Name: DENISE DE LIMA SANTIAGO FIGUEIREDO
Publication date: 26/10/2022
Advisor:
Name |
Role |
|---|---|
| VIVIANA MÓNICA VERMES | Advisor * |
Examining board:
| Name |
Role |
|---|---|
| MARIA MIRTIS CASER | Internal Examiner * |
| PAULA REGINA SIEGA | Internal Examiner * |
| VITOR CEI SANTOS | Internal Examiner * |
| VIVIANA MÓNICA VERMES | Advisor * |
Summary: The choice of studying the relationship between poetry and music from Cantos à Beira-
mar by Maria Firmina dos Reis, first published in 1871, is justified by the possibility of
finding traces of musicality in this work since the writer has been placed in musical spaces
based on oral memories (MORAES FILHO, 1975; GOMES, 2022), but did not leave her
compositions registered in newspapers, books, and publications. In this sense, it is
understood that, the lack of investigation about Firmina dos Reis` unregistered music is
due to the annihilation of her memory. Which has been perpetuated for decades.
Therefore, it became necessary to understand the creation of so much exclusion
disseminated by instances of power, as well as the outline of her literary project, both in
prose and in poetry, to understand the aesthetic resources chosen by the artist. In this
regard, when discussing memoricide (BAÉZ, 2010; DUARTE, 2019) to designate the
murder of the memory or property of a culture, it also reflected on the process of
oppression and denial of women`s participation in the progress of our society. So, it is
extremely important to get to know other names that effectively established their writings
as a right. However, still understanding that the space reserved for black women in the
19th century was never the same. Within the intersectional studies about exclusion, the
death of the body also meant the death of the memory. Therefore, understanding the
political choices that permeate the writing of Maria Firmina dos Reis (NASCIMENTO,
2009; 2022; SILVA, 2013; 2021; MARRA, 2020; DUARTE (2004; 2017; LOBO, 1993),
enabled the construction of the profile in this notion, the investigation of the possibility
of music in the artist`s poetic verses was based on categories that explore her western
classical training (OLIVEIRA, 2002; CANDIDO, 2006; PROENÇA, 1955). ;
CAVARERO, 2011), and her Afro-Brazilian origin (GIROY, 2001; SANDRONI, 2001;
SILVA, 2005). dos Reis inscribes her art in the memory of national culture in a different
way, adding another layer to her artistic project, to definitively fight memoricide.
