The Doris' men: Bernardo Santareno and the act of making the sea a text to produce, to make sense

Abstract

This work deals with the chronicles of Bernardo Santareno present in the work In the seas at the end of the world (1959) and his dialogism with the play O lugre (1959), by the same author. In the first, the author, dealing with mockery, focuses on personality (As peias do balance); storytelling, tradition and memory (Formerly). A trained psychiatrist, Santareno did not go unnoticed through humiliation (The fool), despair (The cyclone), discovery (Funeral maritime), hope (Frederikshaabs), superstition (The ghosts of Greenland; The werewolf) and anguish (The women of the toughest navigators in the world) evidenced in the social and personal condition of the characters, cod fishers in their majority, and those who are remembered by them, wives, daughters and friends. In each chronicle, the Santarem identification of dignity that elevates them from an apparent anti-heroism to the status of heroes. Heroes of resilience, overcoming and learning to be alone with themselves. Some, apprentices, unprepared to deal with love and death. Others, mature, facing, dozens of thimes, loneliness, perishing and fineness dozens of times in their cod-fishing ships. In the end, what they learned by being told to a doctor-writer who traveled with them. Once they are narrative nuclei that they are, these chronicles prepare the way for Bernardo Santareno to write the play O lugre (1959), a santarena reading of cod fishing not consistent with the course set by the Salazarist propaganda of that time. Treated, in their ambivalence, following this essay, in both, the exercise of confinement and social distance, with all the demands and consequences that both impose on the human condition.