AUTOFIGURACIONES: DE LA FICCIÓN AL PACTO DE NO FICCIÓN

Partiendo de una concepción del género literario como resultado de casillas vacías que la creación literaria impone a la teoría como desafío, este estudio intenta avanzar de modo diferente al de la conocida como Autoficción, precisando mi propuesta avanzada en 2010 sobre Figuraciones del yo. Entre las que ahora denomino Autofiguraciones enumero algunas muy presentes en la literatura de hoy en las que, al igual que ocurre con los relatos de la Shoah de Primo Levi, desarrollan un pathos por el cual el autor compromete experiencias que piden ser leídas como no ficcionales para alcanzar una lectura feliz. El estudio se refiere a obras recientes de diferentes autores que han partido de las Grief Memoir o libros de duelo (por la muerte de padre, madre o hijos) que sobrepasan con mucho cualquier ambigüedad respecto al dolor originario. La segunda parte del estudio desarrolla la tesis de que no toda invención imaginaria pide ser leída como ficción, y que incluso en pactos autobiográficos que nacen deconstructivos (como los de Barthes o Roth) hay mecanismos de referencia, como las fotos, que quieren evadirse de la cárcel del lenguaje. Tanto la multiplicación de detalles sensoriales como un especial juego con el tiempo de la memoria, ahondan en la misma dirección. A partir del concepto bajtiniano de cronotopo externo preciso que toda decisión sobre Ficción/No ficción en las autofiguraciones debe dirimirse de modo pragmático. Avanzo que en obras como las analizadas hay pactos de no ficción que permiten, al contrario que las ficcionales, que puedan formularse desde el que llamo tu autobiográfico reproches posibles sobre olvidos, silencios o mendacidades. ABSTRACT: Beginning with a conception of the literary genre as a result of empty boxes that literary creation imposes on theory as a challenge, this study aims to advance in a different way from the one known as Autofiction, specifying my prior proposal in 2010 on Figuraciones del yo. Among the ones I now call Autofigurations, I list some very present in today's literature in which, as it happens with the stories of the Shoah by Primo Levi, they develop a pathos by which the author compromises experiences that ask to be read as non-fictional in order to achieve a happy reading. This study refers to recent works by different authors who have started from the Grief Memoirs or books of mourning (for the death of a father, mother or children) that go far beyond any ambiguity regarding the original pain. The second part of the study develops the thesis that not every imaginary invention asks to be read as fiction, and that even in autobiographical pacts that are born deconstructive (like those of Barthes or Roth) there are referential mechanisms, like photos, that want to escape from the prison of language. Both the multiplication of sensory details and a special game with the time of memory go in the same direction. From Bakhtin’s concept of external chronotope, it is clear that any decision on fiction/non-fiction in self-portraits must be made pragmatically. I warn that in works such as those analysed there are non-fiction pacts that allow, unlike fictional works, possible reproaches about forgetfulness, silence or mendacity to be formulated from what I call the autobiographical-you. Abstract: Beginning with a conception of literary genre as the result of empty boxes that literary creation imposes on theory as a challenge, this study attempts to move forward in a different way to that of what is known as Autofiction. Among what I now call Autofigurations, I list some very present in current literature which, starting from the Grief Memoir, develop a pathos on which they ask to be read as non-fictional. The second part of the study develops this thesis that not every imaginary invention asks to be read as fiction, pointing out mechanisms of reference, such as photographs, that want to escape from the prison of language. Based on Bakhtin’s concept of the external chronotope, it is clear that any decision on fiction/non-fiction in self-figurations must be made pragmatically. In works such as those analysed, there are non-fictional pacts which, unlike fictional ones, allow us to formulate, from what I call the autobiographical-you, possible objections to forgetfulness, silences or mendacities.

Delírios e deleites: leitura dos diálogos de Machado de Assis com John Milton em Memórias póstumas de Brás Cubas / Deliriums and Delights: the reading of the dialogues of Machado de Assis with John Milton in Posthumous Memoirs of Bras Cubas

Resumo: Os textos de Machado de Assis e principalmente seus romances estabelecem muitos diálogos com diferentes escritores e tradições. Entretanto, a forma que Machado de Assis escolheu para se referir ao poeta inglês do século XVII, John Milton, no seu romance, Memórias póstumas de Brás Cubas, merece uma atenção cuidadosa. Nesse romance, o autor brasileiro também se refere a Milton, mas não de maneira direta ou nomeada; ao contrário, as alusões a Milton são indiretas, criando uma composição textual com o poeta inglês e o convidando, de maneira ausente, a também fazer parte da narrativa. Machado de Assis, na elaboração dos delírios e deleites de Brás Cubas, reflete sobre seu ato de composição e estabelece diálogos também com o poeta inglês, como uma tentativa de proliferar sentidos da obra de Milton, mais especificamente Paradise Lost, no contexto literário brasileiro. Esses diálogos serão analisados com base na ideia de dialogismo de Mikhail Bakhtin (1973, p. 39) que é constitutivo da intertextualidade e desvia o foco das noções de autoria, causalidade e finalidade, e o “texto passa a ser visto como uma absorção de e uma resposta a um outro texto”. Assim, é pertinente dizer que Machado de Assis absorve elementos de composição do universo miltoniano e responde a eles nas Memórias póstumas de Brás Cubas, revivendo, em sua criação literária, suas experiências como leitor desse poeta inglês.Palavras-chave: Machado de Assis; Brás Cubas; dialogue; Milton.Abstract: The texts of Machado de Assis and mainly his novels established many dialogues with different writers and traditions. However, the way Machado de Assis chose to refer to the English poet of the seventeenth century, John Milton, on his Posthumous Memoirs of Brás Cubas, demands a careful observation. In this novel, the Brazilian writer refers to Milton but not in a direct manner; on the contrary, the allusions to Milton are indirect, creating a textual composition within the English poet and inviting him, in an absent way, to be also part of the narrative. It seems that Machado de Assis, in the elaboration of Brás Cubas’s deliriums and delights, reflects upon his act of composition and establishes a textual dialogue with the English poet, as an attempt to proliferate the meanings of Milton’s oeuvre, more specifically Paradise Lost, in the Brazilian literary context. These dialogues will be analyzed based on Mikhail Bakhtin’s studies on the idea of dialogism, which is a constituent of the concept of intertextuality and deviates the focus on the notions of authorship, causality and finality, with writing working “as a reading of the anterior literary corpus and the text as an absorption of and reply to another text” (1973, p. 39). Thus, it is possible to say that Machado de Assis absorbs some elements of composition from Milton’s creative universe and answers him on his Posthumous Memoirs of Brás Cubas, reviving them in his literary creation and in his experiences as a reader of the English poet.Keywords: Machado de Assis; Brás Cubas; dialogue; Milton.

THE FEMINIST HUNGARIAN FOLKTALE AS POSTMODERN COMBINATORICS – THE ANALYSIS OF CSENGE VIRÁG ZALKA'S STORY-BOOK TITLED RIBIZLI A VILÁG VÉGÉN [CURRANT AT THE END OF THE WORLD]

In this paper we analyze the first story-book of the internationally renowned contemporary Hungarian storyteller, Csenge Virág Zalka. In the first section we investigate the differences between folktale and literary tale, storyteller and story writer, further-/retold heritage and own creation as well as how the boundaries between them destabilize if we note down the folktale originally living in the oral traditional form. Furthermore, we will be discussing the female horizon prevalent in the Zalkaian tale-variants as well as the all-time topicality of the stories by putting the contemporary social and psychological analogies and taboo-breaking procedures of the tales in the foreground. In the focus of our investigation the Ribizli a világ végén [Currant at the End of the World] stands as a literary creation, which although we (also) analyze with an approach coming from the relevant literature of folktales and remade fairy tales, we do this all the way through the analysis in light of the postmodern text-organizing strategies.

The Question of Universals: Bolesław Leśmian in Europe and the World

The question of universals helps address ways in which the unique aspects of Bolesław Leśmian’s literary creation refl ect crucial concerns of Polish literature and culture. The local and the singular become international and universal. This article demonstrates that Leśmian’s idiomatic, seemingly untranslatable literary works enable translators and foreign readers to experience what appears to be a higher order of universality

“A curiosidade, a forma de olhar o mundo e de o contar” (Uma entrevista com Hugo Gonçalves)

Resumo: Entrevista realizada com o escritor português Hugo Gonçalves, a respeito de sua obra, notadamente os seus romances (O maior espectáculo do mundo, 2004 e O coração dos homens, 2006), o seu livro de crônicas (Fado, samba e beijo com língua, 2011) e o seu mais recente título publicado (Filho da mãe, 2019), a ser lançado nesse ano no Brasil, sob a chancela da Companhia das Letras. Alguns temas centram-se no seu projeto de criação literária, além dos assuntos que mais o tocam e interessam, enquanto matéria de suas obras. Observam- -se alguns títulos em particular, com um destaque para o seu último livro.Palavras-chave: curiosidade; escrita ficcional; violência; luto; perda; ficção portuguesa contemporânea; Hugo Gonçalves.Abstract: Interview with the Portuguese writer Hugo Gonçalves, about his work, notably his novels (O maior espectáculo do mundo, 2004, e O coração dos homens, 2006), his book of chronicles (Fado, samba e beijo com língua, 2011) and his most recent published title (Filho da mãe, 2019), to be released this year in Brazil, under the seal of Companhia das Letras. Some themes focus on his literary creation project, in addition to the subjects that most touch and interest him, as a matter of his works. There are some titles in particular, with emphasis on his latest book.Keywords: curiosity; fictional writing; violence; grief; loss; contemporary Portuguese fiction; Hugo Gonçalves.

The Application of Psychology in Literary Creation

Creation of literary is derived from people's thinking activities, which is an art that reflects the inner world of writers with language as the carrier. Psychology is a science that studies the occurrence, development and activity rules of psychological phenomena, as well as a broad subject. With the development of the times and the research of many scholars, the relationship between psychology and literature is more and more obvious, showing the characteristics of mutual interpretation and interdependence. Through the purification theory and psychoanalysis theory in psychology, the author further expounds the importance of psychology in literary research and the application of psychology in modern literary creation.

Lessons in French

None of the writers in my study can call French, without hesitation and qualification, a mother tongue. Some of them didn’t start studying the language until they arrived in Paris in their twenties and grappled with learning a new form of expression at a relatively late age. When they recall their initial exposure to this foreign tongue, they describe a fascinating apprenticeship involving dictionaries and renowned works of French literature, and they often shed light on the distinction between oral and written competence in their experience. It is crucial to note that even those authors who have long been fluent in French underscore their non-native relationship to it. Chapter 3 addresses the approaches of these worldwide women writers to French and examines their inventive literary publications in this tongue. It is sensitive to the history of this language and its inextricable connection to a colonial past that many of these writers experienced or became aware of in their homeland. It also focuses on the reality that, for almost all of these authors, this is not the only tongue with which they are familiar. For multilingual individuals, selecting French as their language of literary creation is often the result of a conscious choice motivated by a particular affinity. What comes through in their reflections is most often a passion for this language and a confirmation of the freedom it affords them, as well as an affirmation of its inimitable music that makes it especially well-suited for creative compositions.

Style and Surprise in García Márquez

The guiding theme of this article is the deceptive simplicity of García Márquez’s prose. One has only to think of the work of contemporaries like Lezama Lima and Cabrera Infante or even Cortázar or Donoso to see how “readable” García Márquez is. But then both the simplicity and the deception are real. This style owes a lot to that of Kafka, as García Márquez repeatedly said, as well as to his own career as a journalist, but finally, the language of his fiction is an extraordinary literary creation in its own right, full of hints and silences that allow the prose to do justice both to complex historical circumstances and to powerful imaginings of alternative worlds. This article argues also that this language develops over time and can productively be studied in three stages: the early fiction (1955–1962); Cien Años de Soledad and El Otoño del Patriarca (1967–1975); and the later work, especially El Amor en los Tiempos de Cólera (1985 and after).

Bilingual literary creativity: language shift or code-switching?

The writing of texts in more than one language by the same author referred to as a literary creation has a long history. It can be both the original composition and a self-translation by the author with a certain degree of revision of the initial text. The purpose of this article is to consider some cases of author’s bilingualism / polylingualism and analyze its varieties. The material for the research includes literary creations of a number of authors who lived in different historical periods (Joseph Flavius, Ulrich von Hutten, Oscar Wilde, Vladimir Nabokov, Joseph Brodsky, Yevgeny Yevtushenko, Sholom Aleichem, etc.). Usually, in cases where the author uses two / more languages, the opposition of a native language / the second (third, etc.) language is observed. There is also a particular issue of treating the possibility of having more than one native language. In general, in such cases we deal with colloquial / modern languages used by corresponding communities as means of communication. However, there are also situations where one member of a bilingual pair is a language of the culture (Latin and new languages at the Renaissance, Yiddish and Hebrew among a number of Jewish authors, etc.). In any case, the question may arise as to how balanced this kind of bilingual creativity is. Using the categories of sociolinguistics, this issue can be formulated as follows: has the writer retained the code-switching (if yes, then what is the relative importance of both languages in his creative activity) and has it not resulted in a language shift, that is, an almost complete transition to one of the members of the bilingual pair.