A imagem do sertão em Jose de Alencar

Technocrats and the Politics of Drought and Development in Twentieth-Century Brazil

“…In this way Penna hoped to buffer his national sanitation program against regional po liti cal differences, promoting social betterment throughout rural Brazil. 76 This proposal to change how rural health funding would be distributed among states was not adopted, however.…”

“…Some site man ag ers who found ways to enlist desperate mi grants until sufficient rains returned may have been motivated by fear of mob vio lence as much as by sympathy-a few tele grams to the Rio headquarters mention this serious concern. 76 In a close analy sis of the Tucunduba Dam site rec ords, historian Aline Silva Lima portrays Santos as a highly dedicated, but-in the view of his superiors-somewhat naive young man who envisioned IOCS transforming sertanejo culture in numerous re spects. Santos saw the sertã o's notorious nepotism as an obstacle to regional modernization, and he vigorously opposed clientelist networks.…”

“…The idealized sertão became a meta phor for the more traditional society these mi grants had abandoned. 76 One midcentury folk verse describes the sertão as an enchanted place where one must pass some time in order to have truly lived. Poet João Martins de Atahyde had moved (prob ably during a drought) to Recife, the capital of Pernambuco.…”

“…Several years after Brazil emerged from military rule, Furtado published a memoir of his experience with the "northeast operation" to encourage a new generation of Brazilians who wished to redeem their country, and to give them the benefit of his own politi cal education during that time. 76…”

Paisagem em palavras

“…Ainda de acordo com o crítico, para Távora, Alencar seria um "escritor de gabinete", que, ao escrever sobre aquilo que não conhecia, furtava-se da tarefa de observar a realidade que procurava retratar. Tais Em 1875, no contexto das polêmicas em torno do fracasso de público de seu drama O jesuíta, Alencar encontra em Joaquim Nabuco um novo crítico que se propõe a examinar severamente o conjunto de sua obra Martins (1997). explica que, do mesmo modo que Távora, esse intelectual entendia que o papel da literatura seria o de representar fielmente a realidade, o que o levava a rejeitar qualquer produção que se afastasse da experiência observável.…”