Abstract
The representation of sertanejo man in literature is presented through traditions, values and beliefs constructed in that space, in this process we have vaqueiro as a genuine "sertanejo", because it allows interiorization of northeast, appearing the sertão. Therefore, this article aims to identify how cultural identity of vaqueiro is constructed in regionalist project of Alencariano. In the discussion it used as theoretical contributions about socio-historical context of vaqueiro and the vaquejada in Cascudo (2008) and Magalhães (1970), identity culture in Hall (2006), culture and popular culture in Ayala & Ayala (1987), Santos (1992), Bosi (1992) and Bauman (2001) and sertanist literature in Sodré (1964) and Bosi (1994). The corpus of research is literary work 'O sertanejo' [The Backlands] (1875) by José de Alencar. The results showed construction of cultural identity of vaqueiro in Alencarian literature has physical, socio-affective and symbolic elements are marks of identity of vaqueiro and can be resignified, adapting to new social relations and cultural contexts.
Highlights
Vol 14 No 01 – Julho de 2021 ISSN: 2358-8403The search for a national cultural identity, that is, for a Brazilian identity, is marked in literary field by the projection of myth and hero, born in the 19th century
The sertão of Alencar is part of commonplace romantic ideology, so configuration of sertaneja image is seen from perspective of beautiful landscapes, from nostalgia of beautiful and majestic place from which it came, leaving in background socio-economic problems such as backwardness, colonelism, drought and misery (SILVA, 2010). It is in this context structured in 'O Sertanejo', that José de Alencar shows the first records of constructions of the cultural identity of vaqueiro in Brazilian literature
They had a wide catana, a shoulder strap and a dagger, in addition to pistols in their holsters, which completed equipment of these individuals whose sinister features already inculcate more fright than weapons themselves. They brought more, attached to saddle and suspended from animal's hips, the wide axe served them in case they needed to open the bite in virgin forest, or improvise a bridge over the full river: an indispensable tool at time for the traveller, who often turned it into a terrible weapon [. ...] Even today this picturesque and traditional sertanejo costume, and more especially that of vaqueiro, retains little difference from old Portuguese fashion, for which first leather clothes were cut. (ALENCAR, 2013, p. 12;19). It is understood construction of image of vaqueiro of sertão has in his garments an armor to deal with fights fought in northeastern sertão, where the clothing is one of the main cultural identity aspects of vaqueiro of sertão, because this trait lasted for a while until it became a characteristic mark of vaqueiro, together with values, senses and symbols of sertanejo, marked by peculiarity of behaviour, language and work, has in its personal characteristics and in the aesthetic signs of the identity of vaqueiro when differentiating or identifying him from another group
Summary
The search for a national cultural identity, that is, for a Brazilian identity, is marked in literary field by the projection of myth and hero, born in the 19th century. In this article, understanding of popular culture is of interest, since vaquejada is inserted in this "typology" of culture, being a synonym of "culture of the people" marked by practice and conditions of production of groups and communities considered subordinate in structuring of social classes (AYALA & AYALA, 1987; ARANTES, 1990) It is Popular Culture, of great incidence in Northeastern Region, is intertwined in majority of historical formation of Brazilian people, and especially in formation of cultural identity of Northeastern people. 19) understands "[...] by hybridization [the] sociocultural processes in which discrete structures or practices, which existed separately, combine to generate new structures, objects and practices" In this complex scenario, cultural tradition of vaquejada practices and the identity formation of vaqueiro is not erased by industrialization of symbolic property (CANCLINI, 2013) or "Cultural Industry" (ADORNO, 2002), but restructured, in order to adapt the new practices, needs and social environments and give continuity to their identity
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