Aula O ARCADISMO EM PORTUGAL META OBJETIVOS. Arcadismo ou Neoclassicismo, objeto de estudo desta aula. estudo; O despotismo esclarecido.

META

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&UHLRTXHYRFrVMiSHUFHEHUDPDQHFHVVLGDGHTXHQyVVHUHVKXPDQRV temos de mudar, de buscar sempre coisas novas, diferentes. Insatisfeitos FRPDLPSUHJQDomRHPXPPHVPRHVWLORFRPDUHSHWLomRGHPRGHORVH formas, os homens tendem a romper com o presente e projetar-se para o futuro, propondo algo novo.

&RQWXGRQDVQRYLGDGHVSURSRVWDVSHUFHEHVHDSUHVHQoDGHHOHPHQ WRVGHXPSDVVDGRUHPRWRTXHPDLVXPDYH]YrPjWRQDeDUHWRPDGD GRYHOKRGHDOJRTXHMiH[LVWLXDQWHVHSUHYDOHFHXGXUDQWHFHUWRSHUtRGR KLVWyULFR WRUQDQGRVH DWp PHVPR XP paradigma, mas, como todas as FRLVDVFULDGDVSHORKRPHPGHSRLVDUUHIHFHXSHUGHXDLPSRUWkQFLDHGHX lugar a um novo paradigma. Ao serem retomados, os modelos antigos se adaptam ao momento vigente e adquirem outra roupagem.

)RLRTXHRFRUUHXFRPDHVWpWLFDTXHVXFHGHXR%DUURFRR$UFDGLVPR Descontente com o excessivo rebuscamento de uma arte voltada para as FODVVHVSUHGRPLQDQWHVQDpSRFDDDULVWRFUDFLDHRFOHURDEXUJXHVLDHPHU JHQWHURPSHHSURS}HIRUPDVGHH[SUHVVmRPDLVVLPSOHVPDLVDRVHXJRVWR $TXLEXVFDUHPRVRHQWHQGLPHQWRGHVVDHVFRODTXHVHDQXQFLDDFRPHoDU SHODGHQRPLQDomRTXHOKHIRLGDGD 3RUTXHRVQRPHV$UFDGLVPR1HRFODVVLFLVPRRX6HWHFHQWLVPR"9RFr VDEHULDDUHVSRVWD"6HQmRVDEHYDPRVMXQWRVSURFXUiOD$QWHVSRUpP SURFXUHSHVTXLVDUHPOLYURVGHOLWHUDWXUDRX´VLWHVµQDLQWHUQHWTXHWUD]HP curiosidades sobre o assunto.

Paradigma 'R JUHJR SDUi GHLJPD p D UHS UHVHQWDomR GH XP PRGHORXPSDGUmR a ser seguido. 4XDGURUHSUHVHQWDQGRXPSDVWRUGHRYHOKDV²LOXVWUDomRWtSLFDGR Arcadismo (Fonte: http://www.brasilescola.com)

3

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ATIVIDADES

Procure conhecer um pouco mais sobre o Iluminismo. Para tanto, con-VXOWHOLYURVGH+LVWyULD*HUDOHsitesGDLQWHUQHWTXHIDOHPVREUHRVÀOyVRIRV 9ROWDLUH0RQWHVTXLHX5RXVVHDX'LGHURWVXDVLGHLDVHVXDVREUDV9HULÀTXH VHKiDSUR[LPDo}HVHQWUHHODVHR$UFDGLVPR(PTXHHOHVLQÁXHQFLDUDPD QRYDHVWpWLFDOLWHUiULD" 2TXHYRFrVDEHVREUHD(QFLFORSpGLD"4XDQGRVXUJLXHTXHPDLGH DOL]RX"6HQmRVDEHSURFXUHLQYHVWLJDUVREUHLVWRHVREUHRVHXFRQWH~GRH VXDLPSRUWkQFLDSDUDDKXPDQLGDGH 3DUDPHOKRUFRPSUHHQGHUPRVHVVHTXDGURGHWUDQVLomRpQHFHVViULDD UHIHUrQFLDDRPRPHQWRKLVWyULFRHXURSHXHPTXHLPHUJHDHVWpWLFDOLWHUiULDGR $UFDGLVPRTXDQGRVHUHVSLUDXPDDWPRVIHUDGHSOHQDHIHUYHVFrQFLDFXOWXUDO 9HMDPRVRTXHQRVGL]0DVVDXG0RLVpVHPVHXOLYUR´$/LWHUDWXUD3RUWXJXHVDµ *UDQGHVWUDQVIRUPDo}HVHPWRGDD(XURSDVREUHWXGRHP)UDQoD DJLWDUDPDVHJXQGDPHWDGHGRVpFXOR;9,,,1RFDPSRLGHROyJLFR propriamente dito, assinala-se como acontecimento de fundamental UHOHYkQFLDDLQVWDODomRGRSHQVDPHQWRHQFLFORSpGLFRGH'µ$OHPEHUW Diderot e Voltaire, ocorrida em 1751, quando o primeiro publicou o 'LVFRXUV3UpOLPLQDLUHGHOµ(QF\FORSpGLHORJRWRUQDGRLQtFLRGXP SURFHVVRTXHFXOPLQRXFRPD5HYROXomR)UDQFHVD(VWDFRPR pVDELGRYHLRDVHURVtPERORDFDEDGRGXPDQRYDHUDQDKLVWyULDGD +XPDQLGDGH2,OXPLQLVPRIUDQFrVEDVHDGRQRFXOWRGDVFLrQFLDV GDUD]mRHGRSURJUHVVRLPSUHJQRXODUJDDXGLrQFLDGHLQWHOHFWXDLV SHORVTXDWURFDQWRVGRPXQGR02,6e6S 9HMDPYRFrVHVWLPDGRVDOXQRVRTXDQWRRPRPHQWRKLVWyULFRLQWHUIHUH VREUHRVKRPHQV7RGRVQyVTXHLUDPRVRXQmRVRPRVLQVHULGRVHPXP

3

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do ensino superior em Portugal tendo por base as ideias iluministas. Com 9HUQH\HQWUDHPFULVHRHQVLQRUHOLJLRVRHPHGLHYDOHQWmRSUHGRPLQDQWH nas escolas portuguesas, passando a prevalecer a ODLFL]DomRGRHQVLQRLVWRp

RVUHOLJLRVRVIRUDPVXEVWLWXtGRVSRUSURIHVVRUHV´OHLJRVµQDGLUHomRGRSUR cesso educacional, sendo contratados excelentes professores estrangeiros, LPEXtGRVGRVLGHDLVLOXPLQLVWDV

$SyVRSDtVSDVVDDVHUJRYHUQDGRSHORUHL'-RVp,FXMRPDQGDWR HVWHQGHVHDWpWHPFRPRPLQLVWURR0DUTXrVGH3RPEDOUHSUHVHQWDQWH GRGHVSRWLVPRHVFODUHFLGRHP3RUWXJDOUHVSRQViYHOSHODH[SXOVmRGRVMHVXt WDVHSHORÀPGDLQÁXrQFLDMHVXtWLFDQDHGXFDomR3RPEDOHPVHXJRYHUQR demonstrou capacidade e tino administrativo, reconstruindo a cidade de /LVERDGHVWUXtGDSRUWHUUHPRWRWUDQVIRUPDQGRDHPXPDFLGDGHDGLDQWDGD HDUURMDGDSDUDRVSDGU}HVGDpSRFD

A queda de Pombal favoreceu um grupo de homens pouco conhecidos na YLGDSROtWLFDHQWUHHOHVR'XTXHGH/DI}HVTXHIXQGDHPD$FDGHPLD 5HDO GDV &LrQFLDV VHJXQGD DFDGHPLDSRUWXJXHVDMi H[LVWLD D GH +LVWyULD IXQGDGDHPDPELFLRQDQGRVHHTXLSDUDUjVMiH[LVWHQWHVQD(XURSD eQHVWHFOLPDGHHIHUYHVFrQFLDFXOWXUDOTXHLPHUJHR$UFDGLVPRSRU WXJXrV(P$QW{QLR'LQLVGD&UX]H6LOYD0DQXHO1LFRODX(VWHYHV 1HJUmRH7HRW{QLR*RPHVGH&DUYDOKRIXQGDPD$UFiGLD/XVLWDQDVLPLODU j$UFiGLD5RPDQDMiH[LVWHQWHGHVGH´HPTXHLULDPFXOPLQDUVHJXQGR 6DUDLYDH/RSHVDVWHQGrQFLDVQHRFOiVVLFDVHSUHSDUDUVHDHYROXomR OLWHUiULDQRVHQWLGRGRUHDOLVPREXUJXrVVHWHFHQWLVWDµ&RQIRUPHHVWHVDXWRUHV eVLJQLÀFDWLYDDFLUFXQVWkQFLDGHWDOLQLFLDWLYDSDUWLUQmRGDFRUWH QHPGDQREUH]DGHVDQJXHPDVGHÀOKRVGDEXUJXHVLDHPIDVHGH VH FDQGLGDWDUHP DR DOWR IXQFLRQDOLVPR MXGLFLDO 1RV GRLV VpFXORV VHJXLQWHV SRGH GL]HUVH TXH DV VXFHVVLYDV JHUDo}HV OLWHUiULDV VH

constelaram sempre em torno de personalidades que se destacavam, jVDtGDGD8QLYHUVLGDGHSRUXPDUHFHSWLYLGDGHPDLVYLYDDRVQRYRV SUREOHPDVHFRUUHQWHVLGHROyJLFDV6$5$,9$ /23(6S 2VFRQÁLWRVLQWHUQRVFRQWXGRIRUDPLQ~PHURVGLVSHUVDQGRDVVLP VXDVSULQFLSDLVSHUVRQDJHQVVREDDomRGHGXDVIRUoDVDQWDJ{QLFDVXPD TXHOHYDYDDRDQLTXLODPHQWRGDVRULJHQVHUHODo}HVEXUJXHVDVjLPLWDomR da Antiguidade greco-romana); outra que procurava abonar os gostos e LGHLDVFRWLGLDQDVjVDVSLUDo}HVEXUJXHVDVLPLWDomRGDUHDOLGDGHSUy[LPD (PERUDWHQKDSDVVDGRSRUXPDVpULHGHSHUFDOoRVHGLYHUJrQFLDVLQWHU QDVGHVIDOTXHGHVyFLRVHQWUHRXWUDVDGYHUVLGDGHVD$UFiGLD/XVLWDQDYLJRUD DWpDHODSHUWHQFHUDP3HGUR$QW{QLR&RUUHLD*DUomR'RPLQJRV GRV5HLV4XLWD)UDQFLVFR-RVp)UHLUHH0DQXHOGH)LJXHLUHGRHQWUHRXWURV 3RVWHULRUPHQWHHPpFULDGD$1RYD$UFiGLDDFDGHPLDGHRUDWyULD e poesia, pelo mulato brasileiro Domingos Caldas Barbosa e alguns correli-JLRQiULRV$HODDVVRFLDUDPVHWDPEpP%RFDJH-RVp$JRVWLQKRGH0DFHGR 7RPiV$QW{QLRGRV6DQWRVH6LOYDHRXWURV(PDDFDGHPLDSXEOLFD SRHVLDVGHVHXVPHPEURVVRERWtWXORGH$OPDQDTXHGDV0XVDVPDVWHP YLGDHIrPHUDHPGHFRUUrQFLDGHGLVVHQV}HVHQWUH0DFHGRH%RFDJH$OpP GHVVDVRXWUDVIRUDPRUJDQL]DGDVPDVQmRYLQJDUDPQHPWLYHUDPUHOHYkQFLD

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3

ATIVIDADES

Procure pesquisar na internet ou em livros de Literatura Portuguesa VREUHDVSULQFLSDLVDUFiGLDVH[LVWHQWHVHP3RUWXJDOTXDLVVHXVSULQFLSDLV UHSUHVHQWDQWHVHVHXVSVHXG{QLPRV

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E como neste choupo levantado Se queixa a triste rola em doce acento! $VÁRUHVFRPVXDYtVVLPDIUDJUkQFLD $VDYHVFRPGRFtVVLPDKDUPRQLD )D]HPPDLVDOHJUHHVWDIUHVFDHVWkQFLD Mas nada os meus pesares alivia; 4XHGDPLQKDVDXGDGHDFUXHOkQVLD 0HQmRGHL[DXPLQVWDQWHGHDOHJULD

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Segundo, pelo tom geral do discurso que corresponde a essa simplici-GDGHGRWHPDGHVHQYROYLGR$H[SRVLomRRUGHQDGDFODUDHGLUHWDGDVLGHLDV FRPUDUDVHPRGHUDGDVLQYHUV}HVVLQWiWLFDVDH[HPSORGRVGRLV~OWLPRV YHUVRVGDSULPHLUDHVWURIHHGDTXDUWDFRQIHUHDRSRHPDXPDWUDQVSDUrQFLD tPSDUTXHSHUSDVVDRGLVFXUVRGHVSRMDGRHVHPPLVWpULRPDVIUXWRGHXPD FRQWHQVmRHODERUDGDQmRGHXPDWUDQTLOLGDGHUHDO 2EVHUYDVHLVWRQD~OWLPDHVWURIHHPTXHVHSHUFHEHDIDOWDGHVLQWRQLD HQWUHDWUDQTXLOLGDGHGDQDWXUH]DHRHVWDGRGHHVStULWRGRSRHWD´QDGDRV PHXVSHVDUHVDOLYLD>@DFUXHOkQVLDPHQmRGHL[DXPLQVWDQWHGHDOHJULDµ 1DVSDODYUDVGR´HXOtULFRµSHUFHEHVHDH[SUHVVmRGHXPDGRUFRQWLGD TXHSRUQmRVHH[WHUQDUpUHYHODGDQRHIHLWRGHVLPSOLFLGDGH$EXVFDSRU OXJDUHVWUDQTXLORVFDPSHVWUHVWUDGX]XPLGHDOGHYLGDQmRXPDUHDOLGDGH (P3RUWXJDODRVHIXQGDUDSULPHLUDDFDGHPLDD$UFiGLD/XVLWDQD HPRVSULPHLURVVyFLRVOLGHUDGRVSRU$QW{QLR'LQLVGD&UX]H6LOYD DXWRUGRSRHPDDFLPDHVWXGDGRDEUDoDUDPXPOHPDLQXWLOLDWUXQFDW²TXH VLJQLÀFDYD´FRUWDUDVLQXWLOLGDGHVµ$WUDYpVGHOHTXHULDPPDQLIHVWDUVHX UHS~GLRDRVH[DJHURVGDSRHVLDEDUURFDFRQVLGHUDQGRTXHHODGHVYLUWXDYD DSRHVLDFOiVVLFDFXMRVIXQGDPHQWRVHUDPRHTXLOtEULRHDUDFLRQDOLGDGH &RPEDVHQRPLWRGD$UFiGLDHGLÀFDUDPVXDVGRXWULQDVEXVFDQGRLPLWDU os modelos greco-latinos. A partir desse fundamento, desenvolvem outras FDUDFWHUtVWLFDVTXHPROGDPDSRHVLDiUFDGH

- Enaltecimento de uma vida simples, baseada em valores naturais e no cultivo das virtudes morais, desdenhando o luxo, as riquezas e DPELo}HViXUHDPHGLRFULWDV

- Desprezo pela vida urbana (fugere urbem), vista como foco de GHVDVVRVVHJRHGHSHUGLomR

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- Busca por ambientes campesinos (bucolismo), com rios, vales e montanhas,

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3

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ATIVIDADES

&RPSDUHRVSHUtRGRV%DUURFRHÉUFDGHHP3RUWXJDOPRVWUDQGRVHKi HQWUHDPERVDSUR[LPDo}HVRXGLVWDQFLDPHQWRV$VHXYHUTXDOGRVGRLV SHUtRGRVHVWXGDGRVpPDLVLQWHUHVVDQWH"3URGX]DXPWH[WRSRVLFLRQDQGR VHHMXVWLÀTXHVHXSRQWRGHYLVWD $JRUDTXHYRFrVMiFRQKHFHPPHOKRUDVSHFXOLDULGDGHVGDHVWpWLFDiUFDGH SURFXUHPLGHQWLÀFiODVQRVSRHPDVTXHVHVHJXHPGRViUFDGHV'RPLQJRV dos Reis Quita e Francisco Manuel do Nascimento. Mas lembrem-se de que QHPWRGRVDSUHVHQWDPDVPHVPDVFDUDFWHUtVWLFDV3DUDSURFHGHUjDWLYLGDGH SURSRVWDOHLDRVFRPFXLGDGRREVHUYDQGROKHVDIRUPDHRFRQWH~GR

I

Autor: Domingos dos Reis Quita Ao longo desta praia um dia triste 2WHXIRUPRVRJRVWRVHDÀJXUD

1mRVHLTXHDIHWRVLQWRRXTXHWHUQXUD 4XHDWRGDHVWDDOPDGiFRQWHQWDPHQWR 2VROKRVSHODViJXDVHVWHQGLD

3RUTXHDOtYLRDVHXPDOQHODVEXVFDYD E entre os tristes suspiros que exalava, (POiJULPDVEDQKDGRDVVLPGL]LD 2VVXVSLURVDVOiJULPDVTXHFKRUR Levai, ondas, levai ligeiro vento, Para onde me levaste quem adoro. 2KVHSRGHLVWHUGyGRPHXWRUPHQWR 4XHPHWRUQHLVREHPVyYRVLPSORUR Que puseste em longo apartamento.

II

Autor: Francisco Manuel do Nascimento Como quando o Sol dobra aquele outeiro, 3HODHQFRVWDGRFpXDRPDUGHVFHQGR 9mRDVVRPEUDVGDViUYRUHVFUHVFHQGR &RUUHHQOXWDGRROtTXLGRULEHLUR Pardo manto no seio sobranceiro A tormentosa noite anda tecendo, 4XHVHYmRSHORVYDOHVHVWHQGHQGR 3DUDVROWDUVHHPKyUULGRFKXYHLUR Tal esta alma se assombra e se entristece, 4XDQGRDQXYHPGHI~QHEUHVFXLGDGRV 1DWXDDXVrQFLDy0iUFLDDYXOWDHFUHVFH

&21&/86®2

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&20(17É5,262%5($6$7,9,'$'(6

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3

RESUMO

&RPRWRGDPDQLIHVWDomRDUWtVWLFDDOLWHUDWXUDDUFiGLFDUHÁHWLXRVYD ORUHVTXHVHGHOLQHDYDPQDVRFLHGDGHGDpSRFDPDUFDGDVREUHWXGRSHOR ,OXPLQLVPRIUDQFrVTXHFXOWXDYDDUD]mRHRFRQKHFLPHQWR(QWUHWDQWR em contraponto ao Barroco, primou por um estilo simples, por uma poesia EXFyOLFDSDVWRULOSHORÀQJLPHQWRSRpWLFRHSHORXVRGHSVHXG{QLPRV2V iUFDGHVLPLWDQGRDDQWLJDUHJLmRGD*UpFLDIXQGDUDP$UFiGLDVOLWHUiULDV DJUHPLDo}HVRQGHVHUHXQLDPSDUDGLVFXWLUOLWHUDWXUD2$UFDGLVPRIRLXPD HVWpWLFDPDLVYROWDGDSDUDDSRHVLDGRTXHSDUDDSURVDSRLVDVPDQLIHVWD o}HVHPSURVDGRSHUtRGRQmRVHJXLUDPRVFkQRQHViUFDGHV(OHWHYHXP HVStULWRSURIXQGDPHQWHUHIRUPLVWDSUHWHQGHQGRDWXDUVREUHRVFRVWXPHV RFRPSRUWDPHQWRVRFLDOHDWpPHVPRVREUHRHQVLQR (P3RUWXJDOR$UFDGLVPRWHPLQtFLRHPDQRGHIXQGDomRGD $UFiGLD/XVLWDQDHVHHVWHQGHDWpTXDQGR$OPHLGD*DUUHWSXEOLFRX RSRHPD´&DP}HVµTXHPDUFRXRVXUJLPHQWRGR5RPDQWLVPRSRUWXJXrV

Principais autores, e obras:

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$872$9$/,$d®2

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35Ð;,0$$8/$

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5()(5È1&,$6

AGUIAR E 6,/9$ 9tWRU 0DQXHO GH Teoria da Literatura. Coimbra: Livraria Almedina, 1982.

02,6Ë60DVVDXGA literatura portuguesa6mR3DXOR&XOWUL[ _______. $OLWHUDWXUDSRUWXJXHVDDWUDYpVGHWH[WRV6mR3DXOR&XOWUL[ ______3UHVHQoDGDOLWHUDWXUDSRUWXJXHVD,,6mR3DXOR'LIXVmR(X URSpLDGR/LYUR

6$5$,9$$QW{QLR-RVp/23(6ÐVFDU+LVWyULDGDOLWHUDWXUDSRUWX guesa. Porto: Ed. Porto, 1976.

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