PDF | This work develops a reading of The "Fortune Teller", by Machado de Assis , based on the hypothesis that the Machadian short story, along with the reader. Abstract. This work develops a reading of The "Fortune Teller", by Machado de Assis, based on the hypothesis that the Machadian short story, along with the. A Cartomante - Machado de Assis [pdf]. muscpertastsunear.tk Views. 5 years ago. Camilo, · Vilela, · Cartomante, · Rita, · Cartas, · Olhos, · Casa, · Pouco.

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A Cartomante (The Fortuneteller) and A Causa Secreta (The Secret Cause), by A Cartomante e A Causa Secreta, de Machado de Assis, abordam os temas. Comparisons between Machado de Assis and Jorge Luis Borges share one commonality: This article discusses a translation of Machado's “A Cartomante,”. Rights Reserved. Download as DOCX, PDF, TXT or read online from Scribd Identifique no conto A cartomante de Machado de Assis, exemplos de: a) Ironia.

She is radiant as she leaves, however, the light that strikes her life is not the glow of a great love in the form of a prince on white horse, the rich foreigner who is destined to her; instead, it is from the headlights of the car that strikes her, captivated like Camilo by the mirage. When she falls to the ground, she thinks: However, what is interesting here is precisely the effect: It "plays with" and subverts the idea of the "already written book of fate.

Descrição do livro

They play a verbal card, and the card is picked up [ When the player picks the wrong name, he hasn't exactly missed the oracle meaning. He has chosen one meaning and ceased to look for others.

Camilo obviously made his choice right away. However, his fortune teller did not produce an outline or an enigma worthy of the place her word originated the place of truth. What Machado makes clear is that a fortune teller is no oracle. Striving to point out the relationships in the Machadian text based on what provokes the vertigo effect, more directly, is also to establish the hypothesis of linking this with what we point out as the encounter with the following: With this in mind, the "navel" of the plot, to recall the Freudian thesis, can be related to a specificity, a nodal point.

With the unstable terrain of the dynamics of vertigo, Machado reiterated the operation that presents a subversion of places: This is the dynamics of fantasy that works for each one in the subjective processes: The place where one is "lost" precisely for having been constituted, subjectively, in an operation of alienation to the Other in the story, the "capture" of Camilo - alienation to the maternal Other that precedes us and that imaginatively and symbolically sustains us over this "hole" of the real for which there is no knowledge.

Considering this, the twisting movement of the narrative gains space and draws our attention to the issue of structure. The Argentine writer Ricardo Piglia has worked on hypotheses regarding formal operations in stories, based on the examination of the resultant architecture of the production of the great short story writers.

In his book Formas breves [ Brief Forms ], he proposes two theses about short stories. First thesis: Second thesis: He presents a minimal example, taken from one of Chekhov's notebooks: The anecdote disconnects two intertwined stories: While on the one hand he claims this duplicity, Piglia highlights the interstices between the short stories, details that articulate the pathways between the stories and place them in concurrence.

In the "The Fortune Teller," we can identify the interstice as the special moment of tension in the plot, the "Right now! Come on!

And here, one more step in thinking about structure, the form of the writing, a new dialogue, Piglia and Lacan. Throughout his work, Lacan elaborated the structure of the subject in its relationship with the formations of the unconscious, and even on the subject and the social, using as a reference a figure that comes from the field of the topology: The Moebius strip is an enigmatic and paradoxical surface: The front and the back now in a continuum are as if contained by each other.

Ricardo Piglia's formulation - each short story contains two stories - enables us to articulate the duality, but the emphasis he gives to the interstices allows us to take one more step: Surpassing the duality, irony gains a place: Is it not through irony that Machado traces his passages, writing "an oblique look" through which an element of truth crosses?

What is interesting about irony in the context that concerns us: On the topic of irony in the realm of social processes, Hamon 24 stresses that, although for some irony can act as an index of a certain degree of acquired authority or a mark of superiority of caste or class , it can be, on the other hand, a resource for resisting domination, without leading to a direct attack.

This has to do with a certain confrontation, polarization, but it is neither anchored in dominator nor in dominated; irony is not ruled by binary oppositions that would end up discarding the "too much," and the "not so much," the "a little," the "almost no,": In other words, irony makes use of binaries, of oppositions, but it does not succumb to them; we could say that irony crosses binaries in a diagonal line.


Binaries make no room for nuances - the fundamental elements of irony. The ironist, in general, breaks up anything that is presented as apt to be totalizing, to be massive. The ironist takes the minimum trace, performs the "dissection of majestic elements," aiming at the fracture; the detail that accompanies the pleasure in disorganizing regularity - the obliquity that creates disorder in everything that appears as inevitable. Irony in Machado has this quality, it is its point of passage, it cuts the ground, it is the vehicle of vertigo which appears through details , and is a form of obliquity a certain twist in the writing.

Exceeding the duality and inserting the count of the three in the play the "equivocal" points, which benefit either side , we come close to the witty remark, the wisecrack, which is one of the formations of the unconscious. When addressing the formations of the unconscious, Lacan 25 stresses that witticism goes through three instances, not two unlike the comical, which would be dual.

In witticism there is the message that circulates, but it must pass through the Other, through the place that is not said, yet assumed, where it is funny. Witticism is only produced in this manner, it designates that which is always to one side, and which is seen precisely only by looking elsewhere. And when the witticism occurs, it cuts, what can appear is what was ciphered there in the middle of the saying itself, the witticism, the assumption, the desire that circulates in the middle of the scene, in the structure.

The fortune teller? She was what she was, tarnished, she said what he wanted to hear so that he paid more. The abode of indifferent Machadian irony Destiny itself. Irony is how Machado shares joy with the reader - in the form by which he allows language to be consumed - transmitting in same gesture several hard truths and a few major enigmas of the human condition, questions that continue to challenge us and to constitute our fictions.

A cartomante. Obra completa.

Rio de Janeiro: Por um novo Machado de Assis: Companhia das Letras, Hachette Livre, Jorge Zahar Editor, Jorge Zahar Editor, , livro A hora da estrela. Rocco, A cartomante: Machado de Assis em Linha , vol. O conto machadiano: Companhia de Freud, Formas breves. Vertigo, um corpo que cai. Paramount, Machado de Assis: WOOD, Michael. Nova York: Eram amigos de veras. Era um pouco mais velha que ambos: Odor di feminina: Liam os mesmos livros, iam juntos a teatros e passeios.

Rita, como uma serpente, foi-se acercando de le, envolveu-o todo, fez-lhe estalar os ossos num espasmo, e pingou-lhe o veneno na boca. Ele ficou atordoado e subjugado.

A Cartomante - Machado de Assis [pdf]. Short-link Link Embed. Share from cover. Share from page: Page 5 and 6: More magazines by this user. Close Flag as Inappropriate. When Camilo gets an anonymous letter mentioning the affair, he stops visiting the couple, a fact that drives Rita to the fortune-teller.

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Halfway through the story, the narrator summarizes the inevitable consequences of the events described so far. First, it is just a thought, but soon it becomes an obsession.

Camilo then decides to pay the fortune-teller a visit.

As the title of the supplement implies, one of its strengths was the colorful and suggestive series of images that accompanied the texts. Four of the frames tell the central part of the story Figure 1 : in the first frame, the reader sees a beautiful Rita with a long dress; the second one puts the reader in the position of the observer, showing Camilo talking to the fortune-teller, who enticingly and according to the narration has her back turned to the window through which one sees the scene; in the third, Camilo is running up a set of stairs; the fourth shows two men, Camilo and Vilela, fighting, and also the torso of a dead woman, Rita.

It all emphasizes the melodramatic and violent nature of the tale. From the tone to the structure of the stories, it is possible to point CLS Atena Green identifies an ironic tone in this introduction, in its overstated use of adjectives.

More details about his infamy are brought to light: anecdotes of his life in crime, his being arrested, his escaping prison, and so on. Atena Green compares the images displayed by the narrator to scenes on a movie screen. Even though the story is presented as a biography, elements of mystery and anticipation surround it.

The theme of betrayal is suggested, as the reader can imagine that Eastman was double-crossed by one of his many foes or even friends. Atena Green maintains that the presence of these devices benefits the reader, who has to understand them as such, that is, as literary strategies, in order to fully appreciate the storytell- ing.

Moreover, they both subtly propose a reflection on the genre to which the texts are related when presenting archetypes and commenting on the inevitability of specific twist and turns common to the type of narrative to which they are engaging. The first similarity lies in the title. On the subject, Mascioto points out that there was an influence of the avant-garde writers of the time that were connected to the newspaper, as its titles were not purely descriptive, nor absolutely sensationalist.

He makes this claim mainly by highlighting one of the most noticeable differences between the original and the translation, which are, for the most part, lin- guistically equivalent.

This sentence does not appear in the Spanish translation. However, other omissions are evident; nonetheless, most of these passages are arguably left out for being redundant.

The same can be said about the omission noticed by Antelo. Another noticeable omission is the sentence that CLS The original clearly connects virtue to the anonymous note received by Camilo.

The translation omits this part, maybe to sustain the parallelism with the second part of the sentence that qualifies interest as active and prodigal, with no further explanation or connection to other elements of the narrative. They entered. They went up. At the time, Borges himself recognized his debt to the film form when commenting on his writing for Revista Multicolor later collected in Historia Universal de la Infamia.

A good example is the initial series of direct speeches between the characters: in the original, the exchange that Camilo and Rita have at the beginning of the narrative carries two excla- mation points, instead of the six present in the translation.

This is made evident by the omission of the repetitions that Machado uses more than once in this short story. Nevertheless, the translator keeps one untranslatable Portuguese word in his version.

Resuma o conto A cartomante, especificando local, poca, personagens, foco narrativo

Like much of the translation, in many levels this sentence holds equivalence with the original. Nonetheless, it is a clear decision made by the translator to keep the Portuguese word, maybe in order to give more colorful tones to the tale to delight Argentinean readers.

In the original, the anonymous letter is replaced by its supposed author, that is, the anonymous writer this word does not appear in the original, but it is implied could have met Vilela; in the Spanish version there is no personification, that is, it puts the anonymous letter in the hands of Vilela. Another significant difference between the original and its translated version is a subtle display of the first-person narrator of the piece. Machado is known for his unreliable and playful narrators.

Nonetheless, there is at least one indication of this playfulness. In the original, the narrator reviews himself in the first person, eu cuido I think ; the version keeps the narrative to its superficial impartiality.

If Machado used this precise conjugation of the verb in Portuguese to point out the narrative as such, as the case might have been, the translator could not see the value of it.After that, the curve that expands this whole thought opens up, considering it better to believe in the knowledge that he assumes to belong to the Other, in this case to the fortune teller, as occurs in any relationship assumed to be loving; and, finally, the deceit of that choice.

Integrations Wordpress Zapier Dropbox. What is important to remember, however, is that the relationship with the oracle cannot be, under any circumstances, direct.

Paramount, From that point the narrator makes the mood of fascination and joy explicit. A Cartomante Conto de Machado de Assis sobre Come on!