Camilo and the Construction of the Novel
Autor(a) principal: | |
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Data de Publicação: | 2013 |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | https://repositorio-aberto.up.pt/handle/10216/115536 |
Resumo: | - From his very first novels, CamiloCasteloBranco sought to establish secure codes which,though appearing to subvert implicit rules, were in fact meant to safeguard the legitimacy of hisnarrative discourse while at the same time giving the impression of engaging readers in lightconversation. Thus, the opposition at play between what is true and what appears to be true, as wellas between the forced linearity of reading and discursive transgression take on a relevant role in thework of the author from Seide. This tension promotes the construction of novels that constantly seemto question the validity of the diegetic level when compared to the principles revealed in para texts orwithin the plot. Camilian discourse is thus ironically structured around a continuous ambiguitybetween saying and doing, while its ingredients unequivocally direct the reader towards the interestsof the narrative. Aníbal Pinto de Castro (1976: 47) had already stressed that this process ofmanipulation and the consequent excess of justification are indeed common inCamiloCasteloBrancos narrative and they create an ironic overtone which is hard to ignore. WhenCamilo makes explicit reference to narrative construction processes, he is implicitly alluding tocultural codes that readers are supposed to know and which they will easily identify. Readers arethus in a position to better understand the game they are being invited to play and which works intwo ways: while seemingly legitimizing narrative freedom, it actually reveals observance of the canon. |
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Camilo and the Construction of the NovelHumanidadesHumanities- From his very first novels, CamiloCasteloBranco sought to establish secure codes which,though appearing to subvert implicit rules, were in fact meant to safeguard the legitimacy of hisnarrative discourse while at the same time giving the impression of engaging readers in lightconversation. Thus, the opposition at play between what is true and what appears to be true, as wellas between the forced linearity of reading and discursive transgression take on a relevant role in thework of the author from Seide. This tension promotes the construction of novels that constantly seemto question the validity of the diegetic level when compared to the principles revealed in para texts orwithin the plot. Camilian discourse is thus ironically structured around a continuous ambiguitybetween saying and doing, while its ingredients unequivocally direct the reader towards the interestsof the narrative. Aníbal Pinto de Castro (1976: 47) had already stressed that this process ofmanipulation and the consequent excess of justification are indeed common inCamiloCasteloBrancos narrative and they create an ironic overtone which is hard to ignore. WhenCamilo makes explicit reference to narrative construction processes, he is implicitly alluding tocultural codes that readers are supposed to know and which they will easily identify. Readers arethus in a position to better understand the game they are being invited to play and which works intwo ways: while seemingly legitimizing narrative freedom, it actually reveals observance of the canon.20132013-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttps://repositorio-aberto.up.pt/handle/10216/115536eng0975-4350Marinho, Maria de Fátimainfo:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2023-11-29T13:02:15Zoai:repositorio-aberto.up.pt:10216/115536Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-19T23:32:17.675324Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
Camilo and the Construction of the Novel |
title |
Camilo and the Construction of the Novel |
spellingShingle |
Camilo and the Construction of the Novel Marinho, Maria de Fátima Humanidades Humanities |
title_short |
Camilo and the Construction of the Novel |
title_full |
Camilo and the Construction of the Novel |
title_fullStr |
Camilo and the Construction of the Novel |
title_full_unstemmed |
Camilo and the Construction of the Novel |
title_sort |
Camilo and the Construction of the Novel |
author |
Marinho, Maria de Fátima |
author_facet |
Marinho, Maria de Fátima |
author_role |
author |
dc.contributor.author.fl_str_mv |
Marinho, Maria de Fátima |
dc.subject.por.fl_str_mv |
Humanidades Humanities |
topic |
Humanidades Humanities |
description |
- From his very first novels, CamiloCasteloBranco sought to establish secure codes which,though appearing to subvert implicit rules, were in fact meant to safeguard the legitimacy of hisnarrative discourse while at the same time giving the impression of engaging readers in lightconversation. Thus, the opposition at play between what is true and what appears to be true, as wellas between the forced linearity of reading and discursive transgression take on a relevant role in thework of the author from Seide. This tension promotes the construction of novels that constantly seemto question the validity of the diegetic level when compared to the principles revealed in para texts orwithin the plot. Camilian discourse is thus ironically structured around a continuous ambiguitybetween saying and doing, while its ingredients unequivocally direct the reader towards the interestsof the narrative. Aníbal Pinto de Castro (1976: 47) had already stressed that this process ofmanipulation and the consequent excess of justification are indeed common inCamiloCasteloBrancos narrative and they create an ironic overtone which is hard to ignore. WhenCamilo makes explicit reference to narrative construction processes, he is implicitly alluding tocultural codes that readers are supposed to know and which they will easily identify. Readers arethus in a position to better understand the game they are being invited to play and which works intwo ways: while seemingly legitimizing narrative freedom, it actually reveals observance of the canon. |
publishDate |
2013 |
dc.date.none.fl_str_mv |
2013 2013-01-01T00:00:00Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
https://repositorio-aberto.up.pt/handle/10216/115536 |
url |
https://repositorio-aberto.up.pt/handle/10216/115536 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
0975-4350 |
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.source.none.fl_str_mv |
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
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Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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RCAAP |
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RCAAP |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
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Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
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