Voz e memória cultural em Litoral: Reseña de una vida inútil (1926- 1959), de Luis Palés Matos||Voice and cultural memory in Litoral: “Reseña de una vida inútil” (1926-1959), by Luis Palés Matos||Voice and cultural memory in Litoral: “Reseña de una vida inútil” (1926-1959), by Luis Palés Matos

Descrição

O artigo propõe uma análise da questão da sonoridade em uma seleção dos escritos do poeta porto-riquenho Luis Palés Matos (1898-1959) através da relação com a me­mória coletiva das Antilhas. Examino a impor­tância da musicalidade em dois níveis diferen­tes: no nível da forma estética – na sonoridade, no ritmo – e no nível das representações sociais e políticas – na cultura popular, de herança africana e mestiça, até então considerada mar­ginal. Esses dois níveis do fenômeno musical apontam para a vontade do escritor de trans­formar a relação entre o discurso estético e a coletividade por meio da criação, no marco do Porto Rico moderno, de uma nova compreen­são da cultura, da língua e dos rituais religiosos das Antilhas. ||This article analy­zes the representation of sound and music in a selection of writings by Porto Rican poet Luis Palés Matos (1898-1959) through their relation with cultural memory in the Antilles. It exa­mines the significance of musicality in two different levels: at the level of aesthetic form – of sound and rhythm – and at the level of so­cial and political representations – of popular culture, African and mestizo heritage, which had been considered marginal until then. These two levels of the musical phenomenon point to Palés Matos’ intent to transform the re­lation between aesthetic discourse and social collectivity through the creation of a new un­derstanding of Antillean culture, language and religious ritual in the context of modern Puer­to Rico.||This article analy­zes the representation of sound and music in a selection of writings by Porto Rican poet Luis Palés Matos (1898-1959) through their relation with cultural memory in the Antilles. It exa­mines the significance of musicality in two different levels: at the level of aesthetic form – of sound and rhythm – and at the level of so­cial and political representations – of popular culture, African and mestizo heritage, which had been considered marginal until then. These two levels of the musical phenomenon point to Palés Matos’ intent to transform the re­lation between aesthetic discourse and social collectivity through the creation of a new un­derstanding of Antillean culture, language and religious ritual in the context of modern Puer­to Rico.