O DISCURSO MEMORIALISTICO EM BAZAR PARANÁ, DE LUIS S. KRAUSZ

O ato de rememorar pode ser doloroso, pois possibilita, muitas vezes, o reencontro com a dor, a perda o abandono. Objetos guardados e cuidados asseguram alguma permanência do passado diante dos olhos que o procuram, despertando sentimentos de toda ordem. A Literatura, paralelamente à História, dedica-se também à recuperação da memória, engendrando, dessa forma, reflexões sobre o passado. Nessa perspectiva, este artigo analisa discurso memorialístico no romance Bazar Paraná, de Luis S. Krausz, compreendendo a arte como procedimento, que busca no leitor um coautor na aventura leitora, pois ele deve desvendar o labirinto dialógico proposto na narrativa. Sem propriamente narrar os eventos históricos do passado, a obra centra-se na ação destes sobre as personagens, sobre sua subjetividade. Assim, a história se inscreve no texto literário a partir das observações do narrador quando criança, analisadas, em grandes golfadas de reflexão, por ele quando adulto. Reflexões entremeadas por inúmeras referências intertextuais, que revelam um narrador que também é um grande leitor.Palavras-chave: Bazar Paraná. Intertextualidade. Mimese.ABSTRACTThe act of remembering can be painful, as it often makes it possible to rediscover pain, loss and abandonment. Objects kept and cared for ensure some permanence of the past before the eyes that seek it, awakening feelings of all kinds. Literature, in addition to history, is also dedicated to the recovery of memory, thus generating reflections on the past. In this perspective, this article analyzes memorialistic discourse in the novel Bazar Paraná, by Luis S. Krausz, understanding art as a procedure, which seeks in the reader a co-author in the reading adventure, as he must unveil the dialogical labyrinth proposed in the narrative. Without properly narrating the historical events of the past, the work focuses on the latter's action on the characters, on their subjectivity. Thus, the story is inscribed in the literary text based on the narrator's observations as a child, analyzed, in great reflection, by him as an adult. Reflections interspersed with countless intertextual references, which reveal a narrator who is also a great reader.Keywords: Bazar Paraná. Intertextuality. Mimesis.

Reading Scriptures as Spaces

Chapter 5 returns to the question of what may be accomplished by the performance, as it were, of archival historiography. This chapter argues that Ezra-Nehemiah’s archival historiography both signals and, by virtue of its collection, performs movement toward sociopolitical recovery after the losses of exile. The narrative of Ezra-Nehemiah deals heavily in loss. Through citation, however, its archival form becomes a dynamic tool in recovery efforts. Reassembling a collection through texts becomes a critical innovation on that path toward re-collecting—and, in some cases, re-creating—memory. In Ezra-Nehemiah, archive becomes the historiographical script that choreographs the recovery of memory and reveals a resuscitated political body after the losses of exile. In this way, the concept of archival historiography enables us to see modes of history writing beyond the binaries of narrative coherence and incoherence.

History is a Palimpsest 1

This chapter explores the first set of texts associated with the entailed metaphor HISTORY AS PALIMPSEST through the key narrative of Rudyard Kipling’s Puck of Pook’s Hill (1906), which makes salient a genealogy of works for both children and adults that imagine England’s history proceeding through a series of invasions and the loss and recovery of memory of invasion. Because several of the treatments address both adults and children, the chapter examines three adult fantasies derived from Puck—Joseph O’Neill’s Land Under England (1935), Warwick Deeping’s The Man Who Went Back (1940), and C. S. Lewis’s That Hideous Strength (1945)—before moving on to four novels for children/young adults that are connected both to Puck and to its adult interwar/wartime successors: Susan Cooper’s The Dark Is Rising (1973) and Silver on the Tree (1977), Joan Aiken’s The Shadow Guests (1980), and Philip Turner’s Sea Peril (1968). Because the metaphor of the palimpsest emphasizes that the individual’s occupation of time and space is temporary, the dominant affect in all instances is nostalgia and melancholy. Nonetheless, invasion is a complex image that suggests that loss of sovereignty is not necessarily bad or injurious to the nation (or the child reader). Rather, the invasion trope offers a view of the experience of the nation that mirrors the complex layers of the individual psyche, and narratives activating the palimpsest metaphor prize and rehearse individual agency on the part of protagonists.

Una aproximació a la memorialística femenina catalana

Autobiographical literature in recent years has attracted increasing interest, which is understandable considering the symbiosis between writing and reality that gives shape to it. The aim of this article is to approach the state of the question of the Catalan literature of the 'I' written by women, since the first appearances, the epistles of the Baroness de Castellvell and Molins de Rei, Estefania de Requesens, dated from 16th century until the posthumous diary of Maria-Mercè Marçal, 2014. The disease and the proximity of death is a device that drives writers to project themselves in some very important writings in the autobiographical genre. Childhood, old age or recovery of memory are other reasons why the authors leave witness in a field, the literary one, of a clearly patriarchal domain since immemorial times.

Doświadczenie starości w prozie autobiograficznej Bory Ćosicia

The experience of old age in the autobiographical proseof Bora ĆosićIn this article, Ifocused my attention on the vision of aging and attitude towards this phenomenon which are present in Ćosic’s autobiographical prose. Based on texts, which were published after the year 1995, like Novi stanar 1998, Starost u Berlinu 1998, Carinska deklaracija 2000, Put na Aljasku 2006, Consul u Beogradu 2008 and the latest collection of writings entitled Mirni dani u Rovinju 2014, Imade the reconstruction of the writer maturation process to apositive / successfull aging. This one of the most famous post-Yugoslav stateless left Rovinj in 1995, were he moved from Belgrade in 1991, and then moved to Berlin, where he has been living during this time. At the beginning the German capital appears to Cosić as an unfriendly place that enhances the writer’s sense of alienation and old age. The writer defined his origin country as “the southern land”, while Berlin is acity in the north, which has became in his view asynonymous of old age or even death. On the pages of his works the author showed how gradually became familiar with this alien space. He found traces of his past and his former life in Belgrade in the urban space of Berlin. The recovery of memory and recollection open anew phase in the work of Bora Ćosić. Based on his works published after 2000 we could get aapicture of the artist, who seems to be atireless of his long life and has alot of work to do, who publishes new books and who is involved in many artistic events, readings and meetings with readers although he is 80. Ćosić is reconciled with old age and totally agrees with what fate brought to him. The evolution of attitudes towards life and old age are shown in the most complete way by his words that he often repeats: „I was born in Zagreb, I died in Belgrade, I live in Berlin”.Doživljaj starosti uautobiografskoj prozi Bore ĆosićaU članku sam obratila pažnju na piščev doživljaj starosti. Zahvaljujući analizi autobiograf­skih knjiga, pre svega tekstova koje je autor objavio posle 1995. godine, kao što su: Novi stanar 1998, Starost u Berlinu 1998, Carinska deklaracija 2000, Put na Aljasku 2006, Consul u Beo-gradu 2008 inajnovija zbirka beležaka pod naslovom Mirni dani u Rovinju 2014, trudim se da ukažem Ćosićev put od negativne do pozitivne/uspešne starosti. Taj, jedan od najpoznatijih postju­goslavenskih apatrida, 1995. godine napustio je Rovinj, ukoji se preselio iz Beograda 1991. godine iotišao je uBerlin gde živi do danas. Čitajući tekstove, koje je autor napisao na početku svog bo­ravka unemačkoj prestonici, može se zapaziti da se tamo osećao pre svega kao drugi, kao stranac. Osećaj tuđinstva je izazivao ipojačavao osećaj starosti. Pisac je često ponavljao da je njegova otadžbina ostala na jugu, aon je došao na sever, koji je podrazumevao kao sinonim starosti, čak ismrti. Usvojim tekstovima autor je zabeležio kako je upoznavao grad iotkrivao mnogo kutaka koji su ga podsećali na život uBeogradu. Na berlinskim ulicama iustarim zgradama pronašao je tragove svoje prošlosti. Zahvaljujući tome počeo je da se oseća uBerlinu kao unekoj vlastitoj prostoriji. Stekao je pamćenje ina taj način prekoračio je smrt. Povratak pamćenja, memorije, otvara novu fazu uĆosićevom stvaralaštvu. Uknjigama, koje je autor objavio posle 2000. godine, nalazimo sliku starog čoveka, koji uprkos svojoj starosti nije umoran, mnogo radi iuživa utome, stalno izdaje nove knjige, učestvuje umnogim umetničkim događajima, izlaganjima isastancima. Prihvata svoju starost islaže se sa time što mu je život doneo. Promenu stava prema životu istaro­sti na najbolji način pokazuje rečenica koju Ćosić često ponavlja: „Moja kratka biografija utri reda glasi: rođen sam uZagrebu, umro uBeogradu, živim u Berlinu”.