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The story-within-the-story is introduced with the sentence: This passage ends with the comment: Again, the author inserts a sentence with a meta-textual reference: It is possible to distinguish three different levels in this text—and all of them are part of the story: This text—spontaneously and playfully narrated prima facie—turns out to be an almost symmetric composition: The complex narrative structure of this column is highly unusual for a journalistic context.
The murder, The statues, How to kill cockroaches.
Yet the text offers various readings: Lispector demonstrates her competence as an author, manifesting the manifold possibilities of literary writing intra-textually. Given different foci and alternate moral appraisals, the narrator suggests four exegetical variants: The fifth story consists of nothing more than a philosophical title and the first sentence, which is the same in all five variations: These different readings may be described as follows: Moser shows that Lispector first published the recipe to kill cockroaches in when writing as Teresa Quadros.
The various interpretations, now included in one text, therefore have a temporal dimension as regards their production , as well. Another possible name is The Murder.
And also How to Kill Cockroaches. I will therefore write at least three stories[—which are all] true because none of them belies the others.
The third story is about the Statues evoked in the enumeration of the three possible titles at the outset of this column. The beginning is given in a shortened version; then the narrative scenario changes completely. Apart from the comical effect produced by the prosaic topic in all five stories, this third version contains some apocalyptic—and, at once, almost idyllic—images.
Some of the formulations—such as: The passage is very dense—in terms of content and figurativeness, but also as regards its punctuation. Mt Another effect would be the implicit comparison of the cockroaches to Jesus.
Pontiero, in: Lispector, b: As before, her sentence ends in an ellipsis, so illustrating the sudden death. Precisely when the reader begins to grasp the passage as a parable of a multiple homicide—and to discern its possible political content—the story-within- the-story stops abruptly. The fourth story does not bear a title. We might summarize it as a consideration of how to deal with cockroaches in general.
Yet, at the same time, it is a self-reflection on the part of the narrator: This fourth story is very short; still, it communicates a profound observation concerning morality: How does the murderer live with her fateful 33 Engl.: Ex It is that I looked too deeply into Nietzsche, Once again, the narrator presents the reader with more than one side of a case.
In the end, she decides in favor of moral freedom: Hoerster, Machado, To legitimize quasi-godlike decisions concerning life and death, politicians often use a certain linguistic register and rhetorical approach.
In the column however, there is neither a transformation of the female narrator 43 Tobeck, Pontiero in: It would seem, of course, that Thousand and One Nights is rather a story against murder; for Scheherazade is telling her stories night after night, in order to survive. Tobeck, Hedrick, Lispector, b. Indeed, the column includes not only one, but several changes of perspective.
In the second version of the story entitled The murder , the narrator, while mixing the poison, points out that the cockroaches are becoming a part of her; the next sentence begins with the words: This change of perspective suggests two subversive connotations: The specific form of this column may itself be seen as a statement.
This self- reflexive move may be read as a critique of quasi-political demands for textual order and linear assumptions. In opposition to the political speeches of the dictatorial regime, from which Brazil was suffering at the time, the column offers a space for various interpretations; consequently, the political reading demonstrated in the present paper is also only one reading among many other possible ones. At the very beginning, Lispector indicates that the following five stories are but one or rather: In so doing, she opens up the text s for a possible continuation by each individual reader, giving his or her specific worldview a literary place, perhaps not available in the realm of social and political reality at a given time.
The five interpretations Lispector offers in her column arguably lead to a skeptical balance; each of them focalizes the others, and each of them puts the event into perspective by providing yet another point of view always already an implicit interpretation, here balanced by the others. The five alternatives enable each other; but, in their given form, they also depend on each other. This will remind the reader of Montaigne, once more: Instead of a Hegelian synthesis, Lispector offers a perpetual in-between, a floating or levitation—a plurality of readings.
descoberta do mundo clarice lispector pdf files
The first sentence is already formulated as a poetic image: Yet since the author parallels the urban landscape with her own emotional state, formulating her mythico-utopian associations accordingly, the text all of a sudden turns out to be an early critical comment on a city euphorically valued in the contemporary consensus: This text was also published under different titles.
In Lispector, a it bears the title: Beal, I am here referring to the title as published in the Jornal do Brasil.
In this column, Lispector seems to be asking how the world might have been, if it had been created according to the necessities of human beings. Yet human beings do not seem to be made for such a sterile environment.
She writes that her nausea in this city causes insomnia—which she interprets as a sign of terror. Lispector paraphrases her impressions using various images: As had been the case in other totalitarian regimes, this goes hand in hand with an oblivion or manipulation of history, and an aggression against all representatives of the past.
Thousands of years later the narrative continues , a group of refugees finds the city; in this way, Lispector invents the missing past: The invented past not only contests the utopia of the creation of a city from nothing, but also embraces a plurality of inhabitants, which had certainly not been envisioned. In these aspects, Lispector may be linked to twentieth century thinkers such as Hannah Arendt.
She also mentions democracy and Brazilian self-sufficiency. Certainly, it is not fear that enables Lispector to write sentences such as: This may have a critical impetus even in the very artistic liberty taken. Pertencer In conclusion, one may note that it was neither national belonging nor geographical borders Lispector was interested in. A revealing column may be quoted in this context: Eram todos cegos. Lispector, , As demonstrated above, the critical content one may derive from her journalistic work is—in its consequence—more political than many historical, non- literary comments on the actual government had been.
Lispector allows or even demands plural interpretations and active considerations on the part of the reader. Noten zur Literatur, Frankfurt am Main: Suhrkamp, Arendt, Hannah: Piper, Second publication in: Piper, , pp. The Human Condition,  Chicago, London: The Origins of Totalitarianism, New York, Leibniz, Gottfried Wilhelm: Lispector, Clarice: Editora A Noite, A descoberta do mundo, Rio de Janeiro: Nova Fronteira, Siciliano, a.
The Foreign Legion: Stories and Chronicles, transl. Essays, transl. New Directions Publishing Corporation, With contributions and transl. Wehr, Norbert Ed. Montaigne, Michel Eyquem de: Essais, , Commented by Albert Thibaudet. Gallimard, Nietzsche, Friedrich: Zur Genealogie der Moral, , Kritische Studienausgabe KSA 5.
Giorgio Colli and Mazzino Montinari. Strauss, Leo: The giving of her name, on the basis of survival and a vow to a Catholic figure, Our Lady of Sorrows, marks her as the Other.
The author survived the Shoah because she was granted immigration to a majoritarian Catholic country in which she, because of her name, her demeanor, her voice, and her foreign descent, always remained the Other.
Macabea will later indeed yearn for her namelessness, her freedom at a time before she was confronted with her otherness. At the end of the novel, as a reminder of the enduring reality of the Shoah, she is run over by a German car. For Lispector, too, the Shoah was a reality she could not escape. Works Cited Aizenberg, Edna. On the Edge of the Holocaust: Brandeis University Press.
Al-Behy Kanaan, Dany. A escritura de pertencimento de Clarice Lispector. Casa Do Psicologo. Barasch, Moshe. Biale, David. Blood and Belief: The Circulation of a Symbol between Jews and Christians. University of California Press. Cambridge, MA: Harvard University Press, pp.
Coutinho Edilberto. In Criaturas de papel.
A Descoberta do Mundo
Rio de Janeiro: O grotesco e o divino em Clarice Lispector. Morder las estrellas: El misticismo de Clarice Lispector. Gilman, Sander. New York: Gow, Andrew Colin. The Red Jews: Antisemitism in the Apocalyptic Age, — Igel, Regina. Sao Paolo: Editora Perspectiva. Lesser, Jeffrey. Welcoming the Undiserables: Brazil and the Jewish Question.
Lindstrom, Naomi. David William Foster. Vanderbilt University Press, pp.
Lispector, Clarice. The Hour of the Star. Giovanni Pontiero. Alves Editora, pp. Carcanet, pp. Katrina Dodson. New Directions, pp.
Lowe, Elizabeth. Moser, Benjamin. Why This World: A Biography of Clarice Lispector. Oxford University Press. Mulman, Lisa Naomi. Oberman, Heiko A. Vieira, Nelson H.
Jewish Voices in Brazilian Literature: A Prophetic Discourse of Alterity. University of Florida Press. Waldman, Berta. Uma Leitura de A Hora da Estrela.
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Regina Zilberman et al. Porto Alegre: Wengrover-Schwartz, Esther. Patricia Finzi et al. Buenos Aires: Grupo Editorial Shalom, pp. Williams, Claire. The Lispector Industry.
Related Papers. Resistance as Shapeshifter: By Kelli Zaytoun. Clarice's radicality translated. By Luana Ferreira de Freitas. By Lesley Sogl. Lispector, the Time of the Veil. By Cory Stockwell. The White Darkness: By Karen Berger. Download pdf. Remember me on this computer. Enter the email address you signed up with and we'll email you a reset link.In Criaturas de papel. The Circulation of a Symbol between Jews and Christians. The repetition of specific words, semantic fields, and syntactic structures justifies an allegorical reading of the encounter with the rat as a confrontation with the Shoah, the most traumatic and disruptive event in Jewish history.
This passage ends with the comment: Eram todos cegos. Clarice — at that time her name was still Chaya — was born during the escape.