Abstract:ESTUDOS AVANÇADOS 15 (42), 2001 449 ÃO BASTANTE conhecidas as belíssimas palavras de Pascal, escritas na noite de 23 de novembro do ano da Graça de 1654. A tortura das letras, a escrita extática daquele documento, revelam o arrebatamento do autor. O raptus, sinal da experiência mística, anula as distâncias entre céu e terra, parecendo decretar a cessação do tempo, quando o eterno é o hic et nunc do mundo. Eternellement en joie pour un jour d'exercice sur la terre... O Mémorial, escrito naquela noite, encerr… Show more
O artigo investiga o papel desempenhado pelo Fidelio de Beethoven no Memorial de Aires de Machado de Assis. Nesse romance extraordinário, o conselheiro Aires evita condenar uma mulher que, entretanto, o seu enganoso diário terminará pondo sob suspeita. Na ópera, Leonora nada esconde, porque abaixo de sua máscara não há nada senão sua lealdade ao marido aprisionado. Machado de Assis, contudo, inicia sua trama num cemitério, onde o marido agora é morto. A importante questão que daí resta é: o que fazer se a fidelidade se refere a um objeto que, seja ele o amado, seja o referente literário, não existe mais? This article investigates the role played by Beethoven's Fidelio in Machado de Assis' Memorial de Aires. In this extraordinary novel, Counselor Aires avoids condemning a woman who, nevertheless, is put under suspicion by his treacherous diary. In the opera, Leonora hides nothing, because behind her mask there is nothing but loyalty to her imprisoned husband. Machado de Assis, however, begins his novel in a cemetery, where the beloved husband is buried. The main question that is left is: What to do if fidelity refers to an object, be it the beloved or a literary referent, that does not exist any longer
O artigo investiga o papel desempenhado pelo Fidelio de Beethoven no Memorial de Aires de Machado de Assis. Nesse romance extraordinário, o conselheiro Aires evita condenar uma mulher que, entretanto, o seu enganoso diário terminará pondo sob suspeita. Na ópera, Leonora nada esconde, porque abaixo de sua máscara não há nada senão sua lealdade ao marido aprisionado. Machado de Assis, contudo, inicia sua trama num cemitério, onde o marido agora é morto. A importante questão que daí resta é: o que fazer se a fidelidade se refere a um objeto que, seja ele o amado, seja o referente literário, não existe mais? This article investigates the role played by Beethoven's Fidelio in Machado de Assis' Memorial de Aires. In this extraordinary novel, Counselor Aires avoids condemning a woman who, nevertheless, is put under suspicion by his treacherous diary. In the opera, Leonora hides nothing, because behind her mask there is nothing but loyalty to her imprisoned husband. Machado de Assis, however, begins his novel in a cemetery, where the beloved husband is buried. The main question that is left is: What to do if fidelity refers to an object, be it the beloved or a literary referent, that does not exist any longer
This study examines two literary worlds fashioned by epic authors Machado de Assis and Henry James. In the novels Esaú e Jacó (1904) and The Ambassadors (1903), the writers explore the theme of ambassadorship. In these two texts, key characters act as emissaries. Councilor Aires, Lambert Strether, and Sarah Pocock discover that ambassadorial service brings with it many complications. Each of them fulfills his or her mission in a particular way and does so with differing motives. For these three individuals, access to and interpretation of information becomes decisive in fulfilling their respective commissions. This information circulates in distinct ways, yet the ability to access and understand the information depends on each ambassador's social and cultural "capital", as can be seen in the theories of Pierre Bourdieu.
Keywords
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.