The distorting prism of the carnavelesque in O Concerto dos Flamengos by Agustina Bessa-Luís, A Casa da Cabeça de Cavalo by Teolinda Gersão and Lillias Fraser by Hélia Correia
Autor(a) principal: | |
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Data de Publicação: | 2012 |
Tipo de documento: | Artigo |
Idioma: | por |
Título da fonte: | letrônica |
Texto Completo: | https://revistaseletronicas.pucrs.br/ojs/index.php/letronica/article/view/10687 |
Resumo: | In Dostoevsky's Poetics, Bakhtin presents the carnival, from which he detaches some of the categories, including laughter, polyphony, grotesque or parody as one of the roots of the novel. At the heart of this process of incorporation of the carnival by the novel is a series of binary oppositions that distinguish a formal and serious world from an unofficial and carnivalesque world in which the reversal of values occurs. Carnavalesque thus makes figures of ambivalence its specificity and thus prevents any norm from settling down, any form of fixing itself, in a view contrary to the classical perception of literature where norm and form are guarantors of beauty Artwork. In the novels of our study, Agustina Bessa-Luís' O Concerto dos Flamengos, A Casa da Cabeça de Cavalo by Teolinda Gersão and Lillias Fraser by Hélia Correia3, the principles of referentiality and the effect of reality are then modulated by the prism Of the carnavalesque which causes their deformation: deformation of the character, distortion of the world of the work and deformation of the language. |
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The distorting prism of the carnavelesque in O Concerto dos Flamengos by Agustina Bessa-Luís, A Casa da Cabeça de Cavalo by Teolinda Gersão and Lillias Fraser by Hélia CorreiaLe prisme déformant du carnavelesque dans O Concerto dos Flamengos d’Agustina Bessa-Luís, A Casa da Cabeça de Cavalo de Teolinda Gersão et Lillias Fraser de Hélia CorreiaIn Dostoevsky's Poetics, Bakhtin presents the carnival, from which he detaches some of the categories, including laughter, polyphony, grotesque or parody as one of the roots of the novel. At the heart of this process of incorporation of the carnival by the novel is a series of binary oppositions that distinguish a formal and serious world from an unofficial and carnivalesque world in which the reversal of values occurs. Carnavalesque thus makes figures of ambivalence its specificity and thus prevents any norm from settling down, any form of fixing itself, in a view contrary to the classical perception of literature where norm and form are guarantors of beauty Artwork. In the novels of our study, Agustina Bessa-Luís' O Concerto dos Flamengos, A Casa da Cabeça de Cavalo by Teolinda Gersão and Lillias Fraser by Hélia Correia3, the principles of referentiality and the effect of reality are then modulated by the prism Of the carnavalesque which causes their deformation: deformation of the character, distortion of the world of the work and deformation of the language.Dans La Poétique de Dostoïevski, Bakhtine présente le carnaval, dont il détache certaines des catégories, notamment le rire, la polyphonie, le grotesque ou la parodie comme l’une des racines du roman2 . Au cœur de ce processus d’incorporation du carnaval par le roman se trouve une série d’oppositions binaires qui distinguent un monde officiel et sérieux d’un monde non-officiel et carnavalesque où se produit le renversement des valeurs. Le carnavalesque fait ainsi des figures de l’ambivalence sa spécificité et empêche de cette façon toute norme de s’installer, toute forme de se fixer, dans une visée contraire à la perception classique de la littérature où norme et forme sont garantes de la beauté de l’œuvre. Dans les romans de notre étude, O Concerto dos Flamengos d’Agustina Bessa-Luís, A Casa da Cabeça de Cavalo de Teolinda Gersão et Lillias Fraser de Hélia Correia3 , les principes de référentialité et d’effet de réel sont alors modulés par le prisme du carnavalesque qui entraîne leur déformation : déformation du personnage, déformation du monde de l’œuvre et déformation de la langue.Editora da PUCRS - ediPUCRS2012-02-16info:eu-repo/semantics/articleinfo:eu-repo/semantics/publishedVersionapplication/pdfhttps://revistaseletronicas.pucrs.br/ojs/index.php/letronica/article/view/10687Letrônica; Vol. 5 No. 1 (2012): Número Especial; 125-139Letrônica; v. 5 n. 1 (2012): Número Especial; 125-1391984-4301reponame:letrônicainstname:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)instacron:PUC_RSporhttps://revistaseletronicas.pucrs.br/ojs/index.php/letronica/article/view/10687/7441Carmo, Sarahinfo:eu-repo/semantics/openAccess2017-03-03T16:13:50Zoai:ojs.revistaseletronicas.pucrs.br:article/10687Revistahttps://revistaseletronicas.pucrs.br/ojs/index.php/letronicaPRIhttps://revistaseletronicas.pucrs.br/ojs/index.php/letronica/oailetronica@pucrs.br||ivanetemileski@gmail.com1984-43011984-4301opendoar:2017-03-03T16:13:50letrônica - Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS)false |
dc.title.none.fl_str_mv |
The distorting prism of the carnavelesque in O Concerto dos Flamengos by Agustina Bessa-Luís, A Casa da Cabeça de Cavalo by Teolinda Gersão and Lillias Fraser by Hélia Correia Le prisme déformant du carnavelesque dans O Concerto dos Flamengos d’Agustina Bessa-Luís, A Casa da Cabeça de Cavalo de Teolinda Gersão et Lillias Fraser de Hélia Correia |
title |
The distorting prism of the carnavelesque in O Concerto dos Flamengos by Agustina Bessa-Luís, A Casa da Cabeça de Cavalo by Teolinda Gersão and Lillias Fraser by Hélia Correia |
spellingShingle |
The distorting prism of the carnavelesque in O Concerto dos Flamengos by Agustina Bessa-Luís, A Casa da Cabeça de Cavalo by Teolinda Gersão and Lillias Fraser by Hélia Correia Carmo, Sarah |
title_short |
The distorting prism of the carnavelesque in O Concerto dos Flamengos by Agustina Bessa-Luís, A Casa da Cabeça de Cavalo by Teolinda Gersão and Lillias Fraser by Hélia Correia |
title_full |
The distorting prism of the carnavelesque in O Concerto dos Flamengos by Agustina Bessa-Luís, A Casa da Cabeça de Cavalo by Teolinda Gersão and Lillias Fraser by Hélia Correia |
title_fullStr |
The distorting prism of the carnavelesque in O Concerto dos Flamengos by Agustina Bessa-Luís, A Casa da Cabeça de Cavalo by Teolinda Gersão and Lillias Fraser by Hélia Correia |
title_full_unstemmed |
The distorting prism of the carnavelesque in O Concerto dos Flamengos by Agustina Bessa-Luís, A Casa da Cabeça de Cavalo by Teolinda Gersão and Lillias Fraser by Hélia Correia |
title_sort |
The distorting prism of the carnavelesque in O Concerto dos Flamengos by Agustina Bessa-Luís, A Casa da Cabeça de Cavalo by Teolinda Gersão and Lillias Fraser by Hélia Correia |
author |
Carmo, Sarah |
author_facet |
Carmo, Sarah |
author_role |
author |
dc.contributor.author.fl_str_mv |
Carmo, Sarah |
description |
In Dostoevsky's Poetics, Bakhtin presents the carnival, from which he detaches some of the categories, including laughter, polyphony, grotesque or parody as one of the roots of the novel. At the heart of this process of incorporation of the carnival by the novel is a series of binary oppositions that distinguish a formal and serious world from an unofficial and carnivalesque world in which the reversal of values occurs. Carnavalesque thus makes figures of ambivalence its specificity and thus prevents any norm from settling down, any form of fixing itself, in a view contrary to the classical perception of literature where norm and form are guarantors of beauty Artwork. In the novels of our study, Agustina Bessa-Luís' O Concerto dos Flamengos, A Casa da Cabeça de Cavalo by Teolinda Gersão and Lillias Fraser by Hélia Correia3, the principles of referentiality and the effect of reality are then modulated by the prism Of the carnavalesque which causes their deformation: deformation of the character, distortion of the world of the work and deformation of the language. |
publishDate |
2012 |
dc.date.none.fl_str_mv |
2012-02-16 |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://revistaseletronicas.pucrs.br/ojs/index.php/letronica/article/view/10687 |
url |
https://revistaseletronicas.pucrs.br/ojs/index.php/letronica/article/view/10687 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.none.fl_str_mv |
https://revistaseletronicas.pucrs.br/ojs/index.php/letronica/article/view/10687/7441 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
Editora da PUCRS - ediPUCRS |
publisher.none.fl_str_mv |
Editora da PUCRS - ediPUCRS |
dc.source.none.fl_str_mv |
Letrônica; Vol. 5 No. 1 (2012): Número Especial; 125-139 Letrônica; v. 5 n. 1 (2012): Número Especial; 125-139 1984-4301 reponame:letrônica instname:Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) instacron:PUC_RS |
instname_str |
Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
instacron_str |
PUC_RS |
institution |
PUC_RS |
reponame_str |
letrônica |
collection |
letrônica |
repository.name.fl_str_mv |
letrônica - Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
repository.mail.fl_str_mv |
letronica@pucrs.br||ivanetemileski@gmail.com |
_version_ |
1799128595926351872 |