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'''''Crônica da casa assassinada''''' [Chronicle of the Murdered House] (1959) is a famous [[epistolary novel]] by Brazilian writer [[Lúcio Cardoso]] (1913-1968), considered a masterpiece in Brazilian literature.
'''''Crônica da casa assassinada''''' [Chronicle of the Murdered House] (1959) is a famous [[epistolary novel]] by Brazilian writer [[Lúcio Cardoso]] (1913-1968), considered a [[masterpiece]] in [[Brazilian literature]]. This book was adapted into the film ''[[A Casa Assassinada|A casa assassinada]]'' (1971), directed by [[Paulo César Saraceni|Paulo César Sarraceni]].<ref>{{Citation|last=Saraceni|first=Paulo César|title=A Casa Assassinada|date=1971-02-21|url=https://www.imdb.com/title/tt0198360/|type=Drama|others=Rubens Araújo, Norma Bengell, Nelson Dantas, Joseph Guerreiro|publisher=Planiscope Filmes|access-date=2020-09-16}}</ref>


== Synopsis ==
== Synopsis ==
'''''Crônica da casa assassinada''''' is the greatest work of the novelist, poet and playwright Lúcio Cardoso. The story is told through letters, a dense story full of jealousy, grudges and perversion. It takes place in an old farm in the interior of [[Minas Gerais]], which is visited by a woman. In the story of the decay of the Meneses family, kinship, extramarital affairs, violent acts, forbidden love, incestuous relationships are discovered.<ref name=":0">{{Cite web|last=Cultural|first=Instituto Itaú|title=Crônica da Casa Assassinada|url=http://enciclopedia.itaucultural.org.br/obra16184/cronica-da-casa-assassinada|access-date=2020-09-13|website=Enciclopédia Itaú Cultural|language=pt-br}}</ref>
'''''Crônica da casa assassinada''''' is the most famous work of Brazilian novelist, poet and playwright Lúcio Cardoso. The story is told through letters, and reveals elements of jealousy, grudges and [[taboo]] themes. It takes place in an old farm in the interior of [[Minas Gerais]], which is visited by a woman. The story focuses on the decay of the Meneses family and depicts themes such as extramarital affairs, forbidden love, incestuous relationships, [[kinship]], and violent acts.<ref name=":0">{{Cite web|last=Cultural|first=Instituto Itaú|title=Crônica da Casa Assassinada|url=http://enciclopedia.itaucultural.org.br/obra16184/cronica-da-casa-assassinada|access-date=2020-09-13|website=Enciclopédia Itaú Cultural|language=pt-br}}</ref>


According to researcher Mario Carelli (1951-1994), Cardoso's “human and artistic path” comes together in this novel. It is the culmination of the trajectory that began in 1934, with ''Maleita'', in tune with the dominant regionalist trend at the time. The novel leads to the last consequences the psychological-existential path of Luz no Underground (1936), characterized by Carelli as a “passionate sketch”. This can also be seen in texts like the novel ''Mãos Vazias'' [Empty Hands] (1938) and the trilogy composed by ''Inácio'' (1944), ''O Enfeitiçado'' [Bewitched] (1954) and the unpublished ''Baltazar'', which serve as a laboratory for the creation of this novel.<ref>CARELLI, Mario. ''Crônica da casa assassinada'': a consumação romancesca. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). ''Crônica da casa assassinada''. Edição crítica. Madri: Archivos, 1991.</ref><ref>CARELLI, Mario. A música do sangue. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). ''Crônica da casa assassinada''. Edição crítica. Madri: Archivos, 1991.</ref><ref>CARELLI, Mario. A recepção crítica. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). ''Crônica da casa assassinada''. Edição crítica. Madri: Archivos, 1991.</ref><ref>CARELLI, Mario. O resgate de um escritor maldito. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). ''Crônica da casa assassinada''. Edição crítica. Madri: Archivos, 1991.</ref>
According to researcher Mario Carelli (1951-1994), Cardoso's “human and artistic path” comes together in this novel. It is considered the culmination of the writer's trajectory started in 1934, with ''Maleita'', which is in tune with the dominant regionalistic trend at the time. The novel leads to the psychological-existential path of ''Luz no Subsolo'' (1936), characterized by Carelli as a “passionate sketch”. This can also be seen in texts like the novel ''Mãos Vazias'' [Empty Hands] (1938) and in the trilogy composed by ''Inácio'' (1944), ''O Enfeitiçado'' [Bewitched] (1954) and the unpublished ''Baltazar'', which serve as a laboratory for the creation of this novel.<ref>CARELLI, Mario. ''Crônica da casa assassinada'': a consumação romancesca. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). ''Crônica da casa assassinada''. Edição crítica. Madri: Archivos, 1991.</ref><ref>CARELLI, Mario. A música do sangue. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). ''Crônica da casa assassinada''. Edição crítica. Madri: Archivos, 1991.</ref><ref>CARELLI, Mario. A recepção crítica. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). ''Crônica da casa assassinada''. Edição crítica. Madri: Archivos, 1991.</ref><ref>CARELLI, Mario. O resgate de um escritor maldito. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). ''Crônica da casa assassinada''. Edição crítica. Madri: Archivos, 1991.</ref>


In fact, as critic [[Alfredo Bosi]] (1936) points out, the novel's theme is linked to religious and spiritualist issues, immersed in the formal freedom conquered by the vanguards in a “descent into the hell of anguish and guilt.”<ref>BOSI, Alfredo. ''História concisa da literatura brasileira''. 8ª. ed. São Paulo: Cultrix, 1994.</ref> However, the difficulty persists in framing it in one of the currents of the national novel. The complex crossing of literary characteristics does not allow reducing its uniqueness to the idea of ​​an “introspective novel” or to the trends developed by the mentioned interlocutors.<ref name=":0" />
Critic [[Alfredo Bosi]] (1936) points out that the novel's [[theme]] is linked to religious and spiritualist issues, immersed in the formal freedom conquered by the vanguards in a “descent into the hell of anguish and guilt.”<ref>BOSI, Alfredo. ''História concisa da literatura brasileira''. 8ª. ed. São Paulo: Cultrix, 1994.</ref> However, the difficulty persists in framing it in one of the currents of the national novel. The complex crossing of literary characteristics does not allow reducing its uniqueness to the idea of ​​an “introspective novel” or to the trends developed by the mentioned interlocutors.<ref name=":0" />


The reader is faced with the narrative unfolded between psychological turbulence and the portrait of the degrading social order. Or, between the production of “spectral portraits of being”, as suggested by the poet [[Carlos Drummond de Andrade]] (1902-1987) in a tribute poem to Cardoso, and the exhibition of the “moral metastasis of the Meneses farm”, in the words of the critic [[Eduardo Portella]] (1932).<ref>PORTELLA, Eduardo. A linguagem prometida. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). ''Crônica da casa assassinada''. Edição crítica. Madri: Archivos, 1991.</ref>
The reader is faced with the narrative unfolded between psychological turbulence and the portrait of the degrading social order. Or, between the production of “spectral portraits of being”, as suggested by the poet [[Carlos Drummond de Andrade]] (1902-1987) in a tribute poem to Cardoso, and the exhibition of the “moral metastasis of the Meneses farm”, in the words of the critic [[Eduardo Portella]] (1932).<ref>PORTELLA, Eduardo. A linguagem prometida. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). ''Crônica da casa assassinada''. Edição crítica. Madri: Archivos, 1991.</ref>


== Plot ==
== Plot ==
At the core of the action is the decadent farm, located in a provincial town in Minas Gerais, and the scene of a plot punctuated by sin, death and illness, the result of the coexistence between three brothers (Demétrio, Valdo and Timóteo) and the wives (Ana and Nina). Nina, a woman of rare beauty, comes from Rio de Janeiro and is unable to adapt to the rural peasant. She marries Valdo believing in his wealth, but soon discovers the decay of the Meneses. Protagonist of the work, she is a destructive element of the family order, causing envy and disaffection. Among the servants who witness the events, gardener Alberto has an adulterous relationship with Nina. From the relationship, it seems, André is born, a character who opens the book in a cyclic key and retells Nina's death, the end of the chronological plot. Incest between mother and child is the taboo around which plot and form are organized. It is up to the reader to unlock the fictional truth.<ref>CRÔNICA da Casa Assassinada. In: ENCICLOPÉDIA Itaú Cultural de Arte e Cultura Brasileiras. São Paulo: Itaú Cultural, 2020. Disponível em: <<nowiki>http://enciclopedia.itaucultural.org.br/obra16184/cronica-da-casa-assassinada</nowiki>>. Acesso em: 13 de Set. 2020. Verbete da Enciclopédia.
The decadent farmhouse located in a provincial town in Minas Gerais is at the core of the action and becomes a major character. The plot is punctuated by sin, death and illness, and it shows the result of the coexistence of three brothers (Demétrio, Valdo and Timóteo) and the wives (Ana and Nina). Nina is a stunningly beautiful woman who comes from Rio de Janeiro and is unable to adapt to the rural, peasant life. She marries Valdo due to his wealth, but soon discovers the decay of the Meneses family. As one of the main protagonists of the work, she is a destructive element of the family order and causes envy and disaffection in the family circle. She has an adulterous affair with Alberto, one of the servants who witness the events. From their relationship, André is born. André opens the book in a cyclic key. He is the character who retells Nina's death, so the story starts from the end of the chronological plot. The novel's plot and form are organized around the taboo incest between mother and child. leaving the fictional truth open for the reader to unveil.<ref>CRÔNICA da Casa Assassinada. In: ENCICLOPÉDIA Itaú Cultural de Arte e Cultura Brasileiras. São Paulo: Itaú Cultural, 2020. Disponível em: <<nowiki>http://enciclopedia.itaucultural.org.br/obra16184/cronica-da-casa-assassinada</nowiki>>. Acesso em: 13 de Set. 2020. Verbete da Enciclopédia.


ISBN: 978-85-7979-060-7</ref>
ISBN: 978-85-7979-060-7</ref>


== See also ==
[[A Casa Assassinada|A casa assassinada]] (film).<ref>{{Cite web|title=FILMOGRAFIA - A CASA ASSASSINADA|url=http://bases.cinemateca.gov.br/cgi-bin/wxis.exe/iah/?IsisScript=iah/iah.xis&base=FILMOGRAFIA&lang=p&nextAction=lnk&exprSearch=ID=024644&format=detailed.pft|access-date=2020-09-16|website=bases.cinemateca.gov.br}}</ref><ref>{{Citation|title=A Casa Assassinada|date=2020-08-10|url=https://en.wikipedia.org/w/index.php?title=A_Casa_Assassinada&oldid=972204476|work=Wikipedia|language=en|access-date=2020-09-16}}</ref>



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Revision as of 12:17, 16 September 2020

Crônica da casa assassinada [Chronicle of the Murdered House] (1959) is a famous epistolary novel by Brazilian writer Lúcio Cardoso (1913-1968), considered a masterpiece in Brazilian literature. This book was adapted into the film A casa assassinada (1971), directed by Paulo César Sarraceni.[1]

Synopsis

Crônica da casa assassinada is the most famous work of Brazilian novelist, poet and playwright Lúcio Cardoso. The story is told through letters, and reveals elements of jealousy, grudges and taboo themes. It takes place in an old farm in the interior of Minas Gerais, which is visited by a woman. The story focuses on the decay of the Meneses family and depicts themes such as extramarital affairs, forbidden love, incestuous relationships, kinship, and violent acts.[2]

According to researcher Mario Carelli (1951-1994), Cardoso's “human and artistic path” comes together in this novel. It is considered the culmination of the writer's trajectory started in 1934, with Maleita, which is in tune with the dominant regionalistic trend at the time. The novel leads to the psychological-existential path of Luz no Subsolo (1936), characterized by Carelli as a “passionate sketch”. This can also be seen in texts like the novel Mãos Vazias [Empty Hands] (1938) and in the trilogy composed by Inácio (1944), O Enfeitiçado [Bewitched] (1954) and the unpublished Baltazar, which serve as a laboratory for the creation of this novel.[3][4][5][6]

Critic Alfredo Bosi (1936) points out that the novel's theme is linked to religious and spiritualist issues, immersed in the formal freedom conquered by the vanguards in a “descent into the hell of anguish and guilt.”[7] However, the difficulty persists in framing it in one of the currents of the national novel. The complex crossing of literary characteristics does not allow reducing its uniqueness to the idea of ​​an “introspective novel” or to the trends developed by the mentioned interlocutors.[2]

The reader is faced with the narrative unfolded between psychological turbulence and the portrait of the degrading social order. Or, between the production of “spectral portraits of being”, as suggested by the poet Carlos Drummond de Andrade (1902-1987) in a tribute poem to Cardoso, and the exhibition of the “moral metastasis of the Meneses farm”, in the words of the critic Eduardo Portella (1932).[8]

Plot

The decadent farmhouse located in a provincial town in Minas Gerais is at the core of the action and becomes a major character. The plot is punctuated by sin, death and illness, and it shows the result of the coexistence of three brothers (Demétrio, Valdo and Timóteo) and the wives (Ana and Nina). Nina is a stunningly beautiful woman who comes from Rio de Janeiro and is unable to adapt to the rural, peasant life. She marries Valdo due to his wealth, but soon discovers the decay of the Meneses family. As one of the main protagonists of the work, she is a destructive element of the family order and causes envy and disaffection in the family circle. She has an adulterous affair with Alberto, one of the servants who witness the events. From their relationship, André is born. André opens the book in a cyclic key. He is the character who retells Nina's death, so the story starts from the end of the chronological plot. The novel's plot and form are organized around the taboo incest between mother and child. leaving the fictional truth open for the reader to unveil.[9]

See also

A casa assassinada (film).[10][11]




References

  1. ^ Saraceni, Paulo César (1971-02-21), A Casa Assassinada (Drama), Rubens Araújo, Norma Bengell, Nelson Dantas, Joseph Guerreiro, Planiscope Filmes, retrieved 2020-09-16
  2. ^ a b Cultural, Instituto Itaú. "Crônica da Casa Assassinada". Enciclopédia Itaú Cultural (in Brazilian Portuguese). Retrieved 2020-09-13.
  3. ^ CARELLI, Mario. Crônica da casa assassinada: a consumação romancesca. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). Crônica da casa assassinada. Edição crítica. Madri: Archivos, 1991.
  4. ^ CARELLI, Mario. A música do sangue. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). Crônica da casa assassinada. Edição crítica. Madri: Archivos, 1991.
  5. ^ CARELLI, Mario. A recepção crítica. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). Crônica da casa assassinada. Edição crítica. Madri: Archivos, 1991.
  6. ^ CARELLI, Mario. O resgate de um escritor maldito. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). Crônica da casa assassinada. Edição crítica. Madri: Archivos, 1991.
  7. ^ BOSI, Alfredo. História concisa da literatura brasileira. 8ª. ed. São Paulo: Cultrix, 1994.
  8. ^ PORTELLA, Eduardo. A linguagem prometida. In: CARDOSO, Lúcio; CARELLI, Mario (Coord.). Crônica da casa assassinada. Edição crítica. Madri: Archivos, 1991.
  9. ^ CRÔNICA da Casa Assassinada. In: ENCICLOPÉDIA Itaú Cultural de Arte e Cultura Brasileiras. São Paulo: Itaú Cultural, 2020. Disponível em: <http://enciclopedia.itaucultural.org.br/obra16184/cronica-da-casa-assassinada>. Acesso em: 13 de Set. 2020. Verbete da Enciclopédia. ISBN: 978-85-7979-060-7
  10. ^ "FILMOGRAFIA - A CASA ASSASSINADA". bases.cinemateca.gov.br. Retrieved 2020-09-16.
  11. ^ "A Casa Assassinada", Wikipedia, 2020-08-10, retrieved 2020-09-16

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