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15 junho 2005

The Troubadours of Brazil's Backlands

Larry Rohter fala da tradição da literatura de cordel no NY Times:

Educated Brazilians originally looked down on cordel and the rough woodcut covers associated with it as something vulgar and déclassé, a symbol of the country's backwardness. But today, intellectuals in São Paulo and Rio de Janeiro are collectors or admirers of the pamphlets, and the aesthetics of cordel can be detected in nearly every corner of Brazilian popular culture.

"The cordel poets will all say that the interest in their work has grown mostly because of foreigners," Dr. Curran said. "But I think Brazil has reached a time of change in which there is more of an awareness of and hunger for seeking the country's cultural roots, and cordel is a major part of Brazilian culture in the 20th century."

In pop music, for instance, cutting-edge composers much admired outside Brazil have drawn on cordel in songs like Tom Zé's "The Arrival of Raul Seixas and Lampião at the I.M.F." and Chico Science's "Isaac Asimov and Santos Dumont's Meeting in Heaven." In literature, Jorge Amado's novel "Tereza Batista: Home from the Wars" and Ariano Suassuna's play "The History of the Headless King Who Wandered the Wilds of the Backlands" are heavily influenced by cordel in subject and form.

Leia matéria completa aqui.
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