RAZOR OF LAUGHTER: THE SATIRICAL POETIC OFICIAL GREGÓRIO DE MATOS GUERRA
Gregório de Matos, a Brazilian baroque poet, owing to his implacable writings was nicknamed "hell"™s mouth". In Gregorian satire, almost banned in school books, it is frequently found, besides strong virulence, language which makes use of foul words, associated to genitalia or sex ac...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2016 |
| País: | Brasil |
| Institución: | Universidade do Estado do Rio Grande do Norte (UERN) |
| Repositorio: | Revista Colineares |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs2.periodicos.apps.uern.br:article/128 |
| Acceso en línea: | https://periodicos.apps.uern.br/index.php/RCOL/article/view/128 |
| Access Level: | acceso abierto |
| Palabra clave: | Gregório de Matos Satirical lyrism Brazilian baroque Lírica satírica Barroco brasileiro |
| Sumario: | Gregório de Matos, a Brazilian baroque poet, owing to his implacable writings was nicknamed "hell"™s mouth". In Gregorian satire, almost banned in school books, it is frequently found, besides strong virulence, language which makes use of foul words, associated to genitalia or sex acts and popular terms, amalgamated to erudition. Themes are associated to various society types which populate the state of Bahia, seen as caricatures from the poet"™s standpoint. Themes focus on Gregório de Matos"™ poetical view of the state of Bahia and its habitués; about the black and mulatto women, emphasizing the characteristic linguistic playfulness and sharpness associated to the baroque poet. Cities in which he travelled to do not escape his critiques. This study, an investigation of the strong Gregorian satire, results from the first readings associated to the research project "The Baroque in América: literature and arquitectonic-sculptural art in colonial Brazil", grounded, among other, on the ideas of João Adolfo Hansen (2004), Alfredo Bosi (1992) and Mário Faustino (2003), and analyzing de Matos"™ poetry using the codex by James Amado (1990). |
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