Memórias crianceiras e seus despropósitos : uma investigação histórico-poética do brincar–bricoleur de meninos e meninas do/no m/Mato

Abstract

This is a composition of memories chants, a scripture of singular perceptions, a junction of many crossings, an experimentation essay that longs for a Thesis, which presents itself as a possibility to feel-think the fragments in the narratives of children memories of adults who have lived childhood, shifting our gaze to the memories of bricoleur playing amidst the Amazon Forest in the process of colonization of the city of Sinop-MT, historically between 1973 and 1983. In this process, I understand the research as an event and experience that is phenomenologically bound to everything, to all. In this sense, in this scripture, science and art, human and nature are inseparable, inviting us to enter the past, reinterpreted in the present that beckons for the future. Memories that shine in time, reinterpreted by adults in the now and that, therefore, each one of them constructs their landscapes of memories, in a unique way, that carnally they are touched, affected by the time and spaces in the same way that in narrating their experiences, touch, affect , sensitize other bodies as a power inventive, bricoleur of creation that provoke a multiplicity of encounters, knowledge, deconstruction of certainties, transformations, becoming, anxieties, gaps so that the reader can imagine, feel, ‘fantasticar’, elaborate other own compositions. In view of this, by experimenting with the multiple ways of making history, would it be possible to narrate childhood experiences, especially at play, from the adult memories in a poetichistorical investigation, where different languages of knowledge intersect in a phenomenological perspective? How was it like to bricoleur play of the of guys who lived their childhoods in Sinop-MT, amid the Amazon rainforest between the years 1973 and 1983? Each chant of this thesiscomposition is produced by singular encounters with Merleau Ponty (1991, 1994, 1996, 2014), Michel de Certeau (1982, 1998), Agamben (2005), Deleuze and Guattari (1992, 1995, 1997 ), Benjamin (1987, 1994), combined in the different languages of art: photography, plastic arts, music, in the poetry of Manoel de Barros (2010) and other poets in crossings that provoked me all along the way deconstructing certainties, to try other paths, transforming, deforming, remaking, constructing other glances, insistently provoking affections for above all, to live the research.