Lacos de familia. Dennis Seniff. Clarice Lispector's collection of short stories, Lagos de curred. Clarice crystallizes these moments of self-examination;. Laços de Família by Clarice Lispector is Short Stories Com treze contos, esta coletânea contém algumas das obras-primas da narrativa curta. This. LAÇOS DE FAMILIA - CLARICE LISPECTOR. publication was reported as an alleged copyright violation. Publishers may not upload content protected by.

Lacos De Familia Clarice Lispector Pdf

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Laços de família é o primeiro livro de contos de Clarice Lispector. Uploaded by Meêire Download as DOCX, PDF, TXT or read online from Scribd. Flag for. Clarice Lispector. Copyright: Download as DOCX, PDF, TXT or read online from Scribd. Flag for . Documents Similar To LAÇOS DE FAMÍLIA. CHOPIN. Laços de Família Clarice Lispector Contos Editora Rocco, Digitalizado, do livro Nem musa nem medusa: Itinerários da escrita em Clarice Lispector.

This synthesis will introduce the central themes and concepts that will be elaborated on throughout this essay.

Laços de família é o primeiro livro de contos de Clarice Lispector

The Buffalo In the short story The Buffalo, a woman ushers herself into the Zoological Gardens to find hatefulness and rage in her heart. Despite the impression, in the beginning, that the woman is trying to mourn the loss of an unrequited passion, throughout her journey, it becomes more evident how this is a trigger for a transformative process that is progressively revealed.

The character associates hate and rage with masculinity. Simultaneously, she wants to defy the dominant discourse and the patriarchal society to which she belongs. At the core of her journey, there is a desire to break with the expectations of a gendered existence.

Hereof, wanting to expose herself to new emotions is her insurgency against a fixed and static identity. In this vein, I argue that her walk in the zoo allows her to both deconstruct her identity and enables her to embody a feminist subjectivity that is fluid, transgressive and deterritorialized, as I shall come back to later in this article. As she walks and establishes different relationships with animals, humans, and non-humans, she exposes herself to new negative emotions: hate, bitterness, resentment and a desire to kill.

In this process her identity is redefined: cage after cage, space after space the character undergoes a process of change. This nomadic journey through the zoo happens in a movement of back-and-forths, in a process that it is not without pain. On various occasions, the heroine believes that she has finally attained her goal, followed almost immediately by the sadness and frustration of not being capable of owing the new feelings.

The woman faces internal and external resistances, and all these setbacks make for a feminist tale of becoming.

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After seeing the giraffe, a hippopotamus, monkeys, an elephant and a camel, she leaves the animals and goes to a roller coaster. An epiphany seems to take place. Was that it? That was it.

Laços de família é o primeiro livro de contos de Clarice Lispector

The woman decides to head back to the cages. And from whom? She gazes at the beast in a both violent and hateful way, and the animal reciprocates her gaze. If, on the one hand, she questions what is socially construed as the feminine universe and her identification to it, on the other hand, she struggles to live with hate and anger, emotions that in her view pertain to a masculine universe.


Butler writes: if the ground of gender identity is the stylized repetition of acts through time, and not a seemingly seamless identity, then the possibilities of gender transformation are to be found in the arbitrary relation, between such acts, in the possibility of a different sort of repeating, in the breaking or subversive repetition of that style.

The character wrestles with the conception of women as patient, frail, passive, forgiving lovers and caregivers, as she tries to destabilize her ideas of what it means to live in a female body. Instead, they are made of the internalization of sexist modes of living.

I shall now explore why to read this short story through a nomadic subjectivity framework opens up new possibilities. Inspired by the second-wave feminist discourses, these same critics see in this a reaction to the oppression and the subordination imposed on women by a phallocentric discourse. According to Ellen K. Reducing her journey to these binary oppositions in reaction to patriarchal thought limits the understanding we may gather about the meaning of loss and the wandering of the woman in the zoo.

According to Abigail Bay and Clare Colebrook, Tina Chanter writes: by blaming the enemy — men in general, or the patriarchal way of thinking, or the phallocentric system of meaning — feminism is in danger of merely occupying a negative position, one that mimics the resentful, bitter recrimination of the Judeo-Christian mindset, denigrating this worldly life as one of suffering, producing guilt, and occupying a position of bad conscience.

The question I will now try to answer is what does it mean to be a nomad in the way Rosi Braidotti conceptualizes it? It expresses the desire for an identity made of transitions, successive shifts, and coordinated changes without an essential unity. I shall now show how the space of the zoo offers possibilities for affirmation, exploration and change: a space for becoming-nomad and thus allowing the redefinition of the female subject in interrelation with the others, humans and non-humans.

One of the aspects that draws attention in the Claricean text is the abundance of unusual collocations, resulting in defamiliarization, Cad.

Here are some examples with the respective translations: In the examples above, we see the different positions of the translators as to the translation practice Cad. In the first three examples, Pontiero consistently seeks to normalise the text by organising, rearranging, and changing grammatical class for anglophone eyes and ears.

Entrekin, on the other hand, consciously maintains the defamiliarization caused to Brazilian eyes and ears.

So why does Pontiero try to normalise Clarice in English? Regarding the last example, Pontiero changed the meaning proposed in the narrative: Entrekin, on the other hand, kept not only the sense but also the parallelism established by entristeceu, tristeza and triste with saddened, sadness and sad. Pontiero translates Family Ties, the complete collection into English, published by the University of Texas Press in In addition to the translation, Pontiero signs the page introduction.

Dodson maintains the extension of periods and paragraphs. His the smallest human thing que existe.

His heart bateu porque esmeralda no emerald is so rare. Nem Not even the teachings of is as rare. Neither has raros.

There, before so much strange grace. Ali his eyes, stood a woman Right there was a woman estava uma mulher que such as the delights of the gluttony of the most a gulodice do mais fino the most exquisite dream exquisite dream could sonho jamais pudera had never equaled.

It was never have imagined. That imaginar. The explorer — as scratch. In this case, the combination of form and content hinders the work of the translator, since the target language does not have two expressions that combined have the scope proposed by the source text.

A translation springs from and produces linguistic material, there are pitfalls everywhere, and sometimes translators are left with only the resignation of the best option in the face of the impossibility of re-creation. The above fragment prepares the objectification of Little Flower: Next, Pontiero merges the third and fourth sentences: Neither has the richest man in the world ever laid eyes on so much strange grace.

Pontiero, besides his inclusions, tends to expand the text. One last fragment for analysis with culturally marked aspects that may have gone unnoticed by translators. In the above case, the smart girls hid the toy corpse from the nun.

Narrative Strategies in Clarice Lispector's "Family Ties" in Portraying the Characters

Conclusion One can say that Clarice has gained new impetus in the English-speaking literary system and, more than that, that the English-language reader has gained a new Clarice, a more daring, aesthetically more radical version of the author.

This does not mean, however, that this development is not to a large extent due to the translations of Pontiero. A passionate promoter of literatures Cad. According to Moser, he wanted to present a different Clarice whose texts would sound as strange and unexpected as they do in Brazil.

References Levy, J. The Art of Translation. Translated by Patrick Corness. Mack has the construction site for the day, so if than to the data from or all of you, Torquil said.

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Luso-Brazilian Review

However, the animals in the zoo are more than flesh, they also embody alternative ways of thinking, of being and being with others in the world. Rio de Janeiro: Record.

John Benjamins, It is an in-between place rich with ambiguity and uncertainty, but also with the possibility of creative fermentation and construction. One of the aspects that draws attention in the Claricean text is the abundance of unusual collocations, resulting in defamiliarization, Cad. Oh, Forrest, Mrs.

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