Resumo A partir do conceito de “crítica viva”, cunhado por Antonio Candido em 1957, estas reflexões partem da hipótese de que a história literária espanhola tem no realismo o lugar não marcado de sua ...narrativa em língua castelhana. Fazendo um passeio pelos “momentos decisivos” de sua tradição romanesca, este ensaio postula que se o realismo aparece recalcado nos narradores espanhóis a partir do século XIX (quando se forma um sistema literário eminentemente liberal-conservador), deve-se ao fato de que esse debate, não travado, permanece ainda em estado de “querela”.
Resumen A partir del concepto de “crítica viva”, acuñado por Antonio Candido en 1957, estas reflexiones parten de la hipótesis de que la historia literaria española tiene en el realismo el lugar no marcado de su narrativa en lengua castellana. Haciendo un recorrido por los “momentos decisivos” de su tradición novelística, este ensayo postula que si el realismo aparece recalcado en los narradores españoles a partir del siglo XIX (cuando se forma un sistema literario eminentemente liberal-conservador), se debe al hecho de que este debate, no trabado, permanece en estado de “querella”.
Abstract Drawing on the concept of “living criticism” coined by Antonio Candido (1957), these reflections start from the hypothesis that Spanish literary history has realism as the unmarked place of its narrative in the Castilian language. By reviewing the “decisive moments” of its novelistic tradition, this essay postulates that if realism appears repressed in Spanish narrators from the 19th century onwards (when an eminently liberal-conservative literary system is formed), it is due to the fact that this debate, left unaddressed, still remains in a state of “quarrel”.
Resumo Este artigo teve como objetivo analisar o papel de duas livrarias que funcionaram durante a ditadura militar brasileira (1964–1985) e se tornaram pontos de resistência contra o regime ...autoritário. A Jinkings foi criada por Raimundo Jinkings, em Belém (PA), em 1965, e fechou 45 anos mais tarde. O livreiro era um sindicalista ativo e conhecido no meio político pela sua posição de esquerda e transferiu esse capital simbólico para a livraria. Longe dali, a cerca de quatro mil quilômetros, Rui Gonçalves abriu a Palmarinca, que funcionou entre 1972 e 2020, em Porto Alegre (RS). O local marcou a história da cidade como um espaço onde se encontravam obras marxistas indisponíveis em outras livrarias da região. Era frequentado por estudantes, professores e políticos que compartilhavam das mesmas convicções políticas. O estudo mostrou como cada livraria se utilizou de um “repertório”, conceito entendido com base no pensamento de Itamar Even-Zohar, para manter o comércio de livros sem prejudicar a sua identificação política, além de atuar como fator ativo de oposição contra o regime militar.
Abstract The purpose of this article was to analyze the role of two bookstores that operated during the Brazilian military dictatorship (1964-1985) and became points of resistance against the authoritarian regime. Jinkins was created by Raimundo Jinkings, in Belém, Pará, in 1965, and closed 45 years later. The bookseller was already an active unionist and known in the political scene for his leftist stance, and he transferred this symbolic capital to the bookstore. In Porto Alegre, Rio Grande do Sul, Rui Gonçalves opened Palmarinca, which operated from 1972 to 2020. The bookstore marked the history of the city as a space where readers could find Marxist works unavailable in other stores in the region. It was frequented by students, professors, and politicians who shared the same political convictions. The study showed how each bookstore used a “repertoire” — a concept of Itamar Even-Zohar — to maintain the commerce of books without damaging its political identification, in addition to serving as an active factor of opposition against the military regime.
Resumen Este artículo pretende analizar el papel de dos librerías que funcionaron durante la dictadura militar brasileña (1964-1985) y se convirtieron en puntos de resistencia contra el régimen autoritario. Jinkins fue fundada por Raimundo Jinkings en Belém, Pará, en 1965, y cerró 45 años después. El librero era un sindicalista activo y conocido en los círculos políticos por su postura de izquierdas, y transfirió este capital simbólico a la librería. Lejos, a unos cuatro mil kilómetros de distancia, en Porto Alegre, Rio Grande do Sul, Rui Gonçalves abrió Palmarinca, que funcionó entre 1972 y 2020. La librería marcó la historia de la ciudad como espacio donde se podían encontrar obras marxistas no disponibles en otras librerías de la región, además de ser frecuentado por estudiantes, profesores y políticos que compartían las mismas convicciones políticas. El estudio mostró cómo cada librería hacía uso de un “repertorio”, concepto de Itamar Even-Zohar, para mantener el comercio de libros sin dañar su identificación política, además de actuar como factor activo de oposición contra el régimen militar.
This article aims to investigate whether Clarice’s radical use of language was somehow achieved in translations and especially in the retranslations of her work into English, or whether this ...radicality itself made the Claricean legacy an obstacle to its absorption in the English-speaking literary system. I will deal with Perto do coração selvagem in Pontiero’s (1990) and Entrekin’s (2012) translations and the short story "A menor mulher do mundo" in Pontiero’s (1960) and Dodson’s (2015) translations.
From the point of view of systems and field theory, the value attached to a work of art, for example a literary text, is not only the result of the intrinsic characteristics of the text but also ...includes connections with institutions such as publishers, and factors like literary prizes, the value judgments of literary historians, of reviewers, and of literary critics. The current study examines the mentions of canonized Afrikaans writers in nine academic journals over the past two decades, taking into account more than 5 000 publications and more than 70 000 pages. It is shown which authors are mentioned most, but also which authors are mentioned most often together, and it is shown that authors are mostly mentioned together in the terms of genre. Although the current study represents a large study of the visibility of authors in the study of Afrikaans literature, suggestions for further research are also made.
DEVENIR ROBERTO BOLAÑO Bolte, Rike
Revista chilena de literatura,
11/2023
108
Journal Article
Recenzirano
En este ensayo se estudia un fenómeno marginal y a la vez prominente en la exégesis de la obra de Roberto Bolaño: la performance que hizo la veterana del rock, Patti Smith, como lectora del autor ...chileno, en una entrevista realizada en 2010 en Madrid. Smith se metaposiciona respecto al sistema literario pero igualmente hace uso de un concepto heredado del romanticismo, la congenialidad poética, y así se sitúa en una dimensión interautorial con Bolaño. A continuación, Smith realiza varios ejercicios: la (re) escenificación de su propia autoría poética, y la proyección de su presencia autorial como cantante sobre la ausencia de Bolaño. Estas intervenciones de Smith son analizadas a la luz de un estudio de Sonja Longolius dedicado al performing authorship, que a su vez retoma la teoría de Deleuze y Guattari sobre el devenir autor/a y la transmisión de los grandes textos (de culto).
In this essay, a marginal and –at the same time– prominent phenomenon in the exegesis of Roberto Bolaño’s work is studied: the performance offered by the rock-veteran Patti Smith as reader of the Chilean author, in an interview that took place in Madrid, in 2010. Smith metapositions herself with respect to the “literary system”, but she also uses a concept inherited from romanticism, poetic congeniality, locating herself in an inter-authorial dimension with Bolaño. Then, she performs several exercises: the (re)staging of her own poetic authorship, and the projection of her authorial presence as a singer on/from Bolaño’s absence. These interventions by Smith are analyzed in relation to a study by Sonja Longolius dedicated to the “performing authorship”, which at the same time takes up the Deleuze and Guattari’s theory of becoming author, and the transmission of the great texts (of cult).
In this work we analyze the configuration and performance of the independent publishing house Livros do Mal (from 2001 to 2004), within the scope of the Contemporary Brazilian Literary System ...(Even-Zohar, 2003a). To do this, we focus on the context of the publisher's creation, influenced by the emerging experience of online publishing shared by its editors/writers and by the success of the CardosOnline e-zine. We conduct a brief review of the nine titles published by the publisher, emphasizing the recurring repertoires and trying to draw an editorial profile. Finally, we focus on the end of the editorial project, which resulted from the impasse between the functions of writer and editor, summarizing part of the legacy of the publishing house.
Neste trabalho buscamos analisar a configuração e a atuação da editora independente Livros do Mal (de 2001 a 2004), no âmbito do Sistema Literário Brasileiro (Even-Zohar, 2003a) Contemporâneo. Para isso, retomamos o contexto de criação da editora influenciado pela experiência emergente da publicação online compartilhada por seus editores/escritores e pelo sucesso do e-zine CardosOnline. E realizamos uma breve revisão dos nove títulos publicados pela editora, enfatizando repertórios recorrentes e tentando esboçar um perfil editorial. Em seguida, atentamos para o encerramento do projeto editorial, decorrente do impasse entre as funções de escritor e de editor, sintetizando alguns dos legados da editora.
En este trabajo analizamos la configuración y desempeño de la editorial independiente Livros do Mal (de 2001 a 2004), en el ámbito del Sistema Literario Brasileño Contemporáneo (Even-Zohar, 2003a). Para ello, nos enfocamos en el contexto de creación de la editorial, influenciado por la experiencia emergente de la publicación online compartida por sus editores / escritores y por el éxito de la e-zine CardosOnline. Al mismo tiempo realizamos una breve revisión de los nueve títulos publicados por la editorial, haciendo hincapié en los repertorios recurrentes y tratando de trazar un perfil editorial. Por último, nos concentramos en el cierre del proyecto editorial, surgido del impasse entre las funciones de escritor y editor, resumiendo parte del legado de la editorial.
Since the mid-1990s, in the context of growing globalization, the attempts to categorize French-speaking literatures have multiplied. At the same time, many authors emphasize their desire for a ...renewed perception of their writings. Redefining their poetics, some of them – including a certain number of young African writers – now claim to be perceived not for their otherness but for the literary quality of their works. This movement seems to culminate with the publication in 2007 of the 'Manifeste pour une littérature-monde' which calls for a ‘Copernican revolution’, namely a change of status of the literatures of ‘Outre France’, their recognition in central positions, the stopping of distinctions or even categorical discriminations and the end of the concept of ‘Francophonie’. This powerful and well-publicized act of speaking has the main advantage of naming an uneasiness, but it paradoxically contributes to a reinforcement of the existing structures of the system and of the pernicious effects of these, as revealed by the example of the consecration of Alain Mabanckou by the instances of the ‘center’, elected to the chair of literary creation at the Collège de France (2015–16). Indeed, generating the hyper-visibility of a small number of writers among others through the phenomena of ‘spectacularizing’ the author, they refer more than ever whole sections of French-speaking literature to the field of the ‘unperceived’ (‘'imperçu'’). Depuis le milieu des années 1990, dans le contexte d’une mondialisation grandissante, les tentatives de catégorisation des littératures de langue française se sont multipliées. Parallèlement, de nombreux auteurs font valoir leur aspiration à une perception renouvelée de leurs écrits. Redéfinissant leurs poétiques, certains d’entre eux – notamment un certain nombre de jeunes auteurs africains – réclament désormais d’être perçus non pour leur altérité mais pour la qualité littéraire de leurs oeuvres. Ce mouvement semble culminer avec la publication en 2007 du 'Manifeste pour une littérature-monde', qui appelle de ses voeux une ‘révolution copernicienne’, à savoir un changement de statut des littératures d’‘Outre France’, leur reconnaissance dans des positions centrales, l’arrêt des distinctions voire discriminations catégorielles et la fin de la francophonie. Cette prise de parole puissante et médiatiquement très relayée a pour principal avantage de nommer un malaise, mais elle contribue paradoxalement à un renforcement des structures systémiques existantes et aux effets pernicieux de celles-ci, ainsi que le révèle l’exemple de la consécration par les instances du ‘centre’ d’Alain Mabanckou, élu à la chaire de création littéraire du Collège de France (2015–16). En effet, générant l’hyper-visibilité d’un petit nombre d’écrivains entre autres au travers des phénomènes de ‘spectacularisation’ de l’auteur, elles renvoient plus que jamais des pans entiers des littératures francophones au domaine de l”imperçu’.
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