“Love is the mystery inside this walking”: Anne Carson on the Road to Compostela

This paper explores Anne Carson’s “Kinds of Water: An Essay on the Road to Compostela,” the author’s journal on her pilgrimage to Santiago. Taking water as a metaphor for the Camino, the text reflects the creative dimension of the pilgrimage both from an artistic and personal standpoint. Alternative discourses of the female writer and pilgrim occur in a text that is an essay and a meditation on the forms of resilience put into practice by Carson after facing a series of personal losses. The progressive construction of self-knowledge is seen as an emancipatory act that transcended Carson’s mourning period in her experience, which she took as an opportunity to embrace personal transformation. I suggest that my approach can bring useful perspectives not only to further and refine knowledge on Carson in Spain but also for the consideration of resilience as an aspect that contributes to the critical understanding of narratives of individual and social transformation.

«Tu sei acqua». Dialogo e dissolvenza tra Roni Horn e Anne Carson

Il titolo dell’intervento è una variazione sul titolo You are the Weather dell’artista Roni Horn, realizzato in Islanda: il viso di una giovane donna veniva fotografato durante diverse condizioni meteorologiche mentre si bagnava nelle sorgenti dell’isola. La ricerca di Horn sull’identità, sul suo comporsi e decomporsi, sulla meteorologia delle nostre emozioni trova un’interlocutrice nella scrittrice e poeta di origini canadesi Anne Carson. Keywords: acqua, identità, conoscenza, dissoluzione, Anne Carson, Roni Horn.

MATULA CHEIA DE VOZ: A VORACIDADE VOCAL DE GRACE PASSÔ EM VAGA CARNE / A carrier bag full of voice: Grace Passô’s vocal voracity in Dazed Flesh

No filme Vaga carne (2019), dirigido (em parceria com Ricardo Alves Jr.) e protagonizado por Grace Passô, acompanhamos a jornada de uma voz que tem o poder de transitar por diferentes matérias. Novos e inesperados afetos são conhecidos quando a voz se vê presa a determinado corpo feminino e passa a ser submetida às implicações sociais de encarnar essa identidade. A partir da narrativa do filme, e em diálogo com teóricas como Ursula K. Le Guin, Anne Carson e Adriana Cavarero, o trabalho propõe pensar a afirmação de vozes plurais como enfrentamento poético a silenciamentos históricos.Palavras-chave: Voz; Grace Passô; Vaga carne; Palavra; Corpo. AbstractIn the film Dazed Flesh (2019), directed by Grace Passô and Ricardo Alves Jr., and starring Passô, we follow the journey of a voice that has the power to transit through different substances. Unexpected new affections appear when this voice finds itself attached to a certain female body and becomes subjected to the social implications of embodying this identity. Based on the narrative of the film, and in dialogue with theorists such as Ursula K. Le Guin, Anne Carson and Adriana Cavarero, we propose to think about the affirmation of plural voices as a poetic confrontation with historical silences.Keywords: Voice; Grace Passô; Dazed Flesh; Word; Body.

O problema do amor e da distância em Anne Carson

O presente trabalho tem como objetivo apresentar a rearticulação do problema do amor na obra da classicista e poeta Anne Carson. Em seu livro Eros, the bittersweet, Carson realiza uma reconstrução do problema do amor na tradição helênica. A operação, porém, não se restringe a uma mera reconstrução histórica, visto que as elaborações conceituais da autora acabam pondo o problema do amor como um tipo de situação que tem sua força justamente na transcendência das condições particulares. Analisaremos, portanto, como Carson concebe os contornos da dinâmica do amor como uma relação entre amante, amado e a distância entre eles, a partir das obras de Safo de Lesbos. Em seguida, discutiremos no artigo como, a partir dessa concepção da relação amorosa, a autora elabora, por meio de uma leitura do diálogo Fedro de Platão, os desdobramentos do problema do amor na questão da composição dos sujeitos (ou seja, redefinindo “o que é um sujeito” a partir do problema do amor) e nas experiências do tempo e do espaço. No fim, procuramos demonstrar como a obra de Carson nos fornece uma visão renovada do problema do amor.

“Not Orphée.” “No, Never Him.”: Reclaiming Female Agency From Ovid’s “Orpheus and Eurydice” in Alice Munro’s “the Chidlren Stay” and Céline Sciamma’s Portrait of a Lady on Fire

[Introductory paragraph] In myth, women's boundaries are pliant, porous, mutable. Her power to control them is inadequate, her concern for them unreliable. Deformation attends her. She swells, she shrinks, she leaks, she is penetrated, she suffers metamorphoses. The women of mythology regularly lose their form in monstrosity. —Anne Carson, Men in the Off Hours Metamorphoses can be understood as “the action or process of changing in form, shape, or substance [and especially] transformation by supernatural means” (OED). Ovid’s Metamorphoses focuses on the changing of bodies to other physical forms, but Ovid’s tales of transformation have themselves been transformed into other literary and cultural forms. This paper will pull together different disciplines such as classical, literary, and film studies to examine Ovid’s “Orpheus and Eurydice” from the Metamorphoses, and the formalist and feminist adaptations of the tale by women about women: Alice Munro’s short story “The Children Stay” and Céline Sciamma’s film Portrait of a Lady on Fire. Munro and Sciamma give their female heroines the agency and voices they lacked in Ovid’s text, where there is a pattern of violence against women, who are silenced usually through some form of destructive transformations of their bodies.

“Not Orphée.” “No, Never Him.”: Reclaiming Female Agency From Ovid’s “Orpheus and Eurydice” in Alice Munro’s “the Chidlren Stay” and Céline Sciamma’s Portrait of a Lady on Fire

[Introductory paragraph] In myth, women's boundaries are pliant, porous, mutable. Her power to control them is inadequate, her concern for them unreliable. Deformation attends her. She swells, she shrinks, she leaks, she is penetrated, she suffers metamorphoses. The women of mythology regularly lose their form in monstrosity. —Anne Carson, Men in the Off Hours Metamorphoses can be understood as “the action or process of changing in form, shape, or substance [and especially] transformation by supernatural means” (OED). Ovid’s Metamorphoses focuses on the changing of bodies to other physical forms, but Ovid’s tales of transformation have themselves been transformed into other literary and cultural forms. This paper will pull together different disciplines such as classical, literary, and film studies to examine Ovid’s “Orpheus and Eurydice” from the Metamorphoses, and the formalist and feminist adaptations of the tale by women about women: Alice Munro’s short story “The Children Stay” and Céline Sciamma’s film Portrait of a Lady on Fire. Munro and Sciamma give their female heroines the agency and voices they lacked in Ovid’s text, where there is a pattern of violence against women, who are silenced usually through some form of destructive transformations of their bodies.