“…Roberto Schwarz has offered a memorable formulation of this critique: Machado said that the writer could be “a man of his time and his country, even when he deals with subjects remote in time and space.” The critic was trying to secure for Brazilians the right to deal with every kind of subject matter, as opposed to the point of view “that only recognizes national qualities in works that deal with local topics”. (Schwarz, , p. 1).…”
Section: Critical Originalitymentioning
confidence: 99%
“…Machado thus invoked an acute sense of historicity that, rather than becoming “a straightjacket on the intelligence,” enabled a bidirectional critical disposition: on the one hand, it broke through any nativist imperative, and thus emancipated the writer from nativist conscription; on the other, as the main character of The Posthumous Memoirs of Brás Cubas clearly exemplifies, asserted the freedom to pluck references from all the corners of the planet, of humanity's history, which at once decontextualizes both these references and the critic when he brings these references to his context (Schwarz, , p. 134).…”
Section: Critical Originalitymentioning
confidence: 99%
“…Yet one thing is clear: both the pseudo‐problem of originality and potted accounts of Eurocentrism must be overcome. Critical adaptation, even “ judicious imitation,” as Schwarz has shown, yield insights leading to “the recognition of [how] a disadvantageous starting point” could create “the conditions for critical independence,” and also how “historical mimesis, duly imbued with critical sense” need “not lead to provincialism, nationalism, or backwardness,” but could be enabling conditions for articulating genuinely concrete universals (Schwarz, , pp. 104, 164) .…”
“…Roberto Schwarz has offered a memorable formulation of this critique: Machado said that the writer could be “a man of his time and his country, even when he deals with subjects remote in time and space.” The critic was trying to secure for Brazilians the right to deal with every kind of subject matter, as opposed to the point of view “that only recognizes national qualities in works that deal with local topics”. (Schwarz, , p. 1).…”
Section: Critical Originalitymentioning
confidence: 99%
“…Machado thus invoked an acute sense of historicity that, rather than becoming “a straightjacket on the intelligence,” enabled a bidirectional critical disposition: on the one hand, it broke through any nativist imperative, and thus emancipated the writer from nativist conscription; on the other, as the main character of The Posthumous Memoirs of Brás Cubas clearly exemplifies, asserted the freedom to pluck references from all the corners of the planet, of humanity's history, which at once decontextualizes both these references and the critic when he brings these references to his context (Schwarz, , p. 134).…”
Section: Critical Originalitymentioning
confidence: 99%
“…Yet one thing is clear: both the pseudo‐problem of originality and potted accounts of Eurocentrism must be overcome. Critical adaptation, even “ judicious imitation,” as Schwarz has shown, yield insights leading to “the recognition of [how] a disadvantageous starting point” could create “the conditions for critical independence,” and also how “historical mimesis, duly imbued with critical sense” need “not lead to provincialism, nationalism, or backwardness,” but could be enabling conditions for articulating genuinely concrete universals (Schwarz, , pp. 104, 164) .…”
“…In this paradoxical route towards cultural autonomy, Darío differs from more reflexive writers, such as Brazilian novelist Machado de Assis (1839-1908. In his more ironic mode, Machado relativized bourgeois universalism revealing the particular European origin of these 'universals' (Schwarz 2001 Darío participated in this process, positing himself at an extreme culturalist pole. The "revolutionary" formula was, in Darío's words, "the defense of […] a literary aristocracy" (Darío [1912(Darío [ ]1991.…”
Section: The Lesser Evil? Integration Into the Capitalist Market And mentioning
The late 19th struggle for artistic freedom in the capitalist world-system put the artist in a contradictory position. (1996: 193-208) introduced the notion of autonomous literary field to overcome the dichotomy between readings excessively concerned with 'external determination' and readings narrowly focused on 'internal'/'intertextual' connections. In the camp following the principle of external determination we find most forms of sociological explanations of art. Within this tradition, Marxist 'reflection theory' has the merit of being the most sophisticated expression. In reflection theory, art and literature are seen as reflections either of socioeconomic processes or of the world-view of particular classes (cf. Goldmann 1975). On the other hand, we find the tradition that, in some form or another, engages artistic texts as if focusing only on form, and on the construction and deconstruction of meanings within texts is the only valid analysis (examples range from some traditional forms of criticism to semiotics and deconstruction). In opposition to both traditions, Bourdieu argued that the literary field, the relatively autonomous space of artistic production, was an outcome of historical struggles that in different countries and at different moments positioned avant-garde and 'art for art's sake' writers against heteronomy, specifically against what he calls the structural subordination of art with respect to the new industrial bourgeoisie and the state. He explained that in the 19 th century there emerged out of these struggles the literary field as a world apart: 'a social universe which has as a fundamental law, as a nomos, independence with respect to economic and political power ' (Bourdieu 1996: 61). Within this newly created world 'internalist' readings are dominant and tend to govern the production of literary knowledge. This dominance is itself understandable if one examines the social process of autonomization that instituted the search for internally (de)constructed meanings as the legitimate form of reading. Marxist reflection theory's failure resided in that it bypassed this problem and instead sought to substitute A world-systems biography should examine these global transformations via 'microscopic observations' (Derluguian 2005: 290), and Darío's life illustrates how cultural autonomy could be conquered by means of resistance against, and negotiation of, core world-systemic impositions. As Perry Anderson reminds us, the coinage of the term "modernism" belongs to Ruben Darío himself, codified in reaction to these intertwined economic and cultural impositions:
This contradiction is particularly relevant for writers of the periphery. Freedom or autonomy to pursue purely intellectual projects required a certain aristocratic defense of the value of art. At the same time, however, artists and intellectuals did confront structural subordination: they belonged, as Pierre Bourdieu explained, to the dominated fractions of the dominant class, subordinated both to the state and the bourgeois...
“…O termo (con)fundir é apropriado para essa leitura, pois como mencionado anteriormente, a descoberta de Milton em Machado é feita de forma incerta e torna-3. Vejam-se as contrapartidas teórico-críticas de alguns estudos sobre Shakespeare e/m Machado de Assis: BARBIERI, 2000;CALDWELL, 1960CALDWELL, , 1970CLARO, 1982;DOUGLAS, 1998;GOMES, 1976;HANSEN, 1999;JOBIM, 2003;MERQUIOR, 1972;PARAM, 1970;PASSOS, 2005;ROCHA, 2006;ROUANET, 2005;RUSHDIE, 2005;SCHWARZ, 2001SCHWARZ, , 1999SCHWARZ, , 1992SÜSSEKIND, 1993;VASCONCELOS, 2005e VILAR, 2001 se fusão. A confusão dos textos pode ser explicada pela semelhança das colocações nas duas obras.…”
"Influência: palavra anatematizada pela crítica (brasileira) contemporânea, preocupada em ser moderna, imparcial e politicamente correta.Até que ponto se justifica a mera mudança do termo influência por correlativos como influxo, ressonância, confluência, convergência; por que não a mudança da noção de influência, criação de novo conceito?" Com essas palavras, Andréa Werkema inicia
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