36 research outputs found
Clarice Lispector, a self-plagiarist: republications in Jornal do Brasil (1967 - 1973)
No full textDuring the seven years when Clarice Lispector published her chronicles in the newspaper Jornal do Brasil (1967 1973), she republished several novels from books which had been put into print prior to her work in the newspaper, as well as first versions of texts that would be later re-edited in other communication vehicles. This aim of this paper is to outline those publications and analyze the effects from this constant self-plagiarism on Lispectors work in the newspapers and books. We establish that these repetitions are due, on one hand, to the authors negligence regarding her activities in the newspaper, once we assume that there is no effort from Clarice to produce original chronicles. On the other hand, she seemed to be more interested on publishing some texts than others, what would point some kind of explicit literary choice and a need for reaffirming and re-reading her own texts by republishing them. The analysis of the changes performed between the publications reveals what reformulations were made and, in the case of the texts which had suffered almost no changes, how does this fact establish an interest on reaffirming their importance, by exposing them to different audiences. We believe that the \"self-plagiarism\", by revealing the author\'s quest for the comprehension of her own work, points out to the major problematics of Clarician\'s creative processes.During the seven years when Clarice Lispector published her chronicles in the newspaper Jornal do Brasil (1967 1973), she republished several novels from books which had been put into print prior to her work in the newspaper, as well as first versions of texts that would be later re-edited in other communication vehicles. This aim of this paper is to outline those publications and analyze the effects from this constant self-plagiarism on Lispectors work in the newspapers and books. We establish that these repetitions are due, on one hand, to the authors negligence regarding her activities in the newspaper, once we assume that there is no effort from Clarice to produce original chronicles. On the other hand, she seemed to be more interested on publishing some texts than others, what would point some kind of explicit literary choice and a need for reaffirming and re-reading her own texts by republishing them. The analysis of the changes performed between the publications reveals what reformulations were made and, in the case of the texts which had suffered almost no changes, how does this fact establish an interest on reaffirming their importance, by exposing them to different audiences. We believe that the \"self-plagiarism\", by revealing the author\'s quest for the comprehension of her own work, points out to the major problematics of Clarician\'s creative processes
Clarice Lispector, a self-plagiarist: republications in Jornal do Brasil (1967 - 1973)
No full textDuring the seven years when Clarice Lispector published her chronicles in the newspaper Jornal do Brasil (1967 1973), she republished several novels from books which had been put into print prior to her work in the newspaper, as well as first versions of texts that would be later re-edited in other communication vehicles. This aim of this paper is to outline those publications and analyze the effects from this constant self-plagiarism on Lispectors work in the newspapers and books. We establish that these repetitions are due, on one hand, to the authors negligence regarding her activities in the newspaper, once we assume that there is no effort from Clarice to produce original chronicles. On the other hand, she seemed to be more interested on publishing some texts than others, what would point some kind of explicit literary choice and a need for reaffirming and re-reading her own texts by republishing them. The analysis of the changes performed between the publications reveals what reformulations were made and, in the case of the texts which had suffered almost no changes, how does this fact establish an interest on reaffirming their importance, by exposing them to different audiences. We believe that the \"self-plagiarism\", by revealing the author\'s quest for the comprehension of her own work, points out to the major problematics of Clarician\'s creative processes.During the seven years when Clarice Lispector published her chronicles in the newspaper Jornal do Brasil (1967 1973), she republished several novels from books which had been put into print prior to her work in the newspaper, as well as first versions of texts that would be later re-edited in other communication vehicles. This aim of this paper is to outline those publications and analyze the effects from this constant self-plagiarism on Lispectors work in the newspapers and books. We establish that these repetitions are due, on one hand, to the authors negligence regarding her activities in the newspaper, once we assume that there is no effort from Clarice to produce original chronicles. On the other hand, she seemed to be more interested on publishing some texts than others, what would point some kind of explicit literary choice and a need for reaffirming and re-reading her own texts by republishing them. The analysis of the changes performed between the publications reveals what reformulations were made and, in the case of the texts which had suffered almost no changes, how does this fact establish an interest on reaffirming their importance, by exposing them to different audiences. We believe that the \"self-plagiarism\", by revealing the author\'s quest for the comprehension of her own work, points out to the major problematics of Clarician\'s creative processes
A ética na literatura: leitura de "Mineirinho", de Clarice Lispector Ethics in literature: reading Clarice Lispector's "Mineirinho"
No full textO presente estudo aborda o texto "Mineirinho", de Clarice Lispector, buscando a partir dele depreender uma visão da constituição do sujeito à luz de alguns aspectos da psicanálise. A leitura analítico-interpretativa identifica os procedimentos estilísticos e temáticos que alicerçam o texto, desvendando suas implicações éticas e estéticas. Ao comentar a morte de um bandido pela polícia carioca nos anos 1960, a autora põe em xeque afirmações ideológicas tidas como inequívocas e subverte categorias políticas e sociais que se querem absolutas. No horizonte da interpretação proposta, o texto problematiza, ainda, as noções de normalidade e loucura, bem como as relações entre história social e trajetória individual.Through a reading of Clarice Lispector's "Mineirinho", the author tries to depict the constitution of the individual self, as explained by the psychoanalytical theory. The analysis and interpretation of Lispector's text identifies stylistic and thematic manoeuvers which intend to highlight its ethical and aesthetical implications. Writing a comment on the murder, by policemen, of a notorious criminal in nineteen-sixties Rio de Janeiro, Lispector casts a shadow of doubt over some ideological presumptions habitually taken for granted, and subverts political and social categories which intend to absolute validity. Within the author's interpretative frames, this text also queries the concepts of normality and madness, as well as the relationship between social history and biography
Figures grotesque in short narrations of Clarice Lispector: the phenomenum as trigger of Unheimlich, of the reversal and (im)balance
No full textHá muitas menções à estética do grotesco na produção literária de Clarice Lispector, todavia sem que esse tema seja apresentado em primeiro plano pela crítica que se ocupa dos estudos da obra da autora. Privilegiou-se, desde o lançamento do primeiro romance da escritora, em 1943, o enfoque dos instantes epifânicos positivos, dos temas metafísicos, das leituras de viés existencialista e da investigação do fracasso da linguagem, permanecendo em segundo plano um lado obscuro também presente em sua produção ficcional. O presente trabalho se dedica a investigar de que maneira a tradição do grotesco, sobretudo aquela estudada por Kayser, Bakhtin e Victor Hugo, está presente na obra literária de Clarice Lispector, especialmente nas narrativas curtas A menor mulher do mundo, Macacos, Perdoando Deus, A bela e a fera ou A ferida grande demais, Um dia a menos e A solução. A análise desses textos nos revela que esse fenômeno parece servir a propósitos bem específicos na autora: o de constituir um disparador de determinadas emoções, como o Unheimlich freudiano, nos personagens que se defrontam com a figuração do grotesco, acionando, por oposição, a percepção de um Belo faltante, ausente, o que cria o espaço da desarmonia e do desequilíbrio. Por outro lado, as várias formas grotescas apresentadas por Clarice parecem não se fixar rigidamente, elas são difusas e voláteis, de modo que estão sempre em metamorfose.The grotesque aesthetics is frequently mentioned in the literary work of Clarice Lispector, though this theme hasnt been primarily presented by the critics that deal with the authors work. Since the first novel of the author, launched in 1943, it has been common the focus on the most rare and unique moments of epiphany, metaphysical themes, existencialist biases, and the investigation of literature failure, leaving in the background the obscure side also present in the production of her fiction work. The following work is a proposal to investigate in which way the grotesque tradition, mainly that studied by Kayser, Bakhtin and Victor Hugo, is presented in the literary work of Clarice Lispector, specifically in the short narrations A menor mulher do mundo, Macacos, Perdoando Deus, A bela e a fera ou A ferida grande demais, Um dia a menos and A solução. The analysis of these texts reveal to us that this phenomenum might serve to the very specific purposes of the author such as to bring forward certain emotions, like the Freudian Unheimlich of the characters in face of the figuratively grotesque, bringing into action, as the opposite, an absent Beauty lack perception, that creates the space of disharmony and imbalance. However, on the other side, the many grotesque forms conveyed by Clarice seem not to be strictly fixed, they are diffuse and volatile and so in a state of permanent metamorphosis
The boundaries of love: the (un)veiling of the sexuality in Amar, verbo intransitivo, by Mário de Andrade
No full textMário de Andrade escolheu, para seu romance de estreia, Amar, verbo intransitivo, um tema polêmico e tabu em nossa sociedade, até os dias atuais: a iniciação sexual de jovens através do amor venal. Examinamos, desse modo, os mecanismos estéticos utilizados pelo autor para simbolizar literariamente tema considerado tão escandaloso. Cinco elementos se mostram significativos para o (des)velamento da sexualidade latente na obra: a classificação em idílio, a partir do postulado de um modelo - idílio neoclássico Paulo e Virgínia, de Bernardin de Saint-Pierre (1788) -; a estruturação em texto experimentalista modernista; o emprego do narrador onisciente intruso; a constituição das personagens como sujeitos cindidos e, por fim, os tropos da tradição retórica, aqui lidos em diálogo com os procedimentos oníricos (deslocamento, figuração por símbolos e condensação), como propostos pelo saber psicanalítico. A partir do conceito de \"entre-lugar\" (SANTIAGO, 1978), que postula a diferença como elemento fundamental para a crítica literária e como definidor da identidade do autor e da obra, interpretamos Amar, verbo intransitivo como romance idílio no \"entre-lugar\", realizado em sua diferença em relação ao modelo neoclássico. De mesmo modo, a composição da personagem Fräulein Elza e do caso erótico-amoroso vivido pelo casal protagonista também é analisada em seu aspecto pendular e indefinido: a moça é e não é uma prostituta, vivendo em conflito com sua posição no espaço privado da família, e o caso é e não é uma relação amorosa idílica. Compreendendo a literatura como processo de criação atravessado por desejos e pulsões inconscientes, analisamos como todos esses mecanismos literários, elaborados pelo labor estético, são empregados para ora encobrir, ora revelar a sexualidade da obra.Mário de Andrade chose for his debut novel, Amar, verbo intransitivo, a still current controversial and taboo theme in our society: the sexual initiation of young men through venal agreements. It is our wish to examine the aesthetic mechanisms used by the author to symbolize literarily such a scandalous theme. There are five significant elements that indicate the (un)veiling of latent sexuality in the present work: the idyllic classification deriving from the neoclassic idyllic model Paulo e Virgínia by Bernardin de Saint-Pierre (1788); the experimentalist-modernist structural writing; the intrusive heterodiegetic narrator; the splitting depiction of characters and, finally, traditional rhetoric trope, related in our reading to the oneiric procedures (displacement, figurability and condensation), as proposed by the psychoanalytical knowledge. From the \"in-between\" concept (SANTIAGO, 1978), that postulates the difference as a fundamental element to the literary criticism and defining of the author´s identity and his literary work as well, we interpret Amar, verbo intransitivo as an idyllic novel in the \"in-between\" space, composed in its difference in relation to the neoclassic model. Similarly Fraülein Elza\' character and the erotic-loving affair composition, lived by the main characters, is also analysed in her pendular and nondefined aspect: the lady is and is not a prostitute living in conflict with her position in the private space of the family, and the affair is and is not a loving-idyllic relationship. Understanding literature as a creation process permeated by unconscious desires and drives, we analyse how all these literary mechanisms, elaborated by aesthetic labor, as well as Andrade\'s state-of-the-art talent are applied to veil and unveil the sexuality of this artistic work
Clarice Lispector\'s botany: a study about the figuration of plants in Clarice Lispector
No full textA botânica representa um topos significativo na produção de Clarice Lispector, não figurando apenas como um elemento acessório nas narrativas, mas como uma alteridade mobilizadora nas trajetórias das personagens, bem como um espaço revelador que promove reflexão, admiração e transformações. Esta dissertação, que se insere na continuidade dos estudos sobre a literatura e as plantas que vem se ampliando na crítica literária e clariciana, busca investigar o modo como a autora se apropria literariamente desse campo do saber em sua obra, não só por meio das tramas dos enredos, mas também pelos recursos estilísticos que os conformam, abrindo caminhos possíveis de leitura. Na obra de Clarice Lispector, nota-se a procura incessante para alcançar o núcleo do coração selvagem da vida, isto é, o interesse em investigar as profundezas do ser humano, de sua existência e do que consiste a vida compartilhada entre todos os viventes. Ao longo dessa investigação, a autora mobilizou seres não humanos, especialmente os animais, largamente estudados por sua crítica, uma vez que eles representam uma origem para sempre perdida devido ao processo civilizatório; assim, o contato com os animais se revela enriquecedor para a vivência humana. Contudo, ainda aberto à investigação, o mundo vegetal também é representativo, anterior aos animais e diretamente presente na história do ser humano, compondo mais uma interessante peça da complexa formação da vida. O interesse pelas plantas por parte da autora é notável e presentifica-se ao longo de toda a sua obra, marcando de modo significativo várias tramas de seus diversos textos. O corpus de pesquisa busca evidenciar a importância da botânica em sua produção, mostrando as plantas como uma alteridade possível, o que é exemplificado por intermédio do estudo das rosas, e também tratando dos espaços reveladores em que predomina a natureza, mais do que apenas cenográficos, a partir da análise da presença de jardins e florestas. Mobilizando um estudo interdisciplinar entre áreas como a Literatura e a Biologia, esta dissertação privilegia ler a obra clariciana pela sua própria obra, buscando compreender a figuração das plantas mediante diálogos e referências em seus diversos romances, contos, crônicas, entrevistas e outros textos. Por fim, e não menos importante, será comentar a centralidade do tema nas produções claricianas, que internalizam procedimentos botânicos em sua construçãoBotany represents a significant topos in Clarice Lispector\'s production, not only as an accessory element in the narratives, but as a mobilizing otherness in the characters\' trajectories, as well as a revealing space, capable of promoting reflection, admiration, and transformation. This dissertation, which is part of the continuity of studies on literature and plants that have been expanding, seeks to investigate how the author literarily appropriates this topic in her work, not only through the plot of the narratives, but also through the stylistic resources that conform them, opening possible paths of reading. In Clarice Lispector\'s work, it is notable the incessant search to reach the core of the wild heart of life, meaning, the interest in investigating the depths of the human being, of his existence and of what life shared among all living beings consists of. Throughout this investigation, the author mobilized non-human beings, especially animals, which are widely studied by criticism since they represent an origin forever lost to the civilizing process; therefore, the contact with animals becomes enriching to the human experience. However, still open to investigation, the world of plants is also representative as it is prior to animals and is directly present in the history of human beings, it composes another interesting piece of the complex formation of life. The author\'s interest in plants is remarkable, and is present throughout her work, significantly marking several plots in her various texts. The research corpus seeks to highlight the importance of botany in her production, showing plants as a possible otherness, exemplified by the study of roses, and dealing with revealing spaces where nature predominates, more than just scenographic, by analyzing the presence of gardens and forests. Mobilizing an interdisciplinary study between areas such as Literature and Biology, this dissertation also privileges the reading of Clarice\'s work through her own work, seeking to understand the manifestation of plants through the dialogues and references in her various novels, short stories, chronicles, interviews and other texts. Last but not least, it will be commented the centrality of the theme in Clarices productions, which internalize botanical procedures in their constructio
Pleasure of shade: a reading of Dão-Lalalão, by João Guimarães Rosa
No full textRosa. Articula-se a proposta de uma análise estilística do texto com a interpretação de cunho psicanalítico, sobretudo a partir de Freud. Situa-se, primeiramente, a relação entre este estudo e a fortuna crítica da obra selecionada, discutindo aspectos relevantes dos trabalhos de outros estudiosos. Ao abordar a relação entre o foco narrativo e o protagonista e utilizando-se de indicações do próprio Guimarães Rosa presentes em outras obras e em correspondências com seus tradutores, utiliza-se a metáfora do badalar de um sino como homólogo aos movimentos internos e externos de Soropita, sobretudo em torno da questão da manutenção do recalque como forma de preservar sua estabilidade social e pessoal. Esta dissertação reflete ainda sobre uma possível disposição melancólica de Soropita, além de estudar aspectos significativos do amor entre este personagem e sua esposa, Doralda, que mantém relação com a dinâmica do recalque. Aponta-se, por fim, para o caráter cíclico e inconcluso da presente narrativa, como sendo sua marca distintiva, não havendo, no nível do personagem principal, solução possível para seus dilemas. As questões histórico-sociais, pertinentes ao contexto abarcado pela novela, também serão articuladas ao estudo do estilo e à problemática psicanalítica abordada.The present essay examines the novel Dão-Lalalão, by author João Guimarães Rosa, from Minas Gerais. It articulates the proposal of a stylistic analysis of the text with the interpretation of psychoanalytic nature, especially from Freud. It is placed, first, the relationship between this study and the critical fortune of the selected work, discussing relevant aspects of other scholars works. In addressing the relationship between the narrative focus and the protagonist and using Guimarães Rosas own indications present in other works and correspondence with his translators, it is used the metaphor of the chime of a bell as correlation with the internal and external movements of Soropita especially around the issue of maintenance of repression as a means of preserving his social and personal stability. This work still reflects on a possible melancholic disposition of Soropita, in addition to study significant aspects of love between this character and his wife, Doralda, which maintains relationship with the dynamics of repression. It points out, finally, to the cyclical and inconclusive nature of the present narrative, as its distinguishing mark, do not existing to the level of the main character, possible solution to his dilemmas. The historical and social issues, relevant to the context covered by the novel, will also be articulated to the study of the style and to the psychoanalytic problematic issues considered
Ethics in literature: reading Clarice Lispector\u27s "Mineirinho"
No full textO presente estudo aborda o texto "Mineirinho", de Clarice Lispector, buscando a partir dele depreender uma visão da constituição do sujeito à luz de alguns aspectos da psicanálise. A leitura analítico-interpretativa identifica os procedimentos estilísticos e temáticos que alicerçam o texto, desvendando suas implicações éticas e estéticas. Ao comentar a morte de um bandido pela polícia carioca nos anos 1960, a autora põe em xeque afirmações ideológicas tidas como inequívocas e subverte categorias políticas e sociais que se querem absolutas. No horizonte da interpretação proposta, o texto problematiza, ainda, as noções de normalidade e loucura, bem como as relações entre história social e trajetória individual.Through a reading of Clarice Lispector\u27s "Mineirinho", the author tries to depict the constitution of the individual self, as explained by the psychoanalytical theory. The analysis and interpretation of Lispector\u27s text identifies stylistic and thematic manoeuvers which intend to highlight its ethical and aesthetical implications. Writing a comment on the murder, by policemen, of a notorious criminal in nineteen-sixties Rio de Janeiro, Lispector casts a shadow of doubt over some ideological presumptions habitually taken for granted, and subverts political and social categories which intend to absolute validity. Within the author\u27s interpretative frames, this text also queries the concepts of normality and madness, as well as the relationship between social history and biography
The paradoxes of helplessness: a reading of Perto do Coração Selvagem by Clarice Lispector
No full textO presente estudo objetiva uma leitura da obra Perto do coração selvagem, de Clarice Lispector, a partir do percurso da protagonista Joana para desentranhar a análise em direção ao estilo da autora. No primeiro plano, vislumbra-se o desamparo humano sendo revelado na história da personagem; no segundo, o drama clariceano em relação ao desamparo da linguagem/escrita. Solidão, liberdade, felicidade e desamparo definem o que se poderia chamar de tom da obra, construindo uma trama por vezes paradoxal e conflitosa. A leitura será norteada, para tanto, pela noção de desamparo sistematizada pela psicanálise.This paper aims at a reading of the work Perto do coração selvagem of Clarice Lispector, from the journey of protagonist Joan, to unravel the analysis toward the style of the author. In the foreground, we conjecture about human helplessness being revealed in the story of the character, in the background, the clariceano drama in relation to the language/writing helplessness. Loneliness, freedom, happiness and helplessness define what might be called \"tone\" of the work, building a story thats sometimes paradoxical and conflicting. The reading will be guided, for that, by the notion of helplessness systematized by psychoanalysis
