This article presents and discusses Joao Guimaraes Rosa as an outstanding Brazilian author whose literary work,especially Sagarana,expresses aesthetically different ways of lifeforms between human beings,animals,plant...This article presents and discusses Joao Guimaraes Rosa as an outstanding Brazilian author whose literary work,especially Sagarana,expresses aesthetically different ways of lifeforms between human beings,animals,plants,and landscapes.Movement and transformations are the basic principles in which the melody of prose expresses itself as a language in and as motion.Although based in Brazilian culture,Rosa shows the conviviality of different logics which are not reduced to one myth of the Brazilian people,but produce multiple ways of coexistence between different life-forms and culture narratives.The translingual title ttSagarana,'already alludes to the transitions between two languages,regions,and cultures:the Icelandic“saga-”and the Tupic-Word“rana”which means“similar”or“alike.”The interpretation figures out the correlation of different provenances(“Herkiinfte”)which emerge from Rosa’s craft of storytelling.In its center,the Sertao arises as a region of nature whose forces are connected with the life of human beings.As fractal of the world,it symbolizes Brazilian relations as a world of its own and at the same time as a part of the world of others.From this point of view the essay turns world literature upside down:it emphasizes on the one hand that the epoch of world literature since Goethe has come to an end and that the meridian has shifted to Latin America.On the other hand it can be observed that the lusophonic world between Brazil and Angola,Portugal and Kap Verde develops new perspectives on literatures of the world beyond the fixed coordinations of periphery and center.Rosa's ways of world making already shift the perspective from the local to the global as a miniatured model of a universe which reveals interpretations of a better understanding of the world as world fractals.展开更多
Given the robust plurivocality that has characterized literature in Brazil since its colonial inception,and the eminently(and explicitly)receptive stance that many of its modem authors have adopted,I have structured m...Given the robust plurivocality that has characterized literature in Brazil since its colonial inception,and the eminently(and explicitly)receptive stance that many of its modem authors have adopted,I have structured my argument to follow two intersecting paths.Firstly,Clarice Lispector’s notion of“writing by ear”serves as a foundation for a renewed history of Brazilian literature,framed as a history of active listening.Secondly,the hope is to offer a Luso-Afro-Amerindian-Brazilian contribution to Latin American criticism,turning the semantic range of terms related to edges,margins,and borders into a more explicit semiotics of corporeality and performativity revolving around the ears and sound,echoes and silence,more generally.展开更多
文摘This article presents and discusses Joao Guimaraes Rosa as an outstanding Brazilian author whose literary work,especially Sagarana,expresses aesthetically different ways of lifeforms between human beings,animals,plants,and landscapes.Movement and transformations are the basic principles in which the melody of prose expresses itself as a language in and as motion.Although based in Brazilian culture,Rosa shows the conviviality of different logics which are not reduced to one myth of the Brazilian people,but produce multiple ways of coexistence between different life-forms and culture narratives.The translingual title ttSagarana,'already alludes to the transitions between two languages,regions,and cultures:the Icelandic“saga-”and the Tupic-Word“rana”which means“similar”or“alike.”The interpretation figures out the correlation of different provenances(“Herkiinfte”)which emerge from Rosa’s craft of storytelling.In its center,the Sertao arises as a region of nature whose forces are connected with the life of human beings.As fractal of the world,it symbolizes Brazilian relations as a world of its own and at the same time as a part of the world of others.From this point of view the essay turns world literature upside down:it emphasizes on the one hand that the epoch of world literature since Goethe has come to an end and that the meridian has shifted to Latin America.On the other hand it can be observed that the lusophonic world between Brazil and Angola,Portugal and Kap Verde develops new perspectives on literatures of the world beyond the fixed coordinations of periphery and center.Rosa's ways of world making already shift the perspective from the local to the global as a miniatured model of a universe which reveals interpretations of a better understanding of the world as world fractals.
文摘Given the robust plurivocality that has characterized literature in Brazil since its colonial inception,and the eminently(and explicitly)receptive stance that many of its modem authors have adopted,I have structured my argument to follow two intersecting paths.Firstly,Clarice Lispector’s notion of“writing by ear”serves as a foundation for a renewed history of Brazilian literature,framed as a history of active listening.Secondly,the hope is to offer a Luso-Afro-Amerindian-Brazilian contribution to Latin American criticism,turning the semantic range of terms related to edges,margins,and borders into a more explicit semiotics of corporeality and performativity revolving around the ears and sound,echoes and silence,more generally.
