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  • Jameson Antinomies Realism I1y2

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    Carla Valentina
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    Realismo/ romance

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    Realismo/ romance

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    8 visualizações16 páginas

    Jameson Antinomies Realism I1y2

    Enviado por

    Carla Valentina
    Realismo/ romance

    Direitos autorais:

    © All Rights Reserved
    Baixe no formato PDF ou leia online no Scribd
    Sinalizar o conteúdo como inadequado
    de 16
    Abeer Ve dine Tle auhtunvars of seetion Sou Bly AT Ver se 200 Chapter | The Twin Sources of Realism The Narrative Impulse If chereis anything distinctive cobe discovered about realism, then, we will not find ie without somehow distinguishing betwen cealism and nareative in general or without, a least, mapping some vague general zone of narrative which lies outide it (atthe same time inclading it as well, since the realisms are presumably narcaives themselves) Singleshor answers always seem possible: the near, for example, ‘or so-called primitive myth (the very word mythor means native), or in some narrower and more literary sense, the epic (insofar as we listingush i fom the noveD, oF the orl tle, insofar as we distin uh from the wstten one This i not the solucionT want to begin with bere, fo at looking fora storytelling impulse eat precedes the formation ofthe realist rove and yet pesiss within it albeit transformed by a host of new ‘connections and relationships. wll all che products of thie impulse simply he ale, with che intent of emphasizing its structural versai- ig its apunes for transformation and exploitation by che athe forms Just enumerated The tle can thereby be presed into service by epic pecformancefulyas much at by eibl and maychicsoryeling, by the Renaissance arc-novella and is equivalents in the Romantic pesod, by che ballad, by sub-forms and subgenres like the ghot story or SE indeed by the vey forms and stienures ofthe shore story ill 8a specific sit foumal practice in its own tight with it own history. At the level o abstraction at which we are wotking, then, the tale becomes the gereraized object of which natration fs the generl= Jned production proces of stvity, but this generic specification also becomes a convenient way of evading psychological ot antheopo logical analysis of cha activity, which would be a disraction in our present conte. Yer we may retin one feature from traditional or modem pcholgil choir of the fates andor functions in which tarry might be oppoed to cognition for erampl, or emotion to veason andthe he equremene tac che soryeling Fenton, iF we want to cll dha, mus form par of an eppontion, rust te defined agus something ce: ocerwis the potently we we tying to crcumseribe rks ending over the ei eld of mena Ss setng boning anne, Sebi bmg nd Sots satin a influential pronouncemen ofthe 19205, Ramon Fernandes developed an opposition bewecn the tale xd the novel or ater, tows the more pecse and only imperfect ramsable French terms, beowecn the it andthe rene wat dine Heo tn er Ga ‘THETWIN SOURCES OF REAUSHITHE NARRATIVE MPULSE 21 Of body andthe eansfoemtion ofan individual ino a hua ih unique destiny, afer” sone Amercan noe pr something given to you unigucy to bear and fuer someting “jemcn eigen as edeggerdebed individual desth. Ts bang, ue account of the rei othe tle aie ae the dens one offered in specacebytagedy ara frm, In modern imc, booe such destinies et mar character a one of Todorov "ms ‘tthe Thosand-and One-Nighs charters who te thelr oo ‘orca the igh tide of he tv fxm wile wars ing fa mode me hy knoe de moe haba Sil wl rein he xtegory of" dexiny oath depp oxopicl concen of th tative form, which igh ao eked 2 the ntative preterit, hema ofinevoeae time, of the Oe that as happened once and fr al, Whas has happened inte cone of our dscason—~it wl be important ler om stat this mark tassel been ened or ose ate dion of ace people potent my afr my hich dene my ety hee dp Secmes mys. myst or imp, ny bing forthe people wh, alo say myeninence aachancterinasery. Tew ot hae exaped nce hatin hs egy dcusion ofthe sk, e have comply ln sgh of is opps nubs, nay she roman Saree seemed to ave maa placa tin tat en Presenn wich hechoie wari he proceso cing mado ang ‘fed aime bore destiny noe words and pesap ue Be stil We ned to rein this novon of an extent presets ac is opposed othe ievocble pat tne ofthe ets Bur ne now nea ‘0 approach it inadiferene way and fo this wl tara oye ed ‘radio, dat of Engllangugenaatologyo ther, obs moe preci abot ihe Ameria teivon piso tender i nym ib esi idens coed ae popula im Petey Lakota Co Phone eh tame ee 4 much more fiir appearance itis simpy that bere “tin and "bowing" You tel you net the eves you show ese Being inthe prsent ofthe novel scene. To best the noe ncaes both pe of dco indeed the very page Eon one * ScSun Wil, fig lt Women hig te Aen Exp Mado WL Ushi of Wann Pres 1987, 70 (Tae ie tee te Pe Mh " Tovean Toor, oP, ac Cor 177 chap Nuive Men” 22. ANTINOMIES OF REALSM ‘ora Dostoyevsky lie in wait for thei characters as destiny itself waits Yee Malraux, along with James himself biased in vr of showing For mes hime i would sem chat mere telling the ei part chor’ comparatively cold ation odin uaramcee" he eal Bee A ), while calling on the literary Shu oleap och wan and none al ng ) has thereby had couse o The more mdr seh maar een aie Ftp my ons da me wil cs gs fhe aor back the gt storytlloand the mers ofthe res anv Dot James very cer about the sagan Beneen the swe mnodes of ec ad presence He chareeres at ari i of dar the one with which pee, nae ctu ere Bown hoch ey sacar hee yh es ue Gaia, 1991 38. 194,30, ames ond mation inde ight © Sy me eof et Row ok St wt easing ang Dna nae Ey Pr, Rao 8 fe hod aa ah of meant 2 as ‘THETWIN SOURCES OF REAUISH-THE NARRATIVEIMPULSE 23, In defense of tllng, however, and by way of redkesing che scales so heavily wegated by Sarre agaist che extraordinary seoryteling ant cof Maupassant it may be well o inset on the relative iasignificgnce ‘of “showing” in the narratives, na aly ofthe grat ora pasctionne but even in that of more sophisticated practitioners such s Bocesets Many ate no coube the candidates for the most beautiful story in the world, but Iam nor far myself from endorsing the view ofthe slistnguished German weiter Paul Heys” who based his sosalled Falkenthorie on the sith tale of the ih day of the Decameron, ‘whose “mora” or summary I herewith append: 2: Incouringaoy who dene ke Ferg deh lig pends ‘be whole of ha aban belgie wich hing bt eo. at bier tar eos to hs ny ct wens eaa tone he an (dco uf the mates he a change of heute sep ts het bnbandtndmala sch man fin ™ Heys thoughe tha che perfection ofthis tte tae ay in the way in which its convergences were crystallized ina single object nemety the hawk ofthe tid in such a way as to concentrate the temporalny of satrative into samething the mind could uniquely appropeace and hold co isl, cine made space, in other words, che event mate Ired, in a fashion perhaps not so distant ater all ftom Benjamin's ‘conception ofa moment which becomes “memorable” Ths dees ' not a symbol: itis noe its meaningfulness which is esental foe rather its unity ad density Herre is here deadly enough specifying the properties of the most usable anecdotal sarting pine (oe "subject" as Hemy James iked te call) eather shun sracural law of some kind: in contemperasy stories objects tend to be far more contingent, resembling, Barthes ‘renccume® more than they do his stud. What gives hie theory es Plausblity is, however. the part ofthe story Bocsccio hat droped, cither by negligence or by design, feom his lite sumraary. Fer she bawk—in this, paradigmatic of most ewisc of tick endings, even those which do not tara on a single object—is doublevalenced, which is 7 Pal Hee, "Enung” ec dec, Munich Olena 1971 * Boca, Te Dremeon,Landon Pena, Sa 3 bec, "Det Bele 4535s toe Boren Roland Bases, LaChamive Clam or emp om il, Sel 1998 24 ANTINOMIES OF REALISE, to sy tha it can serve a diferent function in each ofthe contexts in which i appears switching back and forth ie a Kind of Gest effet. ‘What i curious here is that Boceacio has omited both contexts, both storylines which converge here, fom his brief outline. For the hawk s noe only his master’ prize possesion (and not merely hisonly fe, a5 the summary suggests), itis something ofa substitate for the Alesperate and Forlorn pasion he nourishes for the pointedly indife- tenvand uninterested Monoa Giovania, so that he wll have sacrificed swith i everthing chat sil gives aay meaning o his sad existence But the hawk aio sands ac the center of the other storyline, the reaon for Mona Giovaneds unusual visic to a man she has every remon fo 40d, inazmuch ae ie posesion algo constiutes the pas sionate desi of her beloved son, deathly ill and unlikely to recover ven if he fable ro have this lst wish aise “Thestory shows usthatFederigo is wiling todo anything shewants, and the banquet with which he regales het i intended to dramatize ‘that willingness. The hawk thereby unites che tragic lure of three passions, and its story thereby iumphancly wins ite nomination, not ‘only forthe saddest story ever rld But also forthe most perfec Buti ia tale that neede no “showing” no scene, no present of natatve ac all: and this isthe poine ofits itcoduction hete, as the purest foom ofthe cit. The anecdote not only needs no dialogue and to poine of view (thas all shese in Boccaccio’ brief "eling”), but the whole art of storytelling lies in his posibily ofthe anecdote, che {fir dive, to be expand and conttacted at will, and according to tical necessities ofthe situation, Even more important from the ‘our perspective i the palpable Face tha the tle cannot exist in che present ts events must already have happened: thi isthe "moment (Of auth” of Sarr analyse, for whom i this sense the absolute past, ‘whar has already happened, the itvevocable, cannot exis, for ican tlways be writen, sevaluated,eevted by the power of «new actin the present or the futuce. The mode ofthe récit now sal his event of snd makes such revision imposible (and the death ofthe hawk is the figure for this irevocabiliny of death in general). What confuses the lsu is of courte the eternal present ofthe reader, who brings = Alffeene temporality to the proces, This is then the moment to distinguish rwo kinds of ime, evo sysems of temporality which wil be the basi forthe argument that follows. The datinetion is one berween a present of consciousness and 2 time, if noe of succession oF of chronology, then ac least of THETWIN SOURCES OF REALISH'THE NARRATIVE MPULSE 25 she more fair wipactite sytem of pas preset fate. wat 9 set tha the pee of consciousness ome impel, that Constiousnes isl imperonal; wilt isthe abject of omscious tes ofthese dat i the los of penal ena inthe ordinary Sense. Tat sel howeve, elf nly an obj forthe mpesonl Comtiounes ofthe present and in aya the personal ene tions of pa preen future in the ote ate dsint om the impersonal pene, mere objets in i n0 mater how inser they are from fe You can ay that thors ofthis hind rele ebe famous “ath ofthe sec” or that ey area thesis et remain Leni en filor tho das fy further bere, but wl only daw some teresting comequenees for tema thors inthe proce fearon. n pata ieecomes clear hat the gine of the pasepee fae ad of etna ides and desis a its outer limi the elm the eit while the impersonal consciousness of an eral exe presen would at cute inc goem pure sane, Showing that wes altogetber dvorced and ucased fom eling and pred a it La see whan even ight lok ke fom this sacnd tempor epee Lanch won mabey ul ah than cous as ef agen and hit war mer «oy ob ped se a il es ay “Tiss rather difeene lunch from many we can cemember reading bout: the one which makes Mr. Bloom belch with satisfaction it bss: che immense ewerhundred-page lunches in Proust, fom. which all che gosip and anecdotes fan out like a shizome; the truly abominable lunck: break char ses everything in motion a the begin ning of La be humaine; some elegant English luncheoa in which, according to the newspapers, someone ingests avirulent particle of ‘radiation; or that infinitely sad hunch to which Boccaccio’ impov- etished hero invited his beloved. All of chose—and Iwill teat you ‘0 yet another lurch later on, a teuly wondrous wel-ngh salvational oneal of those are insered into one or another kind of narrative time the anonyrrous lunch in which one court is peeled off after another isnot. Many ae co besure the theories of metaphor from time immemo= fal, from Ricoeu’s identification (based on Aristotle) of metaphor 2b ANTINOMEES OF REALSH very souice of Being itself" co any number of ropologieal ance and sscogaition, In our is the Tunction of metaphor ogize and denarrativize the = Sa done stems of ree we omer wane woes Spore einen vo decors © emp canner o econ a Be temporal pee ih eas oy tered ocala The word rey ip ihc tempore overtone of de nodal you eer ce ume anda corient th ese of Me snl angst nx ha i fern oppose swe arent cven lex “SE tre and ineeapebl sion. ee conde ror he usin ha we ave ee ee dete formalin forthe dca po

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