Amor, desejo e transgressão as cartas de amor na novela camiliana

• Autor(a) principal: Castro, Andreia Alves Monteiro de
• Data de Publicação: 2010
• Tipo de documento: Dissertação
• Idioma: por
• Título da fonte: Biblioteca Digital de Teses e Dissertações da UERJ
• Texto Completo: http://www.bdtd.uerj.br/handle/1/6299
• topic: Epistolary discourse; Writing, Desire. Camilo Castelo Branco. Novel of the 19th century in Portugal; Discurso epistolar; Escrita; Desejo; Romance do século XIX em Portugal; Castelo Branco, Camilo, 1825-1890 Crítica e interpretação; Cartas de amor Portugal Séc. XIX; Portugal Condições sociais Séc. XIX; Análise do discurso literário; Cartas portuguesas Séc. XIX; CNPQ::LINGUISTICA, LETRAS E ARTES::LETRAS::LITERATURAS ESTRANGEIRAS MODERNAS

The purpose of this dissertation is to analyze the several functions exercised by the epistolary discourse, specially the love letters, in the camilian novels in the period of 1860 to 1870, from what collection we point out Amor de Perdição (1861), Memórias de Guilherme do Amaral (1863), Agulha em Palheiro (1863) e A Sereia (1865). In these works, the letters have a very strong presence, linked to the shape and, in consequence, the elaboration of concepts and meanings of social and intimate dimension. Very popular in that time, the letters are present at another eighties romances: at Eurico, o Presbítero (de Herculano), Viagens na Minha Terra (de Garrett) and O Primo Basílio (de Eça de Queirós).The letters changed by the couples in love reveals much more than one annoyed love story which would follow the patterns of the romantic school. They portray before all the personal desires, conflicts and social tensions lived in Portugal of 19th century. The epistolary discourse is a manner of giving an intimate dimension for the main dramas of the society. To the perceptive, anxious and, unhopeful look of Camilo Castelo Branco, that criticizes the values of the society in which he is inserted, many times without seeing a possible solution, the letters become a way to bring new voices to the romance. Therefore, Camilo speaks for the narrators, for his characters in dialogue, but also for what in that world is not said, but it is written (in the letters)