A Cartomante (The Fortuneteller) and A Causa Secreta (The Secret Cause), by A Cartomante e A Causa Secreta, de Machado de Assis, abordam os temas. Comparisons between Machado de Assis and Jorge Luis Borges share one commonality: This article discusses a translation of Machado's “A Cartomante,”. Rights Reserved. Download as DOCX, PDF, TXT or read online from Scribd Identifique no conto A cartomante de Machado de Assis, exemplos de: a) Ironia.
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PDF | This work develops a reading of The "Fortune Teller", by Machado de Assis , based on the hypothesis that the Machadian short story, along with the reader. Abstract. This work develops a reading of The "Fortune Teller", by Machado de Assis, based on the hypothesis that the Machadian short story, along with the. A Cartomante - Machado de Assis [pdf]. soundofheaven.info Views. 5 years ago. Camilo, · Vilela, · Cartomante, · Rita, · Cartas, · Olhos, · Casa, · Pouco.
When the player picks the wrong name, he hasn't exactly missed the oracle meaning. Throughout his work, Lacan elaborated the structure of the subject in its relationship with the formations of the unconscious, and even on the subject and the social, using as a reference a figure that comes from the field of the topology: Some minutes go by, which is enough time for him to realize that he is on Rua da Velha Guarda, right in the front of the fortune teller's house. And he goes to see her, his heart beating, the curiosity. More magazines by this user. They agree not to meet for some time, and tearfully break up.
At its first appearance, vertigo occurs on account of irony, but perhaps this effect could be further developed. Disproportions and equivalences that, we believe, can also contribute to the loss of balance. The term vertigo simultaneously plays with the duality of allure and disturbance.
Allure - attraction in the face of the emptiness, when we look down from a great height, something that pulls as if in continuity; the disturbance - with the horror of the hole, as an abyss, a gutter, discontinuity. This is direction in which I would like to tilt the reading, in a diagonal line, suggesting these turning points in Machadian fiction like places, in his writing, that make an issue of the things in life that have a relationship with what is flawed, by its very structure.
The enigmas, the cracks, the disrupted terrain, without totalizing answers, on terms we have to make do and live with. I highlight two passages in particular, which, in this discussion, interest us more directly: It is precisely the enigmas of subjectivity that had also been the major questions for Freud, and that in the context at hand enable the transmission and dialogue between Machadian fiction and psychoanalysis.
There are short stories that, to me, seem to "record," to mark out something of the writer's style: This also contributes to the work's ability to stand the test of time and highlights the marks that constitute its profound present-day relevance.
Closing the parenthesis here to return to where we left off with Camilo, wrapped by the snake, the poison being dripped on his mouth, blinded by Rita, by the fortune teller, and so on ending with the mother, knowing the subjective quality that Machado reveals.
We are completely in vertigo territory, or ilinx, as Roger Caillois, the antrhopologist came to see it in his precise and interesting considerations, by examining rites of passage in traditional societies, or even the ruin of a player before the green cloth of a pool table, or of the man before the so-called femme fatale: The idea of consulting the fortune teller, an idea that flies in circles above him, a grey bird, claws of iron, already foretells the place that awaits him: It is like in Alfred Hitchcock's Vertigo , 19 also guided by what can function to be fatal in connection with a woman, with the concentric images punctuating the entire film - the movement that circles the eyes, zooming in on the pupils, and the most unusual detail, the camera's focus directly on the empty hole in the spiral of Madeleine's hairdo.
Come on, come on! Camilo, believing, paradoxically, that the street was now cleared and pressured by fear and anguish , belief bursts, he surrenders himself, as did Rita, at the utterance of the fortune teller's first sentence. She was looking at him "from under her lids," again the obliquity of the Machadian gaze, and she divines a shock as the reason for the consultation at this point, he is also, still, the superstitious boy.
One more circle is drawn; Camilo's thought is traced by the narrator in the direct relation with the facts: After that, the curve that expands this whole thought opens up, considering it better to believe in the knowledge that he assumes to belong to the Other, in this case to the fortune teller, as occurs in any relationship assumed to be loving; and, finally, the deceit of that choice.
From the moment Camilo meets this woman, everything in the story suggests his blindness. The fortune teller's tarnished aspects are thrust to the foreground, her dirtiness, her opportunism: Doubts, limited to the beginning of the story, were sufficiently established just to remember that the young man had not completed the process of cutting himself off from the superstition constituted by the maternal universe - and thereby evokes belief in maternal knowledge, which is believed to be limitless, the first major belief in life.
He simply shrugged his shoulders at the mystery, yet he did not affirm disbelief.
What to make of this moment that breaks open in Camilo like an oasis at the very least, soon after exiting the fortune teller's house and immediately before arriving at his destination? Marked by another imperative, "Off you go, ragazzo inamoratto ," he is nothing but love to Rita, to Vilela, he imagines reconciliation and closer ties, the world is awash with grace.
This is when the word of the fortune teller operates an oracle effect, as knowledge of destiny. Additional deceit. A word that comes from a place of presumed knowledge can evoke something oracular, should we access the tradition of the Oracle of Delphi in our culture.
His relationship, by pointing to the tragicomedy in the story, is initially with tragedy. The character, aware of his fate, goes from the Temple to the place of the catastrophe; but here, the tragedy is disconnected and the outcome is weaved in with the elements of irony.
Michael Wood, in his book The Road to Delphi, the Life and Afterlife of Oracles , 21 affirms that the name oracle is not all that survives, citing, for example, one of the most widely used computing systems in the world Oracle ; they are also found in present-day practices that have oracular functions.
This can be in the interpellation into a god, and it also appears in the most unusual of places, such as in the economy or in medicine. What is important to remember, however, is that the relationship with the oracle cannot be, under any circumstances, direct. An oracle suggests a word that needs to be elaborated. The common sense question, in general, is: What Wood proposes, which to me seemed quite precise: The predictions have to become stories, narratives that position the oracular words.
Let us dialogue with another fortune teller from Brazilian literature: She is radiant as she leaves, however, the light that strikes her life is not the glow of a great love in the form of a prince on white horse, the rich foreigner who is destined to her; instead, it is from the headlights of the car that strikes her, captivated like Camilo by the mirage. When she falls to the ground, she thinks: However, what is interesting here is precisely the effect: It "plays with" and subverts the idea of the "already written book of fate.
They play a verbal card, and the card is picked up [ When the player picks the wrong name, he hasn't exactly missed the oracle meaning.
He has chosen one meaning and ceased to look for others. Camilo obviously made his choice right away. However, his fortune teller did not produce an outline or an enigma worthy of the place her word originated the place of truth. What Machado makes clear is that a fortune teller is no oracle.
Striving to point out the relationships in the Machadian text based on what provokes the vertigo effect, more directly, is also to establish the hypothesis of linking this with what we point out as the encounter with the following: With this in mind, the "navel" of the plot, to recall the Freudian thesis, can be related to a specificity, a nodal point. With the unstable terrain of the dynamics of vertigo, Machado reiterated the operation that presents a subversion of places: This is the dynamics of fantasy that works for each one in the subjective processes: The place where one is "lost" precisely for having been constituted, subjectively, in an operation of alienation to the Other in the story, the "capture" of Camilo - alienation to the maternal Other that precedes us and that imaginatively and symbolically sustains us over this "hole" of the real for which there is no knowledge.
Considering this, the twisting movement of the narrative gains space and draws our attention to the issue of structure. The Argentine writer Ricardo Piglia has worked on hypotheses regarding formal operations in stories, based on the examination of the resultant architecture of the production of the great short story writers.
In his book Formas breves [ Brief Forms ], he proposes two theses about short stories. First thesis: Second thesis: He presents a minimal example, taken from one of Chekhov's notebooks: The anecdote disconnects two intertwined stories: While on the one hand he claims this duplicity, Piglia highlights the interstices between the short stories, details that articulate the pathways between the stories and place them in concurrence.
In the "The Fortune Teller," we can identify the interstice as the special moment of tension in the plot, the "Right now!
Come on! And here, one more step in thinking about structure, the form of the writing, a new dialogue, Piglia and Lacan. Throughout his work, Lacan elaborated the structure of the subject in its relationship with the formations of the unconscious, and even on the subject and the social, using as a reference a figure that comes from the field of the topology: The Moebius strip is an enigmatic and paradoxical surface: The front and the back now in a continuum are as if contained by each other.
Ricardo Piglia's formulation - each short story contains two stories - enables us to articulate the duality, but the emphasis he gives to the interstices allows us to take one more step: Surpassing the duality, irony gains a place: Is it not through irony that Machado traces his passages, writing "an oblique look" through which an element of truth crosses?
What is interesting about irony in the context that concerns us: On the topic of irony in the realm of social processes, Hamon 24 stresses that, although for some irony can act as an index of a certain degree of acquired authority or a mark of superiority of caste or class , it can be, on the other hand, a resource for resisting domination, without leading to a direct attack.
This has to do with a certain confrontation, polarization, but it is neither anchored in dominator nor in dominated; irony is not ruled by binary oppositions that would end up discarding the "too much," and the "not so much," the "a little," the "almost no,": In other words, irony makes use of binaries, of oppositions, but it does not succumb to them; we could say that irony crosses binaries in a diagonal line.
Binaries make no room for nuances - the fundamental elements of irony.
The ironist, in general, breaks up anything that is presented as apt to be totalizing, to be massive. The ironist takes the minimum trace, performs the "dissection of majestic elements," aiming at the fracture; the detail that accompanies the pleasure in disorganizing regularity - the obliquity that creates disorder in everything that appears as inevitable. Irony in Machado has this quality, it is its point of passage, it cuts the ground, it is the vehicle of vertigo which appears through details , and is a form of obliquity a certain twist in the writing.
Exceeding the duality and inserting the count of the three in the play the "equivocal" points, which benefit either side , we come close to the witty remark, the wisecrack, which is one of the formations of the unconscious.
When addressing the formations of the unconscious, Lacan 25 stresses that witticism goes through three instances, not two unlike the comical, which would be dual.
In witticism there is the message that circulates, but it must pass through the Other, through the place that is not said, yet assumed, where it is funny. Witticism is only produced in this manner, it designates that which is always to one side, and which is seen precisely only by looking elsewhere.
And when the witticism occurs, it cuts, what can appear is what was ciphered there in the middle of the saying itself, the witticism, the assumption, the desire that circulates in the middle of the scene, in the structure.
The fortune teller?
She was what she was, tarnished, she said what he wanted to hear so that he paid more. The abode of indifferent Machadian irony Destiny itself. Irony is how Machado shares joy with the reader - in the form by which he allows language to be consumed - transmitting in same gesture several hard truths and a few major enigmas of the human condition, questions that continue to challenge us and to constitute our fictions.
A cartomante. Obra completa. Rio de Janeiro: Por um novo Machado de Assis: Companhia das Letras, Hachette Livre, Jorge Zahar Editor, Jorge Zahar Editor, , livro A hora da estrela. Rocco, A cartomante: Machado de Assis em Linha , vol. O conto machadiano: Companhia de Freud, Formas breves. Vertigo, um corpo que cai. Paramount, Share from cover. Share from page: Page 5 and 6: More magazines by this user. Close Flag as Inappropriate. You have already flagged this document.
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