Memória imaginativa nas lembranças de Erico Veríssimo: uma leitura de Solo de Clarineta

Abstract

This research aims to observe memories from the autobiography Solo de Clarineta by the Brazillian author Erico Veríssimo (1905 - 1975), aiming to reflect upon the articulations between memory and creative imagination. In order to back up the investigation, the research formulated the following starting question: what is possible to say about Erico Verissimo’s autobiographical memory having Solo de Clarineta as a guide? To talk not only about the content of those memories, but about the way they operate. The research is based on the principle that the work is a poetic autobiographical memorial, in a sense that it is somewhat ficcional because it also comes from the memorialist author’s poetic imagery. About the objectives, the general one consists of reflecting upon the memories present in Solo de Clarineta, aiming to identify the articulations between memory and creative imagination. As specific objectives, the research highlighted: a) identify in Solo de Clarineta elements that are able to visualize Erico Veríssimo’s life and work, and also able to bring some minimal historical elements of the time when he lived and wrote his work, specially in this autobiography; b) observe Verissimo’s memories that have references to dream content, articulating memory and creative imagination. The theoretical/methodological references used to think about Erico Veríssimo’s memories as a poetic autobiography was mainly backed up by studies on complexity, Gaston Bachelard aesthetic philosophy, Jean Jacques Wunengurger’s studies of the imaginary, James Hillman’s archetypal psychology, and by commentators and scholars of the literary imagination, the study supervisor Ana Laudelina Ferreira Gomes, the co-supervisor Ozaías Batista, and professor Karla C. de Souza, all of them somehow linked to PPGCS/UFRN’s Grupo de Pesquisa Mythos-Logos, which has had the participation of the author of the research through his master’s degree journey. In addition, to arrive at the final finishing touches of a clarinet poetic solo, I say that it is like Solo de Clarineta and as a solo solo that Verissimo is imagined by the images of his autobiography. In fact, even if accompanied, each person's journey on Earth is always solo, since it is unique and with its own tonic. In the case of Verissimo, by the title of this memoir, its singular key is musical. This is a little of what he helps me to say through his poetics of life observed in his autobiographical memories.