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Brazil's Mystical Realists: Hilda Hilst, Joao Guimaraes Rosa and Clarice Lispector in the 1960s
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| 자료유형 | 학위논문 |
|---|---|
| 서명/저자사항 | Brazil's Mystical Realists: Hilda Hilst, Joao Guimaraes Rosa and Clarice Lispector in the 1960s. |
| 개인저자 | Powers, Julia Hazel. |
| 단체저자명 | Yale University. Comparative Literature. |
| 발행사항 | [S.l.]: Yale University., 2019. |
| 발행사항 | Ann Arbor: ProQuest Dissertations & Theses, 2019. |
| 형태사항 | 323 p. |
| 기본자료 저록 | Dissertations Abstracts International 81-04A. Dissertation Abstract International |
| ISBN | 9781088316412 |
| 학위논문주기 | Thesis (Ph.D.)--Yale University, 2019. |
| 일반주기 |
Source: Dissertations Abstracts International, Volume: 81-04, Section: A.
Advisor: Quint, David. |
| 이용제한사항 | This item must not be sold to any third party vendors.This item must not be added to any third party search indexes. |
| 요약 | "Brazil's Mystical Realists" compares the work of three monumental Brazilian authors-Hilda Hilst, Joao Guimaraes Rosa and Clarice Lispector. I propose the term "mystical realism" to describe their fiction, non-fiction and drama written in the 1960s, during the first years of Brazil's military dictatorship. In contrast to magical realism, known for its matter-of-fact narration of both the quotidian and the supernatural, the work of these three authors registers wonder and estrangement at the material world as it conceals and reveals a higher-order reality. Rosa, Hilst and Lispector draw on tenets and techniques from a variety of mystical literatures, yet the mystical-the drive towards union with the other, with God, or with the Absolute-is more than a reference in their work. It structures their manner of writing, to adapt Michel de Certeau's description of la mystique as a "manner of speaking." The aporia and paradox that reverberate through their prose reflect the resistance of ekstasis to verbal description. In the crisis of representation that results, the a-grammatical syntax of mystical speech converges with a legacy of modernist experimentation.This study situates these formal characteristics in the socio-historical moment, one defined by the establishment of Brazil's right-wing military dictatorship and the ideological divisions of the Cold War. For many artists on the Left in Brazil, the golpe militar of 1964 lent urgency to the project of constructing a popular imaginary of socialist revolution. Though the mystical realists largely rejected this pressure, just as they ultimately declined to embrace communism, fascism and liberalism alike, it nonetheless clarified their work's relationship to the politics of the era. Mystical realism proposed, in literary terms, an alternative, utopic ideal for the nation and indeed for the world, evoking a state of co-existence in which empathy and justice are the inevitable consequence of the oneness of all things. The mystical realists, members of a privileged class in Brazil, express dismay at the violence of authoritarian rule and the grave injustices of neocolonial capitalism, but their work ultimately, circuitously opts for the preservation of the social, racial and gendered hierarchies on which the bourgeoisie's existence depends.The first chapter focuses on Hilda Hilst's theater in the late sixties, exploring the relationship of her play O verdugo to the politically engaged theater of the time and outlining her attempt to imagine what she called "the sacralization of Marxism." The second chapter interprets her first work of fiction, "O unicornio," as a reaction to both her failure in the theater and the failure of art itself to communicate adequately the mystical experience. Chapter three, on Joao Guimaraes Rosa's Primeiras estorias, details the Neoplatonic and Spiritist conceptions of the soul's development at work in the stories "As Margens da Alegria" and "Os Cimos." Chapter four identifies a further retreat into gnostic complexity in Rosa's Tutameia (Terceiras estorias). It argues that "Sobre a escova e a duvida," one of four prefaces to the volume of short stories, constitutes an apology for the author's refusal to engage in the political debates of the time, offering a declaration of doubt about totalizing political and aesthetic systems, even the author's own, in favor of anti-rational and mystical forms of understanding. Chapter five, on Clarice Lispector's A paixao segundo G.H., and chapter six, on Uma aprendizagem ou O livro dos prazeres, read these novels as explorations of white, female middle-class culpability in the face of inequity. In the wake of their mystical experiences, Lispector's protagonists undergo sudden estrangement from their socially-constructed identities and the conventions and injustices on which they depend. But rather than abandon their place within the existing order, these characters elect, in the end, to reaffirm it, with a new awareness of the combination of self-interest and self-effacement that such a choice entails.These chapters trace the influence of European mystical traditions in the formation of mystical realism, as well as such autochthonous phenomena as the millenarian movements of the Northeast and the continent-wide rise of Liberation Theology. Taking seriously such elements in the work of some of Brazil's most important writers has squared uneasily with the modes that dominated the critical and academic circles of twentieth-century Brazil-the Marxist-inspired demands on national literature, on the one hand, and a formalist approach on the other. The anti-rational emphasis of the mystical was, and perhaps still is, too inflected by gender, race and region to be considered of service either to an elite aesthetics or to an enlightened socialist one. This study aims to open up this dimension of Hilst, Rosa, and Lispector to literary history and criticism. |
| 일반주제명 | Latin American literature. Comparative literature. |
| 언어 | 영어 |
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