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O Portugal de Miguel Torga: (Um Itinerário em Casa do Orfeu Rebelde)
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Abstract(s)
Miguel Torga afirmou, quando já contava setenta e dois anos, que «a mais rica humanidade só tem uma coisa para dizer e (…) apenas se deve esforçar por dizê-la o melhor possível de todas as maneiras possíveis, embora a saber que não há palavras para nenhum absoluto.» (Torga, 1999: 1409).
Ao longo desta dissertação repetimos, «o melhor possível de todas as maneiras possíveis», que «Um Itinerário em Casa do Orfeu Rebelde» se tornou para nós um projecto de vida, onde cabe, obvia e necessariamente, a família, os amigos, os compatriotas e toda a humanidade. É, pois, esta dissertação o nosso «Cântico do Homem». Contudo, foi possível chegarmos ao fim com um claro sentimento de autonomia em relação ao mestre; é, mesmo, possível afirmar que em várias questões importantes estamos em nítido desacordo.
Respondendo à pergunta do autor do Diário: «Em que rosa-dos-ventos há um caminho/ Português?» (Torga, 1999: 1311), afirmamos – na obra de Miguel Torga. E se há obras de escritores, não menos importantes do que a do Orfeu Rebelde, que podem ser estudadas em ambiente sedentário, a obra do autor de Portugal só muito dificilmente pode ser assimilada fora de um ambiente nómada. Daí a imprescindibilidade do entrosamento do legado torguiano (o qual contem inúmeros desafios à criatividade dos leitores) com o Turismo Cultural. É esta realidade - a qual constatámos ao longo de muitos anos de experiência profissional na área do Turismo Cultural, em geral, e dos Itinerários Torguianos, em particular (não só em Portugal, mas em muitos outros países) – que nos levou a apresentar a essência do pensamento torguiano sobre Portugal dividindo a dissertação em capítulos que seguem, maioritariamente, um critério geográfico. Torga revelou o seu amor por Portugal (e pelo mundo), não só nas aldeias e nas montanhas, mas também nas cidades e no litoral banhado pelo Atlântico.
No nosso «Cântico do Homem» sugerimos, também, que o absoluto, que Torga diz não ser possível alcançar através da arte da palavra, talvez o seja (e várias vezes o autor de Odes está de acordo connosco) com a colaboração entre, essencialmente, literatura, música, pintura, escultura e arquitectura.
At seventy-two years of age, Miguel Torga stated that «the richest humanity has only one thing to say and (…) it should try hard to say it the best possible way by all possible means. knowing though that there are no words for no absolute (Torga, 1999:1409). Throughout this dissertation, we’ll repeat «the best possible of all possible ways», that «An itinerary at Orpheus’ the Rebel» has become for us a project for life, in which, obviously and necessarily, family, friends, compatriots and the whole humanity, will fit. Thus, this dissertation, is our «Hymn of Man». However, it was possible to come to an end with a clear feeling of autonomy in relation to the master; it is even possible to state that for several important matters, we are in clear disagreement. To answer the question by the “Diary’s” author: «in which compass rose is there a Portuguese/path? (Torga, 1999: 1311) we’ll affirm – in Miguel Torga’s creation (oeuvre). And if works by writers not less meaningful as the “Orpheus the Rebel” ’s do exist, that can be studied in a sedentary environment, the oeuvre by the “Portugal”’s author , can only very harshly be assimilated outside a nomad environment. Hence the absolute need of a strong connection of the Torguian legacy (which offers numerous challenges to the readers’ creativity) with Cultural Tourism. It is this reality- which we have encountered all over many years of professional experience in the field of Cultural Tourism in general, and in Torguian Itineraries in particular (not only in Portugal, but in many other countries as well) which led us to present the essence of the Torguian thought on Portugal by splitting this dissertation into chapters following chiefly a geographic criterion. Torga has revealed his love for Portugal (and the world), not only in villages and mountains, but also in cities and along the Atlantic coast. In our «Hymn of Man» we also suggest that the absolute which Torga claims is not possible to reach through the art of words , maybe it is after all, fundamentally (and several times indeed the Odes’ author agrees with us) with the cooperation of, literature, music, painting, sculpture and architecture.
At seventy-two years of age, Miguel Torga stated that «the richest humanity has only one thing to say and (…) it should try hard to say it the best possible way by all possible means. knowing though that there are no words for no absolute (Torga, 1999:1409). Throughout this dissertation, we’ll repeat «the best possible of all possible ways», that «An itinerary at Orpheus’ the Rebel» has become for us a project for life, in which, obviously and necessarily, family, friends, compatriots and the whole humanity, will fit. Thus, this dissertation, is our «Hymn of Man». However, it was possible to come to an end with a clear feeling of autonomy in relation to the master; it is even possible to state that for several important matters, we are in clear disagreement. To answer the question by the “Diary’s” author: «in which compass rose is there a Portuguese/path? (Torga, 1999: 1311) we’ll affirm – in Miguel Torga’s creation (oeuvre). And if works by writers not less meaningful as the “Orpheus the Rebel” ’s do exist, that can be studied in a sedentary environment, the oeuvre by the “Portugal”’s author , can only very harshly be assimilated outside a nomad environment. Hence the absolute need of a strong connection of the Torguian legacy (which offers numerous challenges to the readers’ creativity) with Cultural Tourism. It is this reality- which we have encountered all over many years of professional experience in the field of Cultural Tourism in general, and in Torguian Itineraries in particular (not only in Portugal, but in many other countries as well) which led us to present the essence of the Torguian thought on Portugal by splitting this dissertation into chapters following chiefly a geographic criterion. Torga has revealed his love for Portugal (and the world), not only in villages and mountains, but also in cities and along the Atlantic coast. In our «Hymn of Man» we also suggest that the absolute which Torga claims is not possible to reach through the art of words , maybe it is after all, fundamentally (and several times indeed the Odes’ author agrees with us) with the cooperation of, literature, music, painting, sculpture and architecture.
Description
Tese apresentada à Universidade Fernando Pessoa como parte dos requisitos para obtenção do grau de Doutor em Ciências da Informação, especialidade em Teoria e História da Comunicação