Literature and psychoanalysis are put into dialogue in order to perform an innovative reading of Machado de Assis's The Posthumous Memoirs of Bras Cubas,which is considered one of his masterpieces,alongside Quinca...Literature and psychoanalysis are put into dialogue in order to perform an innovative reading of Machado de Assis's The Posthumous Memoirs of Bras Cubas,which is considered one of his masterpieces,alongside Quincas Borba and Dom Casmurro.The psychoanalysis of Sigmund Freud and Jacques Lacan is used as a theoretical reference.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Literature and psychoanalysis are put into dialogue in order to perform an innovative reading of Machado de Assis's The Posthumous Memoirs of Bras Cubas,which is considered one of his masterpieces,alongside Quincas Borba and Dom Casmurro.The psychoanalysis of Sigmund Freud and Jacques Lacan is used as a theoretical reference.
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.
