-repo/semantics/publishedVersion, info:eu-repo/semantics/masterThesis |
| Format | application/pdf |
| Source | reponame:Biblioteca Digital de Teses e Dissertações da PUC_RS, instname:Pontifícia Universidade Católica do Rio Grande do Sul, instacron:PUC_RS |
| Rights | info:eu-repo/semantics/openAccess |
| Relation | 1740700517806534787, 500, 600, -4398000523014524731 |
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