O(s) SENHOR(es) CALVINO(s) MARTINS, Ana Isabel Correia
Revista de letras (Marília),
2018, Volume:
58, Issue:
1
Journal Article
Peer reviewed
Na série O Bairro, Gonçalo M. Tavares convoca para a vizinhança diversas figuras históricas – filósofos, poetas, romancistas, dramaturgos - que catapultaram da realidade para uma sã convivência ...ficcional, num urbanismo literário. As afinidades onomásticas, temáticas, estético-literárias com as personalidades reais, tornadas agora ficcionais, não invalidam o desenvolvimento narrativo nem condicionam a autonomia de cada um destes vizinhos. O Senhor Calvino surge na reminiscência do escritor italiano Italo Calvino, autor das Cidades Invisíveis, através de um processo metaléptico de transposição ontológica. A personagem vai ganhando o seu espaço, construindo a sua existência ficcional, emancipando-se da sua genealogia onomástica e manifestando os seus próprios traços de personalidade. O presente trabalho propõese então analisar esta dinâmica transliteraria, no cotejo das Cidades e do Bairro, dirimindo a articulação entre dois Calvinos, nos seus desejos, angústias e expectativas.
Gonçalo M. Tavares, in his colectanea, summon to The neighborhood several historical figures – philosophers, poets, novelists, play writers – that catapulted from reality into fictional coexistence. The affinities – onomastic, thematic, esthetical and literary – with real personalities do not prevent the narrative development neither the autonomy of each of the neighbors. Sir Calvino appears in the reminiscence of Italo Calvino, the author of Invisible Cities, though a metaleptical process of ontological transposition. The character conquers is own space, constructs his own fictional existence, emancipating his genealogy and finally exhibiting his own personality and dynamic. The present work aims to study this transliterary movement, comparing the Invisible Cities and The Neighborhood, deepening the dialogue between their protagonists: desires, anguishes and expectations.
Establishing an intertextual relation between Restrepo’s novel and García Márquez’s story, this paper examines how Restrepo’s paired commitment to socio-political relevance and to broad legibility ...shapes her novel’s engagement with the legacy of magic realism and with discursive, especially novelistic, conventions more generally. A comparative analysis of thematic and formal features highlights how this commitment molds Dulce compañía’s recapitulation of the theme of the angel of flesh and blood within an updated, urban context, and in a commercially successful novel with an international readership. Focusing on narrative and figurative, especially allegorical, discourses, I consider that while the angel allegory in “Un señor muy viejo” is used to excavate literary-rhetorical issues of representation (as argued by Carlos Rincón), in Dulce compañía it is oriented towards the preservative revelation of popular forms of belief that emerge from the lived experience of violence and abandonment.
Filipino writers of historical fiction have employed magical realism to incorporate people's experiences into discussions of the nation's violent history and present a possibility of revolution and ...hope, particularly with the fall of Ferdinand Marcos's regime. However, Merlinda Bobis uses magical realism to represent the struggles of villagers who were caught between government forces and communist insurgents during the Total War in the late 1980s, thus focusing on preserving personal histories and memories. Bobis's 'Fish-Hair Woman' (2012) puts into writing efforts at reconciling with a violent past as she works to actively challenge grander narratives of violence and terror.
Because Elisa Esposito moves from a position of silent victimization to one of agency, her development can be illuminated through an analogy to Bertha Pappenheim, the first patient of psychoanalysis. ......the connection of Roh's coinage of the term with current literary criticism has been questioned by recent scholars. More broadly, the viewer who is old enough to remember 1962 will recognize the clothing, the hairstyles, the makeup, the period-appropriate props, the advertising billboards on the highway, the cars-most strikingly, the brand-new teal-colored Cadillac Strickland buys-and even the references to television shows such as Bonanza. A character in The Shape of Water mentions missiles being sent into Cuba, and during Giles's abduction of the creature from the laboratory, we hear the voice-over of an actual broadcast from President John F. Kennedy, with a warning about the Russian threat and a plea to Khrushchev. ...the future," that watchword of the decade, aimed as it was at the moon, is invoked again and again:
The emergence of ‘post-truth’ has dramatically affected the contemporary socio-political discourses. The blurring of the distinctions between fact and fiction has become ostensible owing to the ...proliferation of social media and the pivotal role played by cyberspaces in creating volatile identities. The erosion of objectivity and the creation of a Baudrillardian ‘hyperreality’ have destabilized the position of truth irrevocably. The meteoric rise of far-right populist governments across the world with their jingoistic, xenophobic and parochial brand of politics, the erasure of subjective autonomy and invasion of privacy have pushed the world to the brink of moral anarchy, devoid of ethical values and veracity. Salman Rushdie’s latest work Quichotte (2019) is a postmodern rendering of Miguel De Cervantes’ picaresque novel Don Quixote. This paper attempts to critically analyse the novel vis-à-vis the ‘post-truth condition’. The evolution of the concept of truth is traced through the ideas of various philosophers such as Michel Foucault, Alain Badiou, Jean Baudrillard and other philosophers in order to ascertain the origin and theoretical implications of ‘post-truth’. Rushdie has foregrounded the contemporary socio-political issues like the impending catastrophic consequences of climate change, the prevalent opioid crisis and the precarious position of immigrants who are often victims of racist violence. He has characteristically employed magic realism and narrative pyrotechnics in the novel. The various intertextual references, allusions to popular culture, and autobiographical traces in Quichotteare also to be explored.
Karasinski discussesthematic parallels in O. V. Vijayan's The Legends of Khasak and Olga Tokarczuk's Primeval and Other Times and interpret forms of spiritual oppression presented in these novels. He ...intends to illustrate how the authors make use of the folklore of their respective cultures--Indian and Polish--to construct magical realities. Both authors narrate the histories of locales that have been ravaged by conflicts, spiritually contaminated, and sealed off from the real world. He examines the narration, symbols, making and unmaking of the places the authors, on more than one occasion, call "god's playground." In fact, the writers evoke the textures of Khasak and Primeval, with all their secrets and ambivalences.
With Shift Mia Gallagher put together a collection of short stories which have been in the making for about thirty years. As many stories had been published separately in journals, they were given an ...overhaul to fit the new context: narrative perspectives were rewritten, layers added, so that the fifteen stories formed a new composition, variations on a theme. The collection forms a fugue building towards increasing weirdness, using faery tale techniques and magic realism to illustrate different shades of the uncanny. Emotions, originating in the protagonists’ unconscious, in a family’s past, whirl around yet are tightly structured. Gallagher’s prose is physical but focusing on the in-between: people’s perceptions shift, gender is fluid, objects metamorphose constantly. Her aesthetics are inspired by Baroque theatre, David Lynch and Francis Bacon.
Resumen: En este trabajo exploro la naturaleza genérica de dos cuentos del escritor mexicano Octavio Mancera: “Caridad” y “Un crimen”, ambos publicados en Cuentos diáfanos (1897), su única obra de ...narrativa breve. Debido al carácter multifacético del libro, decidí estudiar los cuentos de corte fantástico, como los denomina el propio escritor. La propuesta del artículo es que son relatos que se llaman fantásticos, pero en realidad su discursividad narrativa apunta al género maravilloso, en su peculiar formulación espiritista. Por ello, formulo una nueva terminología teórica para estudiarlos: el realismo espiritista. En busca de una definición, en este artículo analizo esos textos y ofrezco una lectura interpretativa de la categoría genérica a la que responden.
The book overturns conventional accounts of the modernist period as primarily drawn toward the new, the transcendent, and the extraordinary. The book shows how modernist writers were preoccupied, ...instead, with the unselfconscious actions of everyday life, even in times of political crisis and war. Experiences like walking to work, eating a sandwich, or mending a dress were often resistant to shock, and these daily activities presented a counter-force to the aesthetic of heightened affect with which the period is often associated. The book examines works by Joyce, Woolf, Stein, Stevens, Proust, Beckett, and Auden alongside the ideas of philosophers such as Henri Bergson and William James. The book shows how these writers responded to the difficulty of representing the ordinary without defamilarizing it or making it transcendent. The book also connects this problem to earlier modes of literary realism on both sides of the Atlantic, and situates modernism’s preoccupation with ordinary experience within the major historical events of the period, especially the two world wars. Ultimately, the book reveals the non-transformative power of the ordinary as one of modernism’s most compelling attributes: day-to-day experience comes to stand not as an impediment to the creative life, but as a satisfaction with the material rather than the spiritual, the local rather than the exotic, the constant rather than the unknown, and the democratic rather than the privileged.
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