Violência e tortura : memórias de um ditador no romance o salário dos poetas de Ricardo Guilherme Dicke

Abstract

The present research focuses on the approach of how the images of memory are inserted in the literary construction of The Salary of Poets novel by the Brazilian writer Ricardo Guilherme Dicke published in 2000. The novel is constructed from a conflictive situation where the protagonist, General Augusto Alfredo Barahona, after asking for exile to Brazil he goes to a fictitious city called portos de Cabra and then he suffers a bullet attack. The memory of this fact will play a structuring role in the narrative, since the powerful dictator of yesteryear is now sick, bedridden and depending on other people to stay alive. Thus, what remains to him are only the constant evocations of his past of glories, commands and rules, the memories of all violence, torture and homicide committed when he commanded with iron hands for 40 years the fictitious country called Chileraguay. The theme of memory and violence is discussed and studied in the various areas of knowledge. In literature it provides elements for the construction of narratives. The memory is valued for being part of and being present in the human imagination by perpetuating stories. The past is part of the man and associated with it is the fear of forgetting, be it individual, collective or even historical. This feeling makes them to search through the memories for our personal, social and historical records to allow personal knowledge and also of those who are somehow connected to us, considering that, throughout our trajectory, we are inserted in a network of social relations that connects us with the individual differences of each memory. Thereafter, our intent is to analyze the memory and violence through the narrative of the General Dictator, about his achievements, and then, to investigate the vestiges of individual memory as a perspective of collective memory. Among the scholars who will give theoretical support are: Jaime Ginzburg (2013), Jacques Le Goff (2003), Maurice Halbwachs (2003).