Titlebook: Emerging Dialogues on Machado de Assis; Lamonte Aidoo,Daniel F. Silva Book 2016 The Editor(s) (if applicable) and The Author(s) 2016 Macha

馬賽克

Machado’s Wounded Malesy by analyzing the ways in which Machado’s male characters are haunted by specters of inadequacy and impotence, inflicting painful psychological wounds on them. Valente demonstrates how Machado’s works, particularly the short stories “Wedding Song” (1883) and “Midnight Mass” (1894) and novel . (1899

管理員

Homoaffectivity Exemplified in ,ous relationship between Bento and Escobar. Gomides explores the homoeroticism and homosocial bonds that go beyond the jealousy of a husband who believes himself cuckolded. According to Gomides, Capitu, the enigmatic wife of Bento, the protagonist and narrator, accused of betraying him with his best

外來

Masculinity and Matrimonial Secrets in ,ulinity and homoerotic desire that haunt Bento cannot be divorced from the intersecting discourses of republicanism, national whiteness, “civilizing” Rio, and eugenics. As Miskolci argues, at the turn of the century, marriage aimed at exercising control over desire, reinforcing rigid gender binaries

INERT

Machado’s Tales of the Fantastic: Allegory and the Macabrexamines three such stories, “O capit?o Mendon?a” (Captain Mendon?a, 1870), “A vida eterna” (Eternal Life, 1870), and “Os óculos de Pedro Ant?o” (Pedro Ant?o’s Glasses, 1874), to suggest that these are actually political allegories disguised as tales of the macabre. All three conjure up images of dea

暫停,間歇

engagement

Machado de Assis and Realism: A Literary Genealogyist tradition—founded upon a firm philosophical questioning of placing reality into representation. Gumbrecht interrogates Machado’s relationship with realism, centering on the writer’s singular narrative form of instability and self-reflexivity.

耕種

Machado de Assis and Pascalpe from the mundane mechanics of passions and self-interest. Thus, a difference between the Brazilian and the French writer emerges: where Pascal proposes a leap of faith, Machado invents a narrator who is stuck in those mechanics and whose characters can be the victims of a meaningless, purely material world.

出來

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AGOG