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Transformações da ficção portuguesa na passagem da década de 1950 para a década de 1960
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Esta tese parte do pressuposto de que a passagem da década de 1950 para a década de 1960 constitui um momento singular na história da prosa ficcional portuguesa, não apenas pela concentração de autores e obras de grande relevo, mas sobretudo pelo impulso inovador que atravessa as produções mais significativas do período, legitimando a sua leitura como um momento de viragem na literatura nacional. Embora os autores implicados nesse processo de transformação não se subsumam a um movimento ou geração literária, tal circunstância não invalida a sua dimensão coletiva: trata-se de um processo multímodo e não coordenado que, ainda assim, enraíza em condicionalismos históricos e culturais comuns. Com o objetivo de descrever e analisar essa dinâmica de transformação, examino os fatores históricos, culturais e literários que o sustentam, destacando alguns eixos fundamentais para a sua configuração, como a herança modernista, o influxo da voga existencialista no segundo pós-guerra e a influência de correntes artísticas e literárias como o nouveau roman e o surrealismo – sendo este último apontado por parte da crítica como um dos responsáveis pela reativação do espírito vanguardista que anima a nova prosa. No capítulo 1, apresento o fenômeno ficcional em causa, mediante a sua contextualização histórica e literária, com particular atenção às dinâmicas de ruptura e continuidade que presidem ao surgimento de um novo período literário após a hegemonia do neorrealismo. Uma das seções do capítulo é dedicada à problemática da autoria feminina, salientando o aparecimento de uma modalidade particular de contestação moral, enunciada a partir de uma nova perspectiva. Na parte final do capítulo, procuro demonstrar que, mesmo assentando em trajetórias individuais, o novo fenômeno literário define-se por uma atitude comum de contestação, seja em relação a uma determinada “ordem moral” – tal como formulado por Eduardo Lourenço no seu ensaio sobre a “literatura desenvolta” –, seja em relação aos padrões da narrativa tradicional. O capítulo 2 volta-se à investigação dos fatores culturais subjacentes às transformações literárias, com ênfase na difusão das ideias existencialistas nos meios intelectuais e artísticos portugueses, bem como no impacto da presença avassaladora da obra de Fernando Pessoa na cultura nacional, particularmente a partir dos anos 50. Os capítulos 3, 4 e 5 são dedicados à leitura crítica de seis obras ficcionais, selecionadas segundo critérios críticos e metodológicos explicitados no primeiro capítulo: O Ângulo Raso, de Fernanda Botelho; O Anjo Ancorado, de José Cardoso Pires; Rumor Branco, de Almeida Faria; A Torre da Barbela, de Ruben A.; Viver com os Outros, de Isabel da Nóbrega; e a novela “As palavras poupadas”, de Maria Judite de Carvalho. Desse modo, procuro dar concretude às hipóteses formuladas nos dois primeiros capítulos, evidenciando não apenas a validade da tese, mas também a complexidade e a diversidade do fenômeno ficcional analisado. Na conclusão, retomo os principais momentos da argumentação e sistematizo os aspectos fundamentais que permitem caracterizar o processo de renovação da ficção portuguesa.
This dissertation starts from the premise that the transition from the 1950s to the 1960s constitutes a singular moment in the history of Portuguese fictional prose, not only because of the concentration of highly significant authors and works, but above all due to the innovative impulse that runs through the most important literary productions of the period, thus legitimising its interpretation as a turning point in national literature. Although the authors involved in this process of transformation cannot be subsumed under a literary movement or generation, this circumstance does not invalidate its collective dimension: it is a multimodal and uncoordinated process that nevertheless takes root in shared historical and cultural conditions. With the aim of describing and analysing this dynamic of transformation, the dissertation examines the historical, cultural, and literary factors that underpin it, highlighting several key axes in its configuration, such as the modernist legacy, the influence of existentialist thought in the post-war period and the impact of artistic and literary currents such as the nouveau roman and surrealism – the latter being identified by part of the critical tradition as one of the forces responsible for the reactivation of the avant-garde spirit that animates the new prose. Chapter 1 presents the fictional phenomenon under consideration through its historical and literary contextualisation, with particular attention to the dynamics of rupture and continuity that preside over the emergence of a new literary period following the hegemony of neo-realism. One section of the chapter is devoted to the issue of female authorship, highlighting the emergence of a specific form of moral contestation articulated from a new perspective. In the final part of the chapter, I argue that, even though it is grounded in individual trajectories, the new literary phenomenon is defined by a shared attitude of contestation, whether in relation to a given “moral order” – as formulated by Eduardo Lourenço in his essay on “literatura desenvolta” (literally, “uninhibited literature”) – or to the conventions of traditional narrative forms. Chapter 2 focuses on the investigation of the cultural factors underlying these literary transformations, emphasising the diffusion of existentialist ideas in Portuguese intellectual and artistic circles, as well as the impact of the overwhelming presence of Fernando Pessoa’s work in national culture, particularly from the 1950s onwards. Chapters 3, 4 and 5 are devoted to the critical reading of six fictional works, selected according to critical and methodological criteria set out in Chapter 1: O Ângulo Raso, by Fernanda Botelho; O Anjo Ancorado, by José Cardoso Pires; Rumor Branco, by Almeida Faria; A Torre da Barbela, by Ruben A.; Viver com os Outros, by Isabel da Nóbrega; and the novella “As Palavras Poupadas”, by Maria Judite de Carvalho. Through this close reading, I seek to give concrete form to the hypotheses formulated in the first two chapters, demonstrating not only the validity of the thesis, but also the complexity and diversity of the fictional phenomenon under analysis. In the conclusion, I return to the main stages of the argument and systematise the fundamental aspects that allow for a characterisation of the process of renewal of Portuguese fiction.
This dissertation starts from the premise that the transition from the 1950s to the 1960s constitutes a singular moment in the history of Portuguese fictional prose, not only because of the concentration of highly significant authors and works, but above all due to the innovative impulse that runs through the most important literary productions of the period, thus legitimising its interpretation as a turning point in national literature. Although the authors involved in this process of transformation cannot be subsumed under a literary movement or generation, this circumstance does not invalidate its collective dimension: it is a multimodal and uncoordinated process that nevertheless takes root in shared historical and cultural conditions. With the aim of describing and analysing this dynamic of transformation, the dissertation examines the historical, cultural, and literary factors that underpin it, highlighting several key axes in its configuration, such as the modernist legacy, the influence of existentialist thought in the post-war period and the impact of artistic and literary currents such as the nouveau roman and surrealism – the latter being identified by part of the critical tradition as one of the forces responsible for the reactivation of the avant-garde spirit that animates the new prose. Chapter 1 presents the fictional phenomenon under consideration through its historical and literary contextualisation, with particular attention to the dynamics of rupture and continuity that preside over the emergence of a new literary period following the hegemony of neo-realism. One section of the chapter is devoted to the issue of female authorship, highlighting the emergence of a specific form of moral contestation articulated from a new perspective. In the final part of the chapter, I argue that, even though it is grounded in individual trajectories, the new literary phenomenon is defined by a shared attitude of contestation, whether in relation to a given “moral order” – as formulated by Eduardo Lourenço in his essay on “literatura desenvolta” (literally, “uninhibited literature”) – or to the conventions of traditional narrative forms. Chapter 2 focuses on the investigation of the cultural factors underlying these literary transformations, emphasising the diffusion of existentialist ideas in Portuguese intellectual and artistic circles, as well as the impact of the overwhelming presence of Fernando Pessoa’s work in national culture, particularly from the 1950s onwards. Chapters 3, 4 and 5 are devoted to the critical reading of six fictional works, selected according to critical and methodological criteria set out in Chapter 1: O Ângulo Raso, by Fernanda Botelho; O Anjo Ancorado, by José Cardoso Pires; Rumor Branco, by Almeida Faria; A Torre da Barbela, by Ruben A.; Viver com os Outros, by Isabel da Nóbrega; and the novella “As Palavras Poupadas”, by Maria Judite de Carvalho. Through this close reading, I seek to give concrete form to the hypotheses formulated in the first two chapters, demonstrating not only the validity of the thesis, but also the complexity and diversity of the fictional phenomenon under analysis. In the conclusion, I return to the main stages of the argument and systematise the fundamental aspects that allow for a characterisation of the process of renewal of Portuguese fiction.
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Palavras-chave
Ficção portuguesa contemporânea Modernismo Neorrealismo Existencialismo Surrealismo Contemporary portuguese fiction Neo-realism Existentialism Surrealism