scholarly journals A PRESENÇA DE ESCRAVOS EM ALGUNS CONTOS DE MACHADO DE ASSIS

2018 ◽  
Vol 2 ◽  
pp. 160
Author(s):  
Antonio Marcos Sanseverino
Keyword(s):  
Nineteenth Century ◽  
Rio De Janeiro ◽  
Daily Life ◽  
Personal History ◽  
Machado De Assis ◽  
Brazilian Literature ◽  
The Family ◽  
As If

A escravidão é o nexo fundamental para pensar a literatura brasileira do século XIX. Na prosa machadiana, esse nexo histórico foi evidenciado por diferentes críticos (CHALHOUB, 2003, 2012; GLEDSON, 2006; SCHWARZ, 2000). Na leitura dos jornais, desde os anos de 1870, através da leitura de anúncios, vemos o quanto a presença do escravo doméstico era fato naturalizado no cotidiano do Rio de Janeiro (FREYRE, 2012; SCHWARCZ, 1987). Amas, copeiros, cozinheiros, moleques eram anunciados como objeto de venda ou de aluguel. Não apenas o trabalho era vendido ou alugado, mas o próprio trabalhar-escravo. Essa presença cotidiana de escravos é necessária (ou não) para a compreensão dos enredos? Alguns contos machadianos que trazem à primeiro plano do conflito a presença da escravidão: “Mariana” (1871), “O caso da vara” (1899) e “Pai contra mãe” (1906). Entretanto, há um apagamento da história pessoal do escravo enquanto personagem. A expressão “cria da casa” usada para caracterizar Mariana, uma mulata que vive como fosse da família, mostra o quanto a genealogia da personagem se apaga, diluída no pertencimento à casa do dono. Palavras-chave: Machado de Assis. Escravidão. Conto. Cria da casa.ABSTRACTSlavery is the fundamental link to think of nineteenth-century Brazilian literature. In Machado’s prose, this historical nexus was evidenced by different critics (CHALHOUB, 2003, 2012, GLEDSON, 2006, SCHWARZ, 2000). In the reading of the newspapers, from the 1870s, through the reading of advertisements, we see how the presence of the domestic slave was a naturalized fact in the daily life of Rio de Janeiro (FREYRE, 2012; SCHWARCZ, 1987). Mothers, cupbearers, cooks, brats were advertised as objects for sale or rent. Not only was work sold or rented, but the work-slave itself. Is this daily presence of slaves necessary (or not) for the understanding of entanglements? Some Machado tales that bring to the forefront of the conflict the presence of slavery: “Mariana” (1871), “The case of the stick” (1899) and “Father against mother” (1906). However, there is an erasure of the slave’s personal history as a character. The expression “housekeeper” used to characterize Mariana, a mulatta who lives as if she were one of the family, shows how much the character’s genealogy is extinguished, diluted in belonging to the owner’s house.Keywords: Machado de Assis. Slavery. Tale. Of the house.

scholarly journals Aidoo, Lamonte, and Daniel F. Silva, editors. Emerging Dialogues on Machado de Assis. Palgrave Macmillan, 2016.

2017 ◽  
Vol 2 (1) ◽  
Author(s):  
Armândio Reis
Keyword(s):  
Nineteenth Century ◽  
Machado De Assis ◽  
Brazilian Literature ◽  
Present Volume ◽  
Multidisciplinary Perspective

In the context of Machadian studies, the present volume is a welcome surprise. Aidoo and Silva are both US-based specialists in nineteenth-century Brazilian literature and culture, and they propose to reevaluate this literature from a multidisciplinary perspective.

scholarly journals Nitheroy, Revista Brasiliense (1836): A Political Bridge Between Rio de Janeiro, Paris, and Hispanic America

2015 ◽  
Vol 13 ◽  
Author(s):  
Marcelo Lotufo
Keyword(s):  
Nineteenth Century ◽  
Latin American ◽  
Rio De Janeiro ◽  
Early Nineteenth Century ◽  
Brazilian Literature ◽  
Starting Point ◽  
Romantic Movement ◽  
Literary Movements ◽  
Brazilian Politics

Nitheroy: Revista Brasiliense de sciencias, lettras, e artes (Paris, 1836), is usually taken as the starting point of Brazil’s Romantic movement. The magazine, however, was primarily concerned not with literature but with the "modernization" of a recently independent Brazil. This essay focuses on the magazine in order to understand the role of literature in early nineteenth-century Brazilian politics. Approaching Brazilian Romanticism as inherently political serves to link nineteenth-century Brazilian literature to other Latin American literary movements of the period, and a re-examination of Nitheroy helps to bridge the gap that has historically separated Brazilian and other Latin American Romantic movements. 

LT: Yes, I think so. You move between and among all those different states. In a way desire, libido, that sort of drive, that energy— without it you probably wouldn’t do anything. But when you have it, when you’re experiencing it very, very strongly, so that it’s pushing you in all sorts of ways, you’re also at its mercy. You can feel content, maybe, in the moment when you’re not feeling that, but you’re also in a static state. You may have a period of equilibrium but you’re always going to head toward a state of disequilibrium. PN: There are several moments in Cast in Doubt where Horace finds himself ‘without or separate from desire’; ‘Indeed I felt blank’, he says (C, 141). LT: Yes—a desire not to desire. I’m working on a story now in which a woman likes to watch pornography. But to say ‘I like this’, or to say ‘I want to see this’, means that those things are not in her life. That’s the implication. That’s why nobody wants to be caught wanting. We’re filled with desires, but you’re not supposed to say that you have them. Because if you have them, it means that you’re lacking. At the ICA panel on Straight Sex, Lynne Segal in November talked about female heterosexual agency in so-called straight sex that everybody agrees is not so straight. Later all I could think about was that implied in the term ‘I desire’ is its own negation, a negation of agency. If you desire then you have a problem. But you can always say, ‘I wanted him and I got him.’ PN: But he wasn’t good enough! LT: Then I wanted someone else! PN: Can we go back to your first book, Haunted Houses? I gather the title comes from a passage in H.D.’s Tribute to Freud where she says that ‘We are all haunted houses.’ At the end of the novel that haunting is described as ‘A bad feeling that someone or something is never going to let you alone’ (H, 206). What kind of someone or something were you trying to get at in this novel? LT: I guess it’s a question of personal history, psychological history, of one’s family, which never leaves you alone. The idea that you can be completely free of that is bogus. Moving from personal history into public history, your present is always inflected by your past. I believe one can move, with a lot of psychological work, further away from the neurosis of the family, but perhaps never completely. PN: There’s certainly a lot of interest in this first book in forms of recollection and repetition. The young women in the novel fear they will repeat the lives of their mothers, and it’s as if the

2005 ◽  
pp. 53-53
Keyword(s):  
Young Women ◽  
Public History ◽  
Personal History ◽  
The Novel ◽  
Static State ◽  
The Family ◽  
History Of ◽  
The Moment ◽  
Haunted Houses ◽  
As If

The Dupont family: collectors, dealers and naturalists in nineteenth-century Paris

2016 ◽  
Vol 43 (2) ◽  
pp. 191-207 ◽  
Author(s):  
Richard Mearns ◽  
Laurent Chevrier ◽  
Christophe Gouraud
Keyword(s):  
Nineteenth Century ◽  
Family History ◽  
Natural History ◽  
North Africa ◽  
Special Interest ◽  
Early Life ◽  
Anatomical Models ◽  
The Family ◽  
Small Collection

In the early part of the nineteenth century the Dupont brothers ran separate natural history businesses in Paris. Relatively little is known about their early life but an investigation into the family history at Bayeux corrects Léonard Dupont's year of birth from 1795 to 1796. In 1818 Léonard joined Joseph Ritchie's expedition to North Africa to assist in collecting and preparing the discoveries but he did not get beyond Tripoli. After 15 months he came back to Paris with a small collection from Libya and Provence, and returned to Provence in 1821. While operating as a dealer-naturalist in Paris he published Traité de taxidermie (1823, 1827), developed a special interest in foreign birds and became well known for his anatomical models in coloured wax. Henry Dupont sold a range of natural history material and with his particular passion for beetles formed one of the finest collections in Europe; his best known publication is Monographie des Trachydérides (1836–1840). Because the brothers had overlapping interests and were rarely referred to by their forenames there has been confusion between them and the various eponyms that commemorate them. Although probably true, it would be an over-simplification to state that birds of this era named for Dupont refer to Léonard Dupont, insects to Henry Dupont, and molluscs to their mother.

Pre-Linnaean pictures of the secretarybird, Sagittarius serpentarius (J. F. )

2008 ◽  
Vol 35 (2) ◽  
pp. 243-251 ◽  
Author(s):  
RAGNAR K. KINZELBACH
Keyword(s):  
Nineteenth Century ◽  
Sub Saharan Africa ◽  
Careful Examination ◽  
Nile Valley ◽  
Rain Forests ◽  
Roman Emperor ◽  
Persian Language ◽  
The Family ◽  
Other Information ◽  
Sub Saharan

The secretarybird, the only species of the family Sagittariidae (Falconiformes), inhabits all of sub-Saharan Africa except the rain forests. Secretarybird, its vernacular name in many languages, may be derived from the Arabic “saqr at-tair”, “falcon of the hunt”, which found its way into French during the crusades. From the same period are two drawings of a “bistarda deserti” in a codex by the Holy Roman Emperor Frederick II (1194–1250). The original sketch obviously, together with other information on birds, came from the court of Sultan al-Kâmil (1180–1238) in Cairo. Careful examination led to an interpretation as Sagittarius serpentarius. Two archaeological sources and one nineteenth century observation strengthened the idea of a former occurrence of the secretarybird in the Egyptian Nile valley. André Thevet (1502–1590), a French cleric and reliable research traveller, described and depicted in 1558 a strange bird, named “Pa” in Persian language, from what he called Madagascar. The woodcut is identified as Sagittarius serpentarius. The text reveals East Africa as the real home of this bird, associated there among others with elephants. From there raises a connection to the tales of the fabulous roc, which feeds its offspring with elephants, ending up in the vernacular name of the extinct Madagascar ostrich as elephantbird.

CITRA PEREMPUAN DALAM NOVEL BURUNG TIUNG SERI GADING KARYA HASAN JUNUS

2017 ◽  
Vol 5 (2) ◽  
pp. 157
Author(s):  
Chrisna Putri Kurniati
Keyword(s):  
Qualitative Research ◽  
Everyday Life ◽  
Gender Inequality ◽  
Daily Life ◽  
Primary Data ◽  
Gender Analysis ◽  
Female Characters ◽  
Feminist Literature ◽  
The Family ◽  
Status Of Women

This study entitles ―Citra Perempuan in Novel Burung Tiung Seri Gading Written by Hasan Junus‖. Problem in this research about the image of women and the gender inequities in the novel.This study aims to describe, express women‘s image and the discrimination of gender in novel Burung Tiung Seri Gading. The use of this study is to inform people in general and readers in particular about the roles and status of women in society reflected in novel Burung Tiung Seri Gading. The theory used is feminist literature criticism. This is a qualitative research. using the book study method. Primary data that is Burung Tiung Seri Gading novel Hasan Junus work published by Dinas Kebudayaan dan Pariwisata Provinsi Riau, Pekanbaru 2009185 pages thick.The steps of the research are (1) identify the female characters in literature, (2) seek the position of these figures in everyday life in society, good relations within the family or in society at large, (3) gender inequality would be viewed through a gender analysis ofits image of women in daily life. The conclusions of this study are that the roles and status of women in society get women not be able to avoid their housework and the discrimination of gender. AbstrakPenelitian ini berjudul ―Citra Perempuan dalam Novel Burung Tiung Seri Gading Karya Hasan Junus‖. Permasalahan dalam penelitian ini tentang citra perempuan dan terjadinya ketidakadilan gender dalam novel. Tujuan penelitian ini adalah mendeskripsikan citra perempuan dan mendeskripsikan ketidakadilan gender dalam novel Burung Tiung Seri Gading. Tujuan Penelitian ini adalah memberikan pengetahuan kepada pembaca khususnya dan masyarakat pada umumnya tentang peran dan kedudukan perempuan dalam masyarakat yang tercermin dalam novel Burung Tiung Seri Gading serta memberikan pengetahuan kepada pembaca tentang terjadinya ketidakadilan gender dalam masyarakat yang tercermin dalam novel Burung Tiung Seri Gading. Teori yang digunakan adalah kritik sastra feminis. Penelitian ini bersifat kualitatif dengan menggunakan metode studi pustaka. Data primernya bersumberkan pada novel Burung Tiung Seri Gading karya Hasan Junus yang diterbitkan oleh Dinas Kebudayaan dan Pariwisata Provinsi Riau, Pekanbaru, 2009 setebal 185 halaman. Kesimpulan yang dapat diambil dalam penelitian ini adalah adanya peran dan kedudukan perempuan di masyarakat membuat perempuan belum bisa lepas dari pekerjaan domestik serta perempuan adalah korban dari ketidakadilan gender.

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