NARRATIVE ARCHITECTURE AND READER CONSTRUCTION: A READING OF SE UM VIAJANTE NUMA NOITE DE INVERNO, BY ITALO CALVINO

In “La mancata fortuna del romanzo italiano” (1995), Calvino discusses the reasons why the romance did not assert itself as a genre, counteracting  the “fearless and adventurous” texts from other literatures. After assuring the fatherhood of the genre in Italy to Manzoni, he observes that what was missing was in fact one of his main characteristics: the adventure. From this finding,  Calvino asks how it would be, nowadays, the Italian adventure romance. The questioning made around the 1950s (the text above is from 1953) sketches, to our understanding, a practical response 25 years later in the romance called Se um viajante numa noite de inverno (1979), in which Calvino narrates the "adventure" of the Reader who dives into a tangling romanesque discourses that never complete themselves. Such seduction strategy is associated to the actual narrative construction of Calvino, who conceives the romance as a "machine envisaged to tell a story that fascinates the readers."  (CALVINO apud NETO, 1997, p. 141). Calvino's words express two aspects of utmost importance in his literature - which will be fundamental in Se um viajante numa noite de inverno: the concern with the narrative architecture and the fascination that the plot must exert on the reader. In this reading of  Se um viajante numa noite de inverno we intend to highlight how these two aspects are imbricated in the romance, enabling Calvino to make true his so-dreamed Italian "adventure romance" from the problematization of the relation writer and public-reader. 

THE DIALOGIC EROTISM IN MARIO VARGAS LLOSA’S BOOK GREETINGS TO THE STEPMOTHER

Abstract: Using studies about erotism (Bataille, Baudrillard and Maingueneau) and dialogism explored by Bakhtin, we proposed to analyze the parafrastic dialogic mechanism which is focused by Fucs and Afonso Romano de Sant’Anna. We aimed to research the Mario Vargas LLosa’s book Greetings to the Stepmother. In this book, verbal and visual establish an insistent dialogue, due to the fact that every two chapters are opened by a classical painting. This painting is a summing and anticipating paraphrase of the verbal conditional which is coming after and it places a fundamental role Llosa’s production since the reiteration of the same – different languages but with the same sense – is the way through which the book goes on.   Keywords: Erotism. Seduction. Dialogism.  

BODY AND VISUALITY OF CONCHITA IN LA FEMME ET LE PANTIN

This paper aims to discuss the construction of the image of Conchita character within the novel La femme et le Pantin, written by Pierre Louÿs in 1898, along with reference works and translations of literature, painting and film. Work genre romance unconfessable presents relational features the seduction and the making of the feminine about the subversion of the ideals of womanhood in the fin-de-sciècle, using the idiosyncrasy of the physical body and the Spanish character, before the traditional values of the time, and how about overcoming the idea of courtly love. This process meant that these elements interact continuously among themselves, establishing itself as a new perspective to the construction of the female character in his fiction. Thus, this discussion takes place on different aspects of development, from the direct reading of the authors and the novel as a basis, considering the character alive as a result of the relationship between memory, culture and time.