Show Less

Literary and Cultural Circulation

Series:

José Luís Jobim

An important question concerning literary studies is the circulation of literary works beyond their place of origin. Many other aspects must also be taken into consideration, such as the asymmetric positioning of authors and their work in international circulation, which is conditioned by the relative position of languages and cultures in the global market. This volume focuses on literary and cultural circulation and includes essays that explore this topic through case studies, analysing works and authors from diverse literatures and cultures, and discussions of the theoretical issues surrounding circulation and all that it entails: temporality, place, method, material objects and concepts.

Prices

See more price optionsHide price options
Show Summary Details
Restricted access

15 Machado de Assis: The Theater of the World (Kenneth David Jackson)

Extract

Kenneth David Jackson 15 Machado de Assis: The Theater of the World … Yes, I considered life, again I mounted the years, I rode down with them, I looked again at the spectacle of the world, all that had been seen and told, I considered so many diverse things together, I evoked so many complex images, I mixed memory with history and said to myself: – “without a doubt, this world is a dance in rented coats.” — “A Semana,” 11 June 1893 “Life is an opera buffa with intervals of serious music,”1 proclaimed Luís Batista in the 1872 novel Resurrection on the eve of his friend Felix’s expected marriage to Lívia. Luís was encouraging him to partake in one last amorous adventure, the equivalent in his musical imagination of a Weber melody before the marital curtain was to lift on Offenbach. Machado’s early involve- ment in the theater and opera, his own original plays and translations, may not have left a lasting influence on Brazilian theater, according to his bibli- ographer J. Galante de Sousa,2 yet the theater and opera, their atmosphere, characters, and conventions were a constant and profound presence that left an indelible mark on his fiction, visible in every major work through- out his career.3 When Maria Benedita leaves on her wedding voyage with 1 “A vida é uma opera buffa com intervalos de música séria.” Resurrection, Chapter XX. 2 “Machado de Assis acreditou no teatro, como escola de costumes, no que n...

You are not authenticated to view the full text of this chapter or article.

This site requires a subscription or purchase to access the full text of books or journals.

Do you have any questions? Contact us.

Or login to access all content.