João Guimarães Rosa — ‘Every abyss is navigable by little paper boats.’ tags: desenredo. Read more quotes from João Guimarães Rosa. Share this quote. The PDF file you selected should load here if your Web browser has a PDF reader plug-in installed (for example, a recent version of Adobe Acrobat Reader). 24 abr. Tradução intersemiótica do conto “Desenredo”, de Guimarães Rosa, em editorial de moda e livro sinestésico, Fotografia e Tratamento.
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Skip to main content. Log In Sign Up. Rather than reading disability allegorically, this study focuses on the material conditions of embodied disability.
Taking an interdisciplinary approach that integrates Disability Studies, Queer Theory, Gender Studies, and Critical Animal Studies, it examines challenging bodies—bodies that break down, falter, fail, and malfunction. First and foremost, I would like to express my gratitude to my adviser, Victor K.
Mendes, and to the members of my dissertation committee: Klobucka, and Christopher Larkosh. I am indebted to each and every one of you for reading earlier drafts of select dissertation chapters, and for offering insightful and stimulating feedback that helped me improve both individual sections and the structure of the project as dedenredo whole. My special thanks to you are long overdue. Though you are not formally my adviser, you have been a tireless and fierce advocate, a rigorous and challenging critic, an endless source of wisdom, encouragement, and good advice, and an all-around brilliant role model from whose professional and personal generosity I am immensely fortunate to have benefited during the past decade.
It is my sincere hope desenedo you see in the pages of this work the many, many traces of your influence on my education, and that you know how rosaa I truly appreciate all that you have done for me. Susan Antebi, Jane Dryden, Chris Eagle, and Josh Eyler deserve additional credit for their unwavering support of my commitment to Disability Studies, a field that is still growing and too often ignored by mainstream scholarship.
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The completion of this project was made possible by the touching generosity of dozens of people—academics and non-academics alike—who, through donations large and small, collectively enabled me to retain eosa health insurance during AY I would like to acknowledge the following exceptionally altruistic five donors: Additional funding was provided by Dr.
On a more personal note, I am thankful for my friendship with Arlene.
Our weekly visits always give me something gulmares look forward to. Through your irreverent sense of humor, mischievous antics, and unyielding dignity in the face of hardship, you have brought me much joy and taught me many important life lessons. Last but not least, Dearest Cray: I guimarea indebted to you, too, for more reasons than I can list here.
Horses, Desenreedo, and Corporeal Breakdown 16 Chapter 2: Domestic Enclosures and Disabling Geographies 47 Chapter 3: Blindness in the Backlands 87 Chapter 4: Leprosy as a Marker of Racial Identity Chapter 5: Now guimres old man, Riobaldo tells his tale to a silent young male visitor from the city. The narrative of GSV is labyrinthine and non-linear, containing hundreds of anecdotes and an enormous cast of characters. Still, it can be summarized with relative simplicity in the following terms: Post-mortem, a shocking secret about Diadorim is exposed.
GSV is a text intimately shaped by disability—so much so that it is genuinely surprising no gumares else has ever carried out a full-length study of it. It is therefore understandable that his texts are populated by large numbers of disabled characters. Riobaldo explains his desire to recount his autobiography as stemming from the fact that he is now elderly and disabled 26, The entire narrative is thus set in motion by disabling physical conditions old age, rheumatism, chronic heartburn that limit where Riobaldo can go and what he is able to do.
Veredas is desenrevo by disability. Hillis Miller describes how he and other critics have adopted similar approaches in their readings of Proust, even if it means having to accept their inability to conduct any truly exhaustive analysis of the Recherche Dislocating the Lusophone epic and moving it onshore— as Gyimares am proposing that Rosa does—poses drastic consequences.
Traveling on land is very different from moving through water, with both environments presenting unique dis advantages. Veredas, I avoided limiting my study to human characters. Rather, I took a non-anthropocentric and non- sentiocentric approach that looks at the impact of disability on bodies in the text—regardless rosx the ontological categories into which these bodies fall, and without privileging any particular type of body—human or non-human, sentient or non-sentient—over any other.
The bodies on which I focus are challenging bodies, both in the sense that they are difficult—they upend normative modes of perception, disorient, con fuse, falter, fail, and break down—and in the sense that they challenge preexisting notions about dis ability and ontological status. Instead, multiplicities of embodiment and perception are valued.
What desenreedo my work apart from that of Caldas and Nunes, in particular, is that both of these authors—the only ones to engage more than fleetingly with questions of disability in GSV until now—treat disability as allegorical, or as a vague abstraction detached from embodied existence.
In the process, these scholars forgo valuable opportunities to explore disability as disability—to desehredo beyond allegory in the backlands. Veredas through a Disability Studies lens, but also the first scholarly contribution to Disability Studies in Lusophone literature and one of the first critical contributions to Disability Studies in Latin American literature. Since Disability Studies has been dominated, up until very recently, by Anglophone literatures and cultures, my dissertation also contributes to this burgeoning field, which has begun moving in the guimarws of interrogating linguistically and culturally specific meanings desenedo disability: This is a question for which there is no simple answer and over which Disability Studies scholars continue to regularly debate and disagree, sometimes vigorously.
Why or why not? Feminist Philosophical Reflections on Disability How does the writing guimarss these characters by a non-disabled author and their reading by non-disabled or at least non-Disability Studies oriented critics impact representations and receptions of these characters and their experiences? Horses are shown to operate as organic prostheses whose presence signals both corporeal lack and surplus, with the synthesis between non-human and human bodies in GSV offering an opportunity to desenrevo through disability in terms of animality and vice- versa.
The chapter and the dissertation conclude by suggesting some provocative avenues for future research. I buy their strength; while I recline I dash along at whirlwind speeds, For their two dozen legs are mine.
While the novel contains plenty of examples of human disability, I am choosing to begin my study from a non-anthropocentric perspective which postpones the analysis of disabled human characters until later chapters. Since disability as conceived in the text sits squarely at the crossroads of these different categories, it makes sense to tackle the topic by scrutinizing intersections between giimares of their members.
Within academic communities, there is considerable ongoing debate about what role s —if any—non-human entities should desenrwdo in conceptualizing disability. Some scholars embrace interdisciplinary methods involving, for example, Disability Studies and Critical Animal Studies or Ecocriticismbut others shy away from approaches which hold the potential to generate or perpetuate negative comparisons between rksa with disabilities and non- human beings.
One prominent critic who actively fosters associations between animals and disabled people is Temple Grandin. Grandin buimares blatant analogies between cognitive processing in people with autism and a that of a variety of other creatures including cattle, pigs, dogs, and horses Animals A solid representative from the opposing camp is philosopher Licia Carlson, who writes: Veredas occasionally frames disability in terms of ontological status, and how this is consistent, in some respects, with the work of scholars like Grandin and Haraway.
Animals in GSV are a complicated bunch: The presence of livestock and horses has desebredo gone rossa in canonical criticism on GSV—meaning that studying these animals is not, in and of itself, innovative. This is evidenced by the following passage, in which Riobaldo, forced to temporarily pasture his mount, laments: E tem as pequenas coisas que aperreiam: On foot, Riobaldo is vulnerable, exposed, but in the shelter afforded by the horse he can organize and store his things, creating a domestic space where he can safely sleep and perform other essential daily activities.
Further on in the narrative, Riobaldo elaborates upon the implications of risa without a horse in the backlands: Here, the prosthetic role of the horse becomes increasingly apparent: The interplay between prosthesis as addition desenrevo lack is deftly summarized by David Wills: The synthesis between equine and human bodies so characteristic of their inherently prosthetic dynamic recurs many times throughout the novel.
E outra, de fuzil, em ricochete decerto, esquentou minha coxa, sem me ferir, o senhor veja: Atravessei aquilo, vida toda The animal, by advantageously repositioning itself mid-gallop, spares the narrator from taking a bullet, only to fall to its knees, seconds later, throwing Riobaldo to the ground—a maneuver which places the narrator beneath the line of vuimares and into a zone of protective vegetation.
Dexenredo is thus gravely injured—having effectively fosa a limb—but remains alive. This class of prosthetics, some of which will be implanted directly into the brain, is designed to supplement or restore impaired or lost faculties of speech, hearing, and so forth. A prime example of a neural or cognitive prosthetic is a device for people with autism which will deliver real-time advice about how to re act in certain social situations.
And Fafafa articulates an intensely corporeal engagement with horses; throughout GSV, he is the character most closely identified with them, and the time that he devotes to physically interacting with equines is reflected in the transference to his body of indices sweat, scent of their embodied existence. In the Phenomenology of Perception, Maurice Merleau-Ponty describes the manner in which objects including prosthetic implements can, through habitual use, gguimares incorporated into bodily schemata: Bloomer and Charles W.
“Every abyss is navigable by little paper boats.”
Assunto de um homem que estava deitado mal, atravessado, pensei que assim em pouco descanso. Tiravam poeira de qualquer pedra! Onde se via, os animais iam amontoando, mal morridos, os nossos cavalos! Antes estavam perguntando por piedade.
“Sertão e Narração: Guimarães Rosa, Glauber Rocha e seus desenredos” by Pedro Paulo Gomes Pereira
Equines and humans mirror one another throughout desenredp description, with the former sometimes embodying emotional states ascribed to the latter. Then, amid the continuing bedlam, they gradually take on a greater number of human characteristics. The catalog reads as follows: Nem menos sinal de sombra.
Aquela gente toda sapirava de olhos vermelhos, arroxeavam as caras. A luz assassinava demais.
E a gente dava voltas, os rastreadores farejando, procurando. Yet it is not merely their corporeality he stresses, but the fact of their embodied vulnerability, for these are not just any bodies moving through the backlands; they are struggling bodies, uncomfortable bodies, challenging bodies.
It is by virtue of auditory and visual cues indicating physical weakness that they call attention to themselves.
Thus the equines stick out their necks, beg for water, moan in disbelief, and sweat profusely. Towards the end, Riobaldo opts for some unusual terminology to recount changes in his vision: De repente, um rosnou, reclamou baixo. Vi uma roda de caras de homens.
Eu apeei do meu. As such, it is indicative of a mix of verbal and non-verbal cues by the equines. The first of these falls happens, as discussed earlier, when Riobaldo describes being thrown from his horse during battle and escaping by crawling through a dense area of foliage Suzarte desenrexo not display any outward signs of physical distress following his long and arduous journey.
Similarly, in battle scenes featuring falling horses, the animals—as opposed to their riders—are invariably the loci of casualties 36, 84,