Dom Casmurro - Knowledge (XXG)

499: 266:. Bentinho left the seminary and studied law in São Paulo, while Escobar became a successful businessman and married Sancha, Capitu's friend. In 1865 Capitu and Bentinho get married; Sancha and Ezequiel have a daughter they name Capitolina, while the protagonist and his wife conceive a son named Ezequiel. Bento's companion Escobar, who was an excellent swimmer, paradoxically drowns in 1871, and at the funeral both Sancha and Capitu stare at the deceased: "There was a moment when Capitu's eyes gazed down at the dead man as the widow's had, like the swollen wave of the sea beyond, as if she too wished to swallow up the swimmer of that morning." according to him. 1354:. For Dona Glória's carrion, mouldy and repressed universe, with its widowers, servants and slaves, the energy and freedom of opinion of the modern, poor girl, daring and irreverent, lucid and active, would become intolerable. One of the evidences of Gledson's argument can be found in chapter 3, which he considers to be the "foundation of the novel", in José Dias' motivation when talking about Capitu's family and reminding Mrs Glória of the promise she made to put Bentinho in the seminary, in other words, treating the "Pádua people" as inferior and their daughter as a dissimulated and poor girl who could corrupt the boy. 483:, in the house of a member of the elite. Critics have written that, at the time of its publication, it was the book that "made the most intense psychological exploration of the character of Rio de Janeiro's society". Bento is a landowner who went to university and became a lawyer, and represents a different class from Capitu, who is intelligent but from a lower-class family. The narrator uses French and English quotations throughout the book, a common practice among 19th-century aristocrats in Brazil. The contrast between the two characters has given rise to interpretations that Bentinho destroyed his wife's 242:, wants to "tie together the two ends of life and restore his adolescence in old age", in other words, recount his youthful moments in middle age. In the first chapter, the author explains the title: it's a tribute to a "train poet" who once pestered him with his verses and called him "Dom Casmurro" because, according to Bento, he "closed his eyes three or four times" during the recitation. His neighbours, who found his "taciturn, recluse-like habits" strange, and also his close friends, popularised the nickname. He was inspired to write the book by medallions of 457:, the Moor who killed his wife for the same reason. His first hint of jealousy appears in chapter 62, when he asks José Dias, a dependent at his mother's house, when the latter goes to visit him at the seminary, "She’s gay and happy as ever. What a giddy creature! Just waiting to hook some young buck of the neighbourhood and marry him." For Bentinho, the answer was a shock, as he writes: " and it was accompanied by such a violent beating of my heart that even now I seem to hear it." According to Roberto Schwarz, in 819:, this quote is the one that sets Bento's memory in motion: "closely followed by the allegory of the 'opera', with its colloquies in heaven between God and Satan, gives the impression that Santiago perhaps identified himself with Faust and felt he had sold his soul to the devil". Critics note that the ancient and modern classics and the biblical quotations are never mere erudition in Machado; on the contrary, they enlighten the narratives and properly inscribe them in the great archetypes of universal literature. 823: 4400: 743: 4207: 1521: 4235: 469: 374:"is not a realist novel in the sense that it presents us with facts in an open and easily assimilated form. It presents them to us, but we have to read against the narrative to discover and connect them for ourselves. In doing so, we will learn more not only about the characters and the events described in the story, but also about the protagonist, Bento, the narrator himself." We can therefore conclude that 1058:, in relation to the mouth–breast, in what some call a "Freudian premonition". The boy Bentinho was introspective and his daydreams replaced part of reality: "Daydreams are like other dreams, they weave themselves on the pattern of our inclinations and memories" wrote Dom Casmurro when he was older, in an anticipation of the Freudian concept of the unity of psychological life in dreams and waking life. 4263: 4221: 4249: 624:"The restrained, 'lean', sober style and the short chapters, arranged in harmonious blocks, blend perfectly into the plot's inverted, fragmented setting. Nothing escapes the narrator's reflection, not even his own account, which is also plagued by the demon of analysis, by the "underground man", who relativises any sentimental outpouring with irony and scepticism." 1341:, whose protagonist kills his wife mistakenly thinking that she has betrayed him. The author writes her thesis from the main perspective that Machado's narrator is autonomous enough to give his own unique version of the facts. For the critic, Bentinho doesn't do it on purpose, but out of madness, since he is, in her words, the " 262:

childbirth, she would send it to the seminary. The idea was revived by the dependent José Dias, who tells Uncle Cosme and D. Glória about Bentinho's flirtation with Capitolina, the poor neighbour with whom Bentinho was in love. At the seminary, Bentinho meets his best friend, Ezequiel de Sousa Escobar, the son of a lawyer from

849:. Othello is the archetype of jealousy. Bento interacts with the play three times in addition to chapter 62, in chapter 72 and chapter 135: his first remark is on the relationship between Desdemona and her Moorish husband, while in the second mention he watches the play and says that, although he "had never seen or read 1418:(1968), said in a recent interview that she was the reader who judged Capitu and then Bentinho: "I don't know anymore. My last version is this one, I don't know. I think I've finally stopped judging. In the beginning she was a saint, in the second she was a monster. Now, in my old age, I don't know. I think 282:, allows us to perceive certain units: Bento's childhood in Matacavalos; Dona Glória's house and the Pádua family, with relatives and dependents; his acquaintance with Capitu; the seminary; married life; the intensification of jealousy; the psychotic outbursts of jealousy and aggression; the break-up. 1614:

on the date you announced. I ask you, with all our interests, that the first batch of copies be large enough, because it could run out quickly, and the delay of the second batch will affect sales", to which the publisher replied on 12 January 1900: "Dom Casmurro did not leave this week, it is a delay

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and authoritarian on the other. Another point that has been studied is that Dom Casmurro is almost non-communicative with Capitu – hence the fact that only the girl's gestures and glances (and not her words) indicate that she may have cheated on him. Bento is a quiet man who keeps to himself. One of

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is one of those books that is impossible to summarise, because it is in the inner life of Bento Santiago that all its charm, all its strength lies", and concluded that "What is everything, however, in this dark and sad book, where there are pages written with tears and blood, is the fine psychology

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is not a novel about jealousy, but about doubt: "it is par excellence the novel that expresses the atrocious and insoluble conflict between subjective truth and insinuations of high infiltration power, generated by coincidences, appearances and misunderstandings, immediately or belatedly fuelled by

1331:(1960), she argues that the character Capitu did not betray Bentinho, thus changing the prevailing perception of the novel, and that she is the victim of a cynical Dom Casmurro who actually misleads the reader with words that are not true. Caldwell's main evidence is the author's clear and frequent 1133:

in 1969 and especially Roberto Schwarz in 1991, that Caldwell's book was discovered and opened up new possibilities for Machado's work. This was also the decade when Machado de Assis received the most critical attention in France, and the novel received important commentary from French translators;

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One of the central problems in all of Machado's work, and also in this book, is the question of "to what extent do I exist only through others?", since Bento Santiago becomes Dom Casmurro, influenced by the events and actions of those close to him. Eugênio Gomes observes that the theme of the son's

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are part of this group); and the other, latest, that Machado de Assis leaves it up to the reader to come to their own conclusions about the characters and the plot, which is one of the most frequent characteristics of his literature. Advocates of this approach often shy away from the issues of the

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and come spend a couple of weeks with me." This isolation, which becomes a reason for him to "tie together the two ends of his life", is also one of the themes of the novel. The critic Barreto Filho, for example, noted that it was "the tragic spirit that would shape Machado's entire work, leading

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writes that "he always drew attention to the difficulties that children who are predestined, who come in place of another, will have in their psychological development". Dom Casmurro was a boy who obeyed his mother's every wish: he entered the seminary, became a priest, and so some see him as an

136:

Its protagonist is Bento Santiago, the narrator of the story which, told in the first person, aims to "tie together the two ends of life", in other words, to bring together stories from his youth to the days when he is writing the book. Between these two moments, Bento writes about his youthful

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of Brazilians to induce them in his argument against Capitu. These prejudices include the physical resemblance and mannerisms that a son inherits from his real father, a prejudice that would be common to Brazilian culture, and which Bento uses when talking about how Ezequiel was like Escobar.

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Others see it as a detective novel, where the reader would have to investigate the details of the actions, distrusting the narrator's point of view to reach a conclusion about the authenticity of the adultery. because "from the beginning there are inconsistencies, obscure steps, disconcerting

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had not accepted Machado's break with narrative linearity and the nature of the traditional plot for some time, and he belittled his prose. As we know, however, Livraria Garnier published Machado's volumes both in Brazil and in Paris, and with the new book, international critics were already

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is about an undoubtedly intelligent man, but a simple one, who from an early age let himself be deceived by the girl he had loved as a child, who had bewitched him with her calculated cheekiness, with her deep innate science of dissimulation, to whom he had given himself with all the fervour

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In the following chapters Bento begins his recollections. He recounts the experiences he had when his mother, the widowed D. Glória, sent him to the seminary. Glória sent him to the seminary to fulfil a promise she had made: if she were to conceive a second child after her first, who died in

667:, but just as fragmentarily. However, some themes are noticeable: his childhood in Matacavalos; Dona Glória's house and the Pádua family, relatives and households; his acquaintance with Capitu; the seminary; married life; the intensification and outbursts of jealousy; the separation, etc. 269:

Soon the narrator starts to suspect that his best friend and Capitu were secretly cheating on him. Dom Casmurro also begins to doubt his own paternity. He says in the last lines: " were destined to join together and deceive me..." The book ends with the ironic invitation "Let's go to the

1375:, an undesirable trace of union with a lower social class, thus also implicitly representing the potential emergence of a new political order that threatened the established power. Class and gender are thus fused in the same threat represented by Capitu's supposedly dubious morality." 1369:"In the destruction of Capitu, in the neutralisation of the challenge to the alternative way of being that she represents, lies the fundamental purpose of the restoration sought by Bento Santiago through the writing of his memoir. She was a stranger, an intruder, a threat to the 691:

are "intrusions" of elements that seem to deviate from the central theme of the book and which Machado uses as interpolations of episodes, memories or thoughts, often quoting other authors or works or commenting on chapters, sentences or the organisation of the whole book itself.

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of himself". Caldwell also revalidated the role of Capitu, who was supposed to be prettier and have better dreams than her husband. Other foreign critics, such as John Gledson, from the 1980s onwards hypothesised social interests related to the organisation and crisis of the

618:, where he describes the "graceful bust" of the character Lívia, and in his realist phase, where there is a fixation on Capitu's dubious "gipsy’s eyes, oblique and sly". Capitu is able to drive the action, even though the dominance of the Romanesque plot has not diminished. 1304:"The conclusion to which Santiago gradually leads the reader is that the deceit perpetraded against him by his dearly loved wife and dearly loved friend wrought upon him and changed him from the kind, loving, ingenuous Bento into the hard, cruel and cynical Dom Casmurro." 1087:

is a work open to so many interpretations, some of which have already been made and published, especially in the last fifty years, and many others which are undoubtedly yet to be made. I don't think any Brazilian novel has been reinterpreted in such a comprehensivew ay."

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and contemporaneity. Some critics prefer to call this genre "psychological realism", because it presents the interior, the thought, the absence of action combined with psychological and philosophical density. However, there are also romantic residues in

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is a realist novel that focuses on psychological analysis (or exposition) and ironically criticises society, in this case the elite of Rio de Janeiro, through the behaviour of certain characters. Critics have also noted certain elements of modernism in

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physical resemblance, resulting from the mother's "impregnation" by the characteristics of a beloved man, without the latter having conceived the son (as happens between Capitu, her son Ezequiel and his possible father Escobar), was a hot topic in

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attitude of those who write and those who see themselves as writers, the interruption of the narrative and the possibility of multiple readings or interpretations; "anti-literary" elements that would only be popularised by modernism decades later.

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Bellei, Sérgio Luís Prado (July 1979). "Machado de Assis nos Estados Unidos: A Influência de Dom Casmurro nos Romances Iniciais de John Barth" [Machado de Assis in the United States: Dom Casmurro's Influence on John Barth's Early Novels].

651:, narrated every detail of the plot; the author chooses to abstain from both methods to cultivate fragmentation and to create a narrator who intervenes in the narrative to communicate with the reader, commenting on his own novel with philosophy, 999:

Bentinho's challenge to attract and win Capitu over to achieve his goal of being interested in his girlfriend's gifts – an attitude identified as a "lordly and possessive model that dispenses with greater subtleties" – indirectly influenced

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Other sources refer to the physical resemblance of the son (in this case, Ezequiel) as a result of the mother being "impregnated" with the features of a beloved man, without the latter having conceived him, a theme already used earlier by

900:(1809), where Eduard and Charlotte's son has the eyes of Ottilie, with whom Eduard is in love, and the features of the captain, loved by Charlotte; Bento's pessimistic philosophy, where critics critics have noted the direct influence of 1609:

Garnier, which published Machado's works both in Brazil and in Paris (under the name Hippolyte Garnier), received a letter in French from the author on 19 December 1899, complaining about the delay in publication: "We expect

904:, for whom "the pleasure of existence does not rest in living, but is only achieved in contemplating what has been lived" (hence Bento's aim to portray his past), and Pascal, as Bentinho's Christianity is analogous to the 1067:, in countless media and forms, also prove the dialogue and influence that the novel still has in many different areas, whether in cinema, theatre, popular and classical music, television, comics, literature itself, etc. 865:

not only in the theme of jealousy but also in the characters; for her, Bento is the "Iago of himself" and José Dias (who loved superlatives) a typical Shakespearean character who devotes his energies to counselling (like

461:"the most dramatic instance lies in jealousy, which had been one of the boy's many imaginative outbursts, and now, associated with the authority of being the landowner and husband, it becomes a force for devastation". In 686:

noted that the style of the book "remains in line with the two previous novels, with short chapters, marked by appeals to the reader in a more or less humorous tone and by digressions between seriousness and humour".

1361:, would condense a broad social problem behind this "new Othello who slanders and destroys his beloved". This sociological interpretation is still preserved today, as we read in the words of the Portuguese essayist 1407:

intuitions". The previously mentioned hypotheses that Bento Santiago was really telling the truth and that Capitu had cheated on him and that Machado wanted to leave the truth up to the reader are not disregarded.

495:, the man is the result of his own duality and is incoherent within himself, while the woman is sly and charming. Thus, it is a book that represents the politics, ideology and religion of the Second Empire. 423:), the "strange resemblances", the relationship with Escobar at the seminary, Capitu's lucidity and Bentinho's obscurantism, the ex-seminarian's delirious and perverse imagination, the biblical precept from 1221:

and Machado de Assis. Modern critics see this interpretation as the fruit of the psychologism of the time, which exaggerated his sufferings and gave no importance to his career rise (as a journalist and

394:, even go so far as to call it "the first Brazilian modernist novel", mainly because of its short chapters, its fragmentary, non-linear structure, its penchant for the elliptical and the allusive, the 612:(or "conventionalism", as some modern critics prefer). Bentinho's relationship with Capitu, his jealousy and possible adultery are examples of this. Moreover, there is always a romantic streak, with 179:

in the 1970s, to sociological in the 1980s and beyond, with its themes of jealousy, Capitu's ambiguity, the moral portrait of the time and the character of the narrator. Credited as a forerunner of

1050:, and Dom Casmurro had already written sentences such as "I think that I learned the taste of her felicity in the milk with which she gave me suck", an allusion to what Freud later called the 2264:(the most traditional Brazilian literary award) in "best illustration" and "best school related book" categories, and the HQ Mix Trophy in 2014 (in the "Comic book adaptation" category). 659:. An example of this is found in the one-paragraph chapter 133, in which the narrator writes "You must already understand. Now read another chapter". As a lawyer, Bento also makes use of 1169:

The history of interpretations in the next section, focusing on criticism from the 1930s and 40s to the 1980s, shows the turn that has been taken in the different interpretations of

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emphases, which form an enigma." Among these clues are the metaphor of the "eyes like the tide" and the "gipsy’s eyes, oblique and sly", the parallel with the Shakespearean drama of

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According to Eduardo de Assis Duarte, "the universe of the white, noble elite is the setting through which thenarrator character distils his resentment and distrust of the alleged

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is the assumption that an imagined fact is real, an element that is also present in Machado's short stories: the narrator, through himself, would tell the facts through a certain

149:, the novel begins with a recent episode in which the narrator is nicknamed "Dom Casmurro", hence the title of the novel. Machado de Assis wrote it using literary devices such as 1106:

is relatively recent. It was endorsed by Machado's contemporaries and the criticism that followed his death tried to analyse the character Bento and his psychological situation.

1029:, published in a book of short stories of the same name in 2003, in which a teacher and a rebellious student have a sordid affair and discuss the personality of the character. 4309: 1473:

commented on Capitu: "While married, she had her husband's closest friend for a lover". The first critics seem to have believed the narrator's words, comparing the book to

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Close to the psychoanalytic and detective novel, it is the accusatory libel of the husband-lawyer, who looks for signs and proofs of adultery, which he takes as undeniable.

815:, eternal youth and wealth. The "restless shades" are, in this case, the memories of people and incidents from the past, dormant but still disturbing. For American critic 465:, however, the theme of jealousy is presented from the point of view of a husband who suspects that he has been betrayed, with no room for the other characters' versions. 1173:, supported not only by Brazilian critics, but also, and considerably, by international ones. The majority of interpretations of the novel are influenced by sociology, 3415: 2299: 1258:

insecure and spoiled man. Bentinho is seen as a typical 19th century Brazilian man from Rio's high society, with no historical perspective (hence his desire to write

1197:, a socio-psychological analysis of the characters and the character of the narrator-character. Critics in the 1930s and 40s wrote that Bento Santiago suffered from 1319:

The interpretative criticism negatively directed at the narrator and Capitu's salvation, arguing that she didn't betray him, has only recently been made, since the

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Since its first publication in Portuguese in Brazil, the novel has been translated into many other languages. Below are some of the most significant translations:

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believe that Bento was "born without the power to have his own desires". The character was born to "take the place of a stillborn brother", to which psychoanalyst

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stance of the writer and of those who see themselves as writers, interferences in the narrative and the possibility of multiple readings and interpretations.

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It must be carried out against the current, by reversing the course of suspicion, turning the narrator into the defendant and the accuser into the accused.

978:. In fact, all of Barth's early works were strongly influenced by Machado de Assis's book, especially his technique for writing the novel and the plot of 498: 4501: 1159:

Romanesque, it's the story of the rise and fall of a love, from the idyll of youth, through marriage, to the death of a partner and a questionable child.

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Modern critics, strongly influenced by the history of interpretations of the novel, which will be discussed below, identify three successive readings of

792:(devil), an image of vivacity, or of the malice and treachery with which the jealous narrator infuses it); "Capitolina" is also reminiscent of the verb " 3302: 332: 171:

been the subject of numerous studies, adaptations to other media and interpretations throughout the world, from psychological and psychoanalytical in

807:(1749–1832), transcribing: "Ah there, are you come again, restless shades?". Faust is the main character in the play who sells his soul to the demon 223:

The story is told in the first person and the main character is 54-year-old Bento de Albuquerque Santiago, a solitary, well-established lawyer from

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has been translated into several languages and remains one of his most famous books and is considered one of the most fundamental works in all of

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has been perceived from two main points of view: one, the oldest, of trusting the words written by Bento Santiago, without further questioning (

952:'s, was part of the experimental, metalinguistic and city-based tradition that was somewhat comparable to the work of Machado de Assis and had 4005: 3950: 3918: 3866: 3837: 3728: 3699: 3671: 3620: 3551: 3442: 3341: 3248: 3204: 3147: 3022: 2889: 2860: 2779: 2678: 2644: 2589: 2541: 2501: 2389: 129:"a true Brazilian masterpiece, and perhaps Brazil's greatest representative piece of writing" and "one of the best books ever written in the 3637: 956:

as one of his favourite books and saw the writer as a master of the Brazilian novel. The book's most direct influence, however, is foreign;

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has received countless other criticisms and interpretations over the years; it is now considered one of the greatest contributions to the

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experiences of men, but the recreation of the past through Bentinho's memory, his "stains" of recollections, brings the book closer to an

974:, such as the fact that the main characters in both books are lawyers, even consider suicide and compare life to an opera, and live in a 796:" (to renounce), the resigned attitude of the wife who has been insulted by her husband, and who capitulates and renounces any reaction. 663:

to present his version of the facts; his narrative, in psychological time, follows the shifts of his memory in a less random way than in

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The first edition was limited, but the novel was kept in stock to be reprinted as soon as the initial 2,000 copies were sold out.

3014: 2183: 2163: 4355: 1358: 1351: 477: 146: 141:, his affair with Capitu and the jealousy that arises from this relationship, which becomes the main plot of the story. Set in 4496: 4491: 4177: 3095: 2271:

have also been published by Ática (authors: Ivan Jaf and Rodrigo Rosa) and Nemo (authors: Wellington Srbek and José Aguiar).

1443:"Dom Casmurro came out in 1900. Machado died in 1908. No critic in those eight years ever dared to deny Capitu's adultery." 2584:] (in Brazilian Portuguese). Oficina literária Afrânio Coutinho. Rio de Janeiro: Fundação de assistência ao estudante. 3829: 3597: 3459: 3139: 2135: 133:, if not the best one to date." The author is considered a master of Brazilian literature with a unique style of realism. 2616:

Andrade, Fernando Teixeira de (2001). "Memórias Póstumas de Brás Cubas" [The Posthumous Memoirs of Brás Cubas].

1046: 766:; Bento Santiago – Bento (saint), Bentinho (diminutive for saint), Santo + Iago (mix of good and evil, from "saint" and 4111: 3966: 934:

decades later – short chapters, a fragmentary, non-linear structure, a tendency towards the elliptical and allusive, a

384: 592:. The language is highly cultured, full of references, but informal, in a conversational tone with the reader, almost 176: 1547:

Machado de Assis sent letters to his friends expressing his satisfaction with the comments published about his book.

1517:: "Dom Casmurro is the twin brother, albeit with great differences in features if not in character, of Brás Cubas". 3592:

Gomes Jr., Luiz Carlos (2009). "Uma análise do conhecimento casmurro" [An analysis of casmurro knowledge].

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The theological influence is not limited to the facts, it is also found in the names of the characters: Ezequiel –

747: 683: 671: 524:". Schwarz states that the novel represents the social relations and behaviour of the Brazilian elite of the time: 121:

literature. It is written as a fictional memoir by a distrusting, jealous husband. The narrator, however, is not a

3797: 2233: 2119: 1391:

Aware of the discomfort that the critical debate on the theme of jealousy has caused since then, authors such as

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Dom Casmurro: A Encenação De Um Julgamento Na Adaptação Cinematográfica De Moacyr Góes E De Paulo César Saraceni

993: 3886:[Quincas Borba, the pamphlet and the book: a comparative analysis of the versions of Machado's novel]. 1230:

such as José Leme Lopes noted Bentinho's developmental inhibitions and his "delay in affective development and

793: 739:: "Be not jealous of thy wife lest she set herself to deceive thee with the malice that she learnt from thee". 3369: 830: 3046:

Teixeira, Jerônimo (24 September 2008). "Machado: Um Verdadeiro Imortal" [Machado: A True Immortal].

2349: 4460: 3306: 2091: 1392: 1270:, also believe that Bentinho had a tendency towards homosexuality and that he was somewhat fond of Escobar. 1181:, and most also refer to the theme of the narrator's jealousy, Dom Casmurro; some arguing that there was no 896: 644: 1313:, one of the key authors in changing the common interpretation and judging the narrator instead of Capitu. 278:

occurred to him. The novel takes place from approximately 1857 to 1875, and the narrative, although set in

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Achcar, Francisco (1999). "Introdução a Machado de Assis" [An Introduction to Machado de Assis].

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which in Latin means "head", in an allusion to intelligence or cleverness (phonetically, it's similar to

4434: 3409: 2095: 1411: 1122:, so that in recent times Machado's work has been commonly attributed an open range of interpretations. 736: 2289: 1572:

Published by Livraria Garnier in 1900, although the imprint on the title page shows the previous year,

301:(1881), Machado de Assis wrote books with different themes and styles from his earlier novels, such as 2558: 822: 228: 79: 4184: 3822:

Machado de Assis: curso literário em sete conferências na Sociedade de Cultura Artística de São Paulo

3643: 2981:]. Brazilian Documents Collection (in Brazilian Portuguese). Vol. 182 (1 ed.). Olympio. 1556: 1496: 1278: 1239: 567: 212: 4452: 3883: 3802: 3180:. Perspectives in criticism (6 ed.). Berkeley and Los Angeles: University of California Press. 2382:

Dom Casmurro: The Staging Of A Trial In The Film Adaptation By Moacyr Góes And Paulo César Saraceni

1996: 1282: 1267: 1115: 1011: 949: 901: 771: 731:

and to Jewish beliefs. At the end of the novel, he also uses the biblical precept of Jesus, son of

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Thus, the jealousy of Bentinho, a rich boy from a decaying family, of the typical bachelor of the

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and linked his quiet and solitary personality to the author himself, who supposedly suffered from

853:", he realised the similarity to his own relationship with Capitu when he arrived at the theatre. 435:

The main theme of the novel is jealousy and Bentinho's marital tragedy. From quoting the emperors

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According to the psychiatric interpretation, this is one of the reasons for his insane jealousy.

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Machado de Assis: literary course in seven lectures at the Artistic Culture Society of São Paulo

3175: 3072: 886: 614: 303: 4399: 4151:[Machado de Assis' 'Dom Casmurro' gets new comic book version; see other adaptations]. 3744:

Vieira, Nelson H.; Zilberman, Regina; Valente, Luiz Fernando; Bordini, Maria Da Glória (2004).

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The readers of Machado de Assis: the Machado novel and the literary public in the 19th century

3833: 3724: 3695: 3667: 3616: 3547: 3512: 3438: 3397: 3389: 3347: 3337: 3244: 3200: 3143: 3091: 3028: 3018: 2925: 2895: 2885: 2856: 2775: 2674: 2640: 2585: 2537: 2497: 2385: 1969: 1921: 1474: 1449: 1320: 1130: 941: 529: 309: 3756:(31). Brown University, EdiPUCRS, and Pontifícia Universidade Católica do Rio Grande do Sul. 274:", a book he would have thought of writing at the beginning of the novel, before the idea of 4322: 3884:"Quincas Borba, o folhetim e livro: uma análise comparada das versões do romance machadiano" 3855:

Os leitores de Machado de Assis: o romance machadiano e o público de literatura no século 19

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tool used by the author to criticise a certain social class of his time, is able to use the

1362: 1193:

Among the themes interpreted over the years by critics and essayists were Capitu's possible

1001: 640: 328: 192: 118: 102: 64: 46: 3945:] (in Brazilian Portuguese). Vol. 1 (2 ed.). Rio de Janeiro: Editora Record. 1520: 28: 3687: 3464: 3048: 2229: 2179: 2159: 2115: 1854: 1332: 1286: 1235: 1111: 1022: 945: 935: 709: 675: 652: 597: 555: 279: 196: 154: 4072:[Machado de Assis' masterpiece returns modernised in the 'Capitu' micro-series]. 1470: 1432:

there is doubt, whereas Bovary has it written on her forehead that she's an adulteress".

233: 4047: 2717:[Flip opening turns into a lesson with Schwarz reading about Machado de Assis]. 2671:

The deceptive realism of Machado de Assis: a dissenting interpretation of 'Dom Casmurro'

2536:]. Coleção Literatura brasileira (in Brazilian Portuguese). Porto Alegre: EDIPUCRS. 3287:

Lucas, Fábio (2008). "A Condição Feminina de Capitu" [Capitu's Female Status].

2844: 2111: 2083: 2026: 1945: 1878: 1807: 1479: 1324: 1310: 1178: 1126: 1119: 1055: 1041: 854: 816: 808: 742: 732: 604:

and irony. It is considered to be the last novel in his "realist trilogy". However, in

480: 468: 389: 142: 4272: 4149:"'Dom Casmurro', de Machado de Assis, ganha nova versão em HQ; veja outras adaptações" 4485: 4371: 4254: 4226: 3783:

History of Brazilian literature from Bento Teixeira (1601) to Machado de Assis (1908)

2175: 2147: 1584: 1536: 1489: 1424: 1223: 1094: 1037: 975: 967: 881: 648: 538: 525: 436: 353: 319: 243: 184: 113: 68: 4234: 3907:

Um Defunto Estrambótico: análise e interpretação das Memórias póstumas de Brás Cubas

3778:

História da literatura brasileira de Bento Teixeira (1601) a Machado de Assis (1908)

3228:] (in Brazilian Portuguese). Federal University of Rio Grande. pp. 106–107. 1535:

questioning whether Eça de Queiroz was still the best Portuguese language novelist.

876:, who gives advice to his son and exaggerates the facts when he talks to the king). 3911:

A Strange Dead Man: analysing and interpreting The Posthumous Memoirs of Brás Cubas

2215: 2182:

wrote an opera with a libretto by Orlando Codá, which premiered in May 1992 at the

2099: 1747: 1606:

from March to December 1880 until it was published by Tipografia Nacional in 1881.

1227: 1214: 930:, has its own style and "anti-literary" elements that would only be popularised by 755: 656: 601: 546:

destinies towards madness, absurdity and, in the best of cases, solitary old age."

542: 424: 416: 395: 239: 227:

who, after having rebuilt his childhood house "in the old Rua de Matacavalos" (now

4279: 2918:

Memorias de JALLA 2004 Lima: sextas jornadas andinas de literatura latinoamericana

1134:

Dom Casmurro's book was of interest mainly to literary journals of psychology and

4021: 3776: 3641:[Did Capitu cheat on Bentinho? Lygia Fagundes Telles gives her opinion]. 3435:

Freud and Machado de Assis: an intersection between psychoanalysis and literature

2924:] (in Spanish) (2 ed.). Lima: Universidad Nacional Mayor de San Marcos. 2922:

Memories of JALLA 2004 Lima: Sixth Andean Conference on Latin American Literature

365: 4415: 3132:

Women on paper: a study of the imaginary in José de Alencar and Machado de Assis

3128:

Mulheres de papel: um estudo do imaginário em José de Alencar e Machado de Assis

2103: 1144: 812: 713: 609: 344:

metaphor in relation to Capitu, described with "gipsy’s eyes, oblique and sly."

200: 3469: 3006:

Ruptura ou amadurecimento? uma análise dos primeiros contos de Machado de Assis

1588:(1891), which were published as pamphlets prior to publication in book format. 1504:

compatible with his quiet temperament". Veríssimo also drew an analogy between

4202: 3135: 2954: 1380: 1371: 1347: 1135: 1125:

However, the first study that reinvigorated the role of the novel, written by

1051: 957: 688: 679: 643:, whose narrators disappeared behind narrative objectivity, and also with the 533: 349: 188: 3516: 3393: 3032: 1544:

of the two main characters and the noble and superb style of the narrative".

1129:

in the 1960s, didn't make an impact in Brazil. It was only recently, through

537:

his friends once sent him a letter that said: "I am going to my old place at

4287: 4267: 4262: 3970: 3544:

Return to the eternal novel: Machado de Assis' Dom Casmurro and other essays

3540:

Retorno ao romance eterno: Dom Casmurro de Machado de Assis e outros ensaios

3351: 2899: 2774:]. Série jurídica (in Brazilian Portuguese). Rio de Janeiro, RJ: MAUAD. 2257: 2063: 2039: 1934: 1843: 1384: 1263: 1198: 931: 909: 593: 448: 408: 341: 255: 180: 3401: 3004: 1004:

when he wrote one of his most famous modernist novels of the 20th century,

682:

thread, but are told as they emerge from Bento Santiago's memory and will.

4070:"Obra-prima de Machado de Assis volta modernizada na microssérie 'Capitu'" 2715:"Abertura da Flip vira aula com leitura de Schwarz sobre Machado de Assis" 2639:. Berkeley (Calif.) Los Angeles (Calif.): University of California press. 125:

of the story as it is a dark comedy. Dom Casmurro is considered by critic

3011:

Rupture or maturity? an analysis of Machado de Assis' first short stories

2240:

with modern elements ranging from the soundtrack, with songs by the band

2211: 2155: 2134:(1999), directed by Marcus Vinícius Faustini, awarded and praised by the 1784: 1231: 1213:, with possible control over them. These considerations played some of a 1202: 1194: 1182: 1174: 873: 728: 721: 717: 705: 660: 563: 521: 440: 345: 263: 247: 138: 4000:] (in Brazilian Portuguese). Rio de Janeiro, São Paulo: Ed. Record. 3305:[Estação Veja – books] (in Brazilian Portuguese). Archived from 2492:

Petronio, Rodrigo; Alvarenga, Luis Fernando Ribeiro (2008). "Foreword".

1817:

New York City: The Nooday Press England: Penguin Classics New York City/

1017:(1934), portraying Paulo Honório's direct action in capturing Madalena. 4091:[Jabuti honours comic artists in the "Illustration" category]. 3761: 3431:

Freud e Machado de Assis: uma interseção entre psicanálise e literatura

2673:. Liverpool monographs in Hispanic studies. Liverpool: Francis Cairns. 2237: 2130:

The novel also received relevant theatre adaptations, such as the play

1982: 1337: 1243: 905: 776: 763: 571: 504: 484: 453: 451:, who killed their wives accused of adultery, to quoting Shakespeare's 420: 224: 163: 3524: 3492: 117:, both by Machado de Assis, it is widely regarded as a masterpiece of 4468: 3745: 3385: 2882:

Machado de Assis of African descent: writings of caramujo (anthology)

2241: 2220: 2210:

In 2008, to celebrate 100 years since the death of Machado de Assis,

2009: 1958: 1891: 1867: 1818: 1780: 868: 724: 541:, Dom Casmurro. See if you can't tear yourself away from the cave in 3291:(in Brazilian Portuguese). Vol. 50, no. 85. pp. 9–23. 3071:(in Brazilian Portuguese). Vol. 17, no. 10. Archived from 3508: 2878:

Machado de Assis afro-descendente: escritos de caramujo (antologia)

1044:

projects. Machado's book was published in the same year as Freud's

3666:] (in Brazilian Portuguese). São Paulo: Companhia das Letras. 3368:

Teive, Hélio A. G.; Paola, Luciano De; Cardoso, Francisco (2007).

3328:

Mariano, Ana Salles; Oliveira, Maria Rosa Duarte de, eds. (2003).

3177:

The Brazilian Othello of Machado de Assis: A Study of Dom Casmurro

3086:

Machado de Assis (2001). Araújo, Homero; Gonzaga, Sergius (eds.).

2979:

From Anchieta to Euclides: a brief history of Brazilian literature

2014: 1674: 1519: 821: 800: 751: 741: 497: 412: 150: 2755:] (in Brazilian Portuguese). São Paulo: Companhia das Letras. 2384:] (in Brazilian Portuguese). Edufal. pp. 21, 22, 25–28. 1555:

and is considered by some to be one of the greatest exponents of

1185:

and others that the author left the question open to the reader.

4114:[Devir launches comic book adaptation of Dom Casmurro]. 2637:

The rise of the novel: studies in Defoe, Richardson and Fielding

1669: 1342: 767: 444: 251: 4291: 2975:

De Anchieta a Euclides: breve história da literatura brasileira

1262:

but then choosing to first recount the memories of his youth),

3785:] (in Brazilian Portuguese). University of Brasília Press. 2245: 2122:, shows a contemporary approach to jealousy in relationships. 1596:

from 1886 to 1891 before finally being published in 1892, and

1323:

of the 1960s and 1970s and above all by the American essayist

1210: 3820:

Pujol, Alfredo; et al. (Alberto Venancio Filho) (2007).

3638:"Capitu traiu Bentinho? Lygia Fagundes Telles dá sua opinião" 1414:, who studied the novel to write the screenplay for the film 3546:] (in Brazilian Portuguese). Blumenau: Editora da FURB. 1711:

Paris: Institut international de Coopération intellectuelle

3723:] (in Brazilian Portuguese). Rio de Janeiro: F. Alves. 586:, Machado maintains the style he had been developing since 487:

because he was a member of the elite and she was poor (see

183:

and of ideas later written by the father of psychoanalysis

3003:

França, Eduardo Melo; Vieira, Anco Márcio Tenório (2008).

1439: 1300: 1234:". The Bentinho that Dom Casmurro evokes would have "late 1079: 996:

takes up the "journey of memory" found in Machado's book.

620: 3578:] (in Brazilian Portuguese). São Paulo: Duas Cidades. 2884:] (in Brazilian Portuguese). Rio de Janeiro: Pallas. 2876:

Machado de Assis (2007). Duarte, Eduardo de Assis (ed.).

2174:

Luiz Tatit composed "Capitu", a song performed by singer

837:: an archetypal influence on the jealousy of Bentinho in 3243:. University Park: Pennsylvania State University Press. 3806:(in Brazilian Portuguese). Rio de Janeiro. Columns 2–5. 2496:(in Brazilian Portuguese). Editora Escala Educacional. 2106:, is a faithful reading of the book, while the latest, 1576:

was written to be published directly as a book, unlike

1365:

who made an statement regarding the theme of jealousy:

639:

there is the same break with the realists who followed

4089:"Jabuti premia quadrinistas na categoria "Ilustração"" 2458:

Andrade, Fernando Teixeira de (2001). "Dom Casmurro".

2236:

and Michel Melamed; combining period elements such as

476:

Another very clear theme of the book is its setting –

4133:[List of winners of the 26th HQ Mix Trophy]. 4112:"Devir lança adaptação em quadrinhos de Dom Casmurro" 2825:

Faraco, Carlos Emílio; Moura, Francisco Mato (2009).

2702:] (in Brazilian Portuguese). São Paulo: Scipione. 2354:. Translated by Caldwell, Helen. London: W. H. Allen. 1752:

Buenos Aires: W.M.Jackson Buenos Aires: Espasa-Calpe

720:. In addition, in chapter 17 the author alludes to a 3596:(in Brazilian Portuguese). Vol. 1, no. 1. 3336:] (in Brazilian Portuguese). São Paulo: PUC-SP. 2805:

Princess Isabel Collection: 19th century photography

2094:, with a screenplay by Paulo Emílio Sales Gomes and 1036:

ideas and concepts that would later be developed by

716:, mainly because the narrator Bentinho studied at a 258:: Roman emperors who killed their adulterous wives. 4444: 4426: 4407: 4329: 3861:] (in Brazilian Portuguese). São Paulo: edusp. 2086:adaptations of the novel are different. The first, 1539:

praised the work twice, in one of which he wrote: "

670:In fact, the book's style is very close to that of 313:. These new novels – which include, in addition to 86: 74: 60: 52: 42: 3636: 2833:] (in Brazilian Portuguese). São Paulo: Ática. 2576:Coutinho, Afrânio; Sousa, José Galante de (1990). 2534:In the labyrinths of Dom Casmurro: critical essays 2198:. In this version, the narrative was rewritten in 2140:Criador e Criatura: o Encontro de Machado e Capitu 570:, expressed in exaggerations and deceptions, come 508:family scene from the time of Dom Casmurro, 1891 ( 3067:[Female Characters in Machado de Assis]. 2561:[Echoes and Reflections of Dom Casmurro] 1615:of one month due to causes beyond our control ". 970:'s comparison, has similar traits to the plot of 678:, so that the actions do not follow a logical or 3750:Brasil/Brazil: A Journal of Brazilian Literature 3658:Resende, Otto Lara; Suzuki Jr., Matinas (1993). 2953:]. Folha Explica (in Brazilian Portuguese). 2530:Nos labirintos de Dom Casmurro: ensaios críticos 1913:Moscow: Рыбинский Дом печати (new edition 2015) 780:); Capitu – suggests numerous derivations: from 558:has also written that one of the main themes of 3372:[Neuropsychiatry in Machado De Assis]. 2853:Machado De Assis: The Pyramid And The Trapezium 3828:] (in Brazilian Portuguese) (2 ed.). 3065:"As Personagens Femininas em Machado de Assis" 4303: 4183:(1953) Translated by Helen Caldwell. London: 4131:"A lista dos vencedores do 26° Troféu HQ Mix" 3939:Aprendizado – Vida E Obra De Machado De Assis 3615:(in Brazilian Portuguese). Ateliê Editorial. 2194:In 1998, Fernando Sabino published the novel 608:the author also uses features reminiscent of 101:is an 1899 novel written by Brazilian author 8: 3943:Learning - Life And Work Of Machado De Assis 3647:(in Brazilian Portuguese). 27 February 2008. 3414:: CS1 maint: DOI inactive as of July 2024 ( 3226:Oswald de Andrade and his literary criticism 3199:] (in Brazilian Portuguese). Annablume. 3063:Rangel, Maria Lúcia Silveira (1 June 2000). 2700:Portuguese: with an eye on the world of work 2256:A comic book adaptation was made in 2012 by 1811:Helen Caldwell Scott Buccleuch John Gledson 1205:. His friend Escobar is said to suffer from 1021:also influenced, only this time explicitly, 833:(1881) is a portrait of Shakespeare's drama 199:, and is considered by some to be Machado's 21: 4076:(in Brazilian Portuguese). 7 December 2008. 4050:[Machado's universe in new books]. 3800:[New book by Mr Machado de Assis]. 3694:(in Brazilian Portuguese). Editora Record. 3493:"Technique and Ambiguity in "Dom Casmurro"" 3197:Scepticism in the Works of Machado De Assis 3191:Maia Neto, José Raimundo (30 August 2007). 1461:was praised by the author's close friends. 4310: 4296: 4288: 3613:Realidade & Ilusão em Machado de Assis 3429:Freitas, Luiz Alberto Pinheiro de (2001). 2807:] (in Brazilian Portuguese). Capivara. 2260:and Felipe Greco. This comic won the 2013 1102:In short, one could say that criticism of 27: 20: 3969:(in Brazilian Portuguese). Archived from 3748:[Dom Casmurro and colonisation]. 3715:Callado, Antônio; Vianna, Martha (1997). 3468:(in Brazilian Portuguese). Archived from 3370:"A neuro-psiquiatria em Machado de Assis" 3222:Oswald de Andrade e sua crítica literária 3013:] (in Brazilian Portuguese). Recife: 2849:Machado De Assis: A Piramide E O Trapezio 1329:The Brazilian Othello of Machado de Assis 944:, a leading figure in the important 1922 845:This is also the case with Shakespeare's 3913:] (in Brazilian Portuguese). Edusp. 3437:] (in Brazilian Portuguese). Mauad. 3289:Revista da Academia Brasileira de Letras 3090:(in Brazilian Portuguese). Novo Século. 2855:] (in Brazilian Portuguese). Globo. 2228:, written by Euclydes Marinho, starring 1743:J.Natalicio Gonzalez Ramón de Garciasol 1628: 467: 4048:"O universo machadiano em novos livros" 3193:O Ceticismo Na Obra De Machado De Assis 2696:Português: de olho no mundo do trabalho 2694:Terra, Ernani; Nicola, José de (2006). 2280: 1379:From this perspective, the narrator, a 3932: 3930: 3815: 3813: 3587: 3585: 3565: 3563: 3407: 3363: 3361: 3282: 3280: 3169: 3167: 3165: 3163: 3161: 3159: 2968: 2966: 2964: 2916:Maguiña, Carlos García-Bedoya (2005). 2288:Jackson, K. David (22 February 1998). 1707:Francis de Miomandre Anne-Marie Quint 754:to evoke his memories. (Illustration: 635:However, as in the previous novel, in 348:has stated that realism refers to the 187:, the book influenced writers such as 3458:Fernandes, Millôr (26 January 2005). 2998: 2996: 2994: 2992: 2990: 2988: 2911: 2909: 2820: 2818: 2816: 2814: 2742: 2740: 2738: 2736: 2664: 2662: 2660: 2658: 2656: 2582:Encyclopaedia of Brazilian literature 2578:Enciclopédia de literatura brasileira 2523: 2521: 2519: 2517: 2515: 2513: 2453: 2451: 2449: 2447: 2445: 2443: 2441: 2439: 2437: 2435: 2433: 2431: 2429: 2427: 2425: 2423: 2421: 2343: 2341: 2339: 2337: 1592:appeared in chapters in the magazine 1110:has also been analysed in studies of 7: 4364:The Posthumous Memoirs of Brás Cubas 4192:Fashion and Irony in «Dom Casmurro». 4110:Naranjo, Marcelo (24 January 2013). 4058:from the original on 12 August 2017. 3798:"Novo livro do Sr. Machado de Assis" 2611: 2609: 2607: 2605: 2603: 2601: 2487: 2485: 2483: 2481: 2479: 2477: 2475: 2473: 2419: 2417: 2415: 2413: 2411: 2409: 2407: 2405: 2403: 2401: 2371: 2369: 2367: 2365: 2363: 2361: 2335: 2333: 2331: 2329: 2327: 2325: 2323: 2321: 2319: 2317: 1741:Luís M. Baudizzone e Newton Freitas 1713:Paris: Métailié Paris: Albin Michel 1598:The Posthumous Memoirs of Brás Cubas 1579:The Posthumous Memoirs of Brás Cubas 799:To evoke his memories, Bento quotes 665:The Posthumous Memoirs of Brás Cubas 589:The Posthumous Memoirs of Brás Cubas 488: 331:because of their critical attitude, 298:The Posthumous Memoirs of Brás Cubas 205:The Posthumous Memoirs of Brás Cubas 108:The Posthumous Memoirs of Brás Cubas 4129:Naliato, Samir (8 September 2014). 4099:from the original on 21 April 2023. 3882:Freitas, Bruna Canellas de (2017). 2302:from the original on 6 October 2018 948:, whose literary style, similar to 857:strongly supported the thesis that 708:influence. There are references to 704:is probably the work with the most 33:Title page of the first edition of 3905:Facioli, Valentim (1 April 2008). 2713:Braslauskas, Ligia (2 July 2008). 2154:was adapted into an opera, with a 1700:Dom Casmurro et les Yeux de ressac 908:casuistry attacked by him and the 512:by Adolpho Augusto Pinto; artist: 14: 4502:Fiction with unreliable narrators 4190:Salomon, Geanneti Tavares. 2021. 3796:Veríssimo, José (19 March 1900). 3664:A good day to be born: chronicles 3134:] (in Brazilian Portuguese). 2973:Merquior, José Guilherme (1977). 2951:Machado de Assis – Folha Explains 2559:"Ecos e Reflexos de Dom Casmurro" 1138:, which also recommended reading 1032:Modern critics also attribute to 989:The Devil to Pay in the Backlands 161:and, above all, to Shakespeare's 4398: 4261: 4247: 4233: 4219: 4205: 4087:Assis, Érico (18 October 2013). 3721:End of the millennium chronicles 3611:Castello, José Aderaldo (1969). 2528:Saraiva, Juracy Assmann (2005). 2267:Other comic book adaptations of 2150:. Before these two productions, 2098:, and performances by Isabella, 1677:: Fratelli Bocca Milan: Rizzoli 1514:Posthumous Memoirs of Brás Cubas 1465:, for example, said it was "our 1457:At the time of its publication, 1063: 928:Posthumous Memoirs of Brás Cubas 411:, the closeness to the opera of 175:in the 1930s and 1940s, through 4178:Machado de Assis, Joaquim Maria 3115:(in Brazilian Portuguese). Sol. 1672:: Instituto Cristoforo Colonbo 137:reminiscences, his life at the 3746:"Dom Casmurro e a colonização" 2795:Lago, Pedro Correa do (2008). 2290:"Madness in a Tropical Manner" 2184:Theatro Municipal de São Paulo 2164:Theatro Municipal de São Paulo 2146:and Ariclê Perez, directed by 1774:Harry Kaufmann Harry Kaufmann 1665:Liliana Borla Laura Marchiori 1290: 1061:The subsequent adaptations of 746:In the book, Bento alludes to 103:Joaquim Maria Machado de Assis 78:1899 (1st Brazilian edition), 16:1899 novel by Machado de Assis 1: 4416:The Psychiatrist/The Alienist 3937:Magalhães Júnior, R. (2008). 3830:Academia Brasileira de Letras 3660:Bom dia para nascer: crônicas 3598:Federal University of Sergipe 3140:Fluminense Federal University 3126:Ribeiro, Luis Filipe (1996). 2158:by Orlando Codá and music by 2142:(2002), a free adaptation by 1846:: Sven-Erik berghs Bokförlag 1266:and elusive. Others, such as 1207:obsessive-compulsive disorder 4280:MetaLibri Digital Library's 3273:(10). Rio de Janeiro: 30–44. 3069:Revista Literária Brasileira 2136:Brazilian Academy of Letters 1047:The Interpretation of Dreams 700:Out of all Machado's novels 629:—Fernando Teixeira Andrade. 4270:has quotations related to: 4054:(in Brazilian Portuguese). 3890:(in Brazilian Portuguese). 3752:(in Brazilian Portuguese). 3462:[Millôr's column]. 3269:(in Brazilian Portuguese). 3241:John Barth: an introduction 2620:(in Brazilian Portuguese). 2462:(in Brazilian Portuguese). 2376:Guilhermino, Almir (2008). 177:feminist literary criticism 4528: 4512:Portuguese-language novels 4507:Novels by Machado de Assis 4137:(in Brazilian Portuguese). 4118:(in Brazilian Portuguese). 4095:(in Portuguese). Omelete. 3717:Crônicas de fim do milênio 3113:Contos de Machado de Assis 3052:(in Brazilian Portuguese). 2801:: Fotografia do século XIX 2565:(in Brazilian Portuguese). 2348:de Assis, Machado (1953). 1821:: Oxford University Press 805:Johann Wolfgang von Goethe 4396: 4155:(in Brazilian Portuguese) 4153:entretenimento.uol.com.br 4028:(in Brazilian Portuguese) 3992:Paschoal, Marcio (2004). 3853:Guimarães, Hélio (2004). 3570:Candido, Antonio (1995). 3388:(inactive 28 July 2024). 2747:Schwarz, Roberto (1997). 2721:(in Brazilian Portuguese) 2162:, which premiered at the 1643: 1640: 1637: 1493:, novels about adultery. 1238:" and "a predominance of 672:associative impressionism 415:Marcolini (the duet, the 26: 3775:Veríssimo, José (1981). 3220:Martins, Cláudia Mentz. 3174:Caldwell, Helen (1960). 2766:Kosovski, Ester (1997). 1634: 1631: 1291:Machado's contemporaries 1281:, Lúcia Miguel Pereira, 770:, the evil character in 427:at the end of the book. 3303:"Estação Veja – livros" 3239:Morrell, David (1976). 2772:The "crime" of adultery 2557:Petry, Adalberto José. 1783:: Rütten & Loening 1778:Zurich: Manesse Verlag 1422:is more important than 1298:as an open-ended work. 1260:History of the Surburbs 897:The Elective Affinities 684:José Guilherme Merquior 472:Rio de Janeiro in 1889. 157:, making references to 3374:Acta Médica Portuguesa 2945:Bosi, Alfredo (2002). 2768:O "crime" de adultério 2669:Gledson, John (1984). 2234:Maria Fernanda Cândido 2226:Luiz Fernando Carvalho 2120:Maria Fernanda Cândido 1870:: Panstwowy Wydawnicz 1528: 1463:Medeiros e Albuquerque 1393:José Aderaldo Castello 1251:Psychoanalytic critics 916:Influence and dialogue 842: 759: 674:, with a break in the 517: 473: 315:the Posthumous Memoirs 310:The Hand and the Glove 272:History of the Suburbs 4497:Novels about adultery 4492:1899 Brazilian novels 4435:The Case of the Stick 4194:New York: Peter Lang. 3994:Os atalhos de Samanta 3491:Ellis, Keith (1962). 2244:, to scenes in which 2096:Lygia Fagundes Telles 1705:Francis de Miomandre 1523: 1412:Lygia Fagundes Telles 1148:", to their readers. 827:Othello and Desdemona 825: 745: 501: 471: 65:Psychological realism 4026:www.patriciaendo.com 3644:O Estado de S. Paulo 3538:Décio, João (1999). 3330:Recortes machadianos 3075:on 10 November 2005. 2110:(2003), directed by 2092:Paulo César Saraceni 2090:(1968), directed by 2017:: Lello & Irmão 1508:and the narrator of 566:that would make his 213:Brazilian literature 3998:Samanta's shortcuts 3888:Revista Aproximando 3803:Jornal do Commercio 3334:Snippets of Machado 2831:Portuguese Projects 2618:Os Livros da Fuvest 2460:Os Livros da FUVEST 2042:: De Arbeiderspers 1553:impressionist novel 1335:with Shakespeare's 1242:over reality, with 890:(1868) and also in 811:so he can be given 696:Literary influences 131:Portuguese language 23: 3973:on 30 October 2010 3762:10.26300/z60b-at72 3472:on 2 February 2009 3460:"Coluna do Millôr" 2827:Português Projetos 2635:Watt, Ian (1957). 2295:The New York Times 2056:El Senyor Casmurro 1815:London: W.H.Allen 1622:In other languages 1603:Revista Brasileira 1529: 1402:have claimed that 1255:Arminda Aberastury 986:is also linked to 963:The Floating Opera 861:was influenced by 843: 760: 518: 474: 280:psychological time 173:literary criticism 167:. Over the years, 4479: 4478: 4461:Memórias Póstumas 4266: Portuguese 4241:Television portal 4213:Literature portal 4007:978-85-01-06846-0 3967:"Ronaldo Miranda" 3952:978-85-01-07653-3 3920:978-85-314-1083-3 3868:978-85-86372-70-4 3839:978-85-7440-097-6 3730:978-85-265-0384-7 3701:978-85-01-07830-8 3673:978-85-7164-313-0 3622:978-85-7480-410-1 3600:. pp. 55–67. 3553:978-85-7114-083-7 3444:978-85-7478-607-0 3376:(in Portuguese). 3343:978-85-283-0282-0 3250:978-0-271-01220-9 3206:978-85-7419-739-5 3149:978-85-228-0187-9 3024:978-85-7315-551-8 2891:978-85-347-0408-3 2862:978-85-250-3430-4 2781:978-85-85756-58-1 2680:978-0-905205-19-9 2646:978-0-520-01318-6 2591:978-85-222-0241-6 2543:978-85-7430-524-0 2503:978-85-377-0632-9 2466:. São Paulo: Sol. 2391:978-85-7177-427-8 2070: 2069: 2066:: Quaderns Crema 2036:August Willemsen 1864:Janina Wrzoskowa 1750:: Editorial Nova 1557:Brazilian realism 1455: 1454: 1450:Otto Lara Resende 1350:order during the 1321:feminist movement 1317: 1316: 1131:Silviano Santiago 1100: 1099: 992:(1956), in which 966:(1956) which, in 942:Oswald de Andrade 727:from the myth of 633: 632: 532:on the one hand, 327:– are labeled as 123:reliable conveyor 94: 93: 87:Publication place 4519: 4402: 4323:Machado de Assis 4312: 4305: 4298: 4289: 4265: 4257: 4252: 4251: 4250: 4243: 4238: 4237: 4229: 4224: 4223: 4222: 4215: 4210: 4209: 4208: 4165: 4164: 4162: 4160: 4145: 4139: 4138: 4126: 4120: 4119: 4107: 4101: 4100: 4084: 4078: 4077: 4066: 4060: 4059: 4052:folha.uol.com.br 4044: 4038: 4037: 4035: 4033: 4018: 4012: 4011: 3989: 3983: 3982: 3980: 3978: 3963: 3957: 3956: 3934: 3925: 3924: 3902: 3896: 3895: 3879: 3873: 3872: 3850: 3844: 3843: 3817: 3808: 3807: 3793: 3787: 3786: 3772: 3766: 3765: 3741: 3735: 3734: 3712: 3706: 3705: 3688:Trevisan, Dalton 3684: 3678: 3677: 3655: 3649: 3648: 3640: 3633: 3627: 3626: 3608: 3602: 3601: 3589: 3580: 3579: 3567: 3558: 3557: 3535: 3529: 3528: 3488: 3482: 3481: 3479: 3477: 3455: 3449: 3448: 3426: 3420: 3419: 3413: 3405: 3386:10.20344/amp.860 3365: 3356: 3355: 3325: 3319: 3318: 3316: 3314: 3309:on 18 March 2009 3299: 3293: 3292: 3284: 3275: 3274: 3267:Ciências Humanas 3261: 3255: 3254: 3236: 3230: 3229: 3217: 3211: 3210: 3188: 3182: 3181: 3171: 3154: 3153: 3123: 3117: 3116: 3108: 3102: 3101: 3083: 3077: 3076: 3060: 3054: 3053: 3043: 3037: 3036: 3000: 2983: 2982: 2970: 2959: 2958: 2947:Machado de Assis 2942: 2936: 2935: 2913: 2904: 2903: 2873: 2867: 2866: 2841: 2835: 2834: 2822: 2809: 2808: 2792: 2786: 2785: 2763: 2757: 2756: 2744: 2731: 2730: 2728: 2726: 2719:Folha de S.Paulo 2710: 2704: 2703: 2691: 2685: 2684: 2666: 2651: 2650: 2632: 2626: 2625: 2613: 2596: 2595: 2573: 2567: 2566: 2564: 2554: 2548: 2547: 2525: 2508: 2507: 2489: 2468: 2467: 2455: 2396: 2395: 2373: 2356: 2355: 2345: 2312: 2311: 2309: 2307: 2285: 1931:Paul Teodorescu 1772:E. G. Meyenburg 1629: 1537:Artur de Azevedo 1525:Machado de Assis 1440: 1401: 1301: 1283:Afrânio Coutinho 1273:Over the years, 1268:Millôr Fernandes 1224:public employeee 1145:The Psychiatrist 1080: 1025:'s short story " 1015: 1002:Graciliano Ramos 950:Mário de Andrade 676:linear narrative 621: 393: 383:. Some, such as 369: 237: 229:Rua do Riachuelo 203:, on a par with 193:Graciliano Ramos 127:Afrânio Coutinho 82:, Rio de Janeiro 80:Livraria Garnier 47:Machado de Assis 31: 24: 4527: 4526: 4522: 4521: 4520: 4518: 4517: 4516: 4482: 4481: 4480: 4475: 4440: 4422: 4403: 4394: 4325: 4316: 4253: 4248: 4246: 4239: 4232: 4225: 4220: 4218: 4211: 4206: 4204: 4201: 4174: 4169: 4168: 4158: 4156: 4147: 4146: 4142: 4128: 4127: 4123: 4109: 4108: 4104: 4086: 4085: 4081: 4068: 4067: 4063: 4046: 4045: 4041: 4031: 4029: 4020: 4019: 4015: 4008: 3991: 3990: 3986: 3976: 3974: 3965: 3964: 3960: 3953: 3936: 3935: 3928: 3921: 3904: 3903: 3899: 3881: 3880: 3876: 3869: 3852: 3851: 3847: 3840: 3819: 3818: 3811: 3795: 3794: 3790: 3774: 3773: 3769: 3743: 3742: 3738: 3731: 3714: 3713: 3709: 3702: 3686: 3685: 3681: 3674: 3657: 3656: 3652: 3635: 3634: 3630: 3623: 3610: 3609: 3605: 3591: 3590: 3583: 3572:Vários escritos 3569: 3568: 3561: 3554: 3537: 3536: 3532: 3490: 3489: 3485: 3475: 3473: 3457: 3456: 3452: 3445: 3428: 3427: 3423: 3406: 3367: 3366: 3359: 3344: 3327: 3326: 3322: 3312: 3310: 3301: 3300: 3296: 3286: 3285: 3278: 3263: 3262: 3258: 3251: 3238: 3237: 3233: 3219: 3218: 3214: 3207: 3190: 3189: 3185: 3173: 3172: 3157: 3150: 3125: 3124: 3120: 3110: 3109: 3105: 3098: 3085: 3084: 3080: 3062: 3061: 3057: 3045: 3044: 3040: 3025: 3002: 3001: 2986: 2972: 2971: 2962: 2944: 2943: 2939: 2932: 2915: 2914: 2907: 2892: 2875: 2874: 2870: 2863: 2845:Faoro, Raimundo 2843: 2842: 2838: 2824: 2823: 2812: 2799:Princesa Isabel 2794: 2793: 2789: 2782: 2765: 2764: 2760: 2746: 2745: 2734: 2724: 2722: 2712: 2711: 2707: 2693: 2692: 2688: 2681: 2668: 2667: 2654: 2647: 2634: 2633: 2629: 2615: 2614: 2599: 2592: 2575: 2574: 2570: 2562: 2556: 2555: 2551: 2544: 2527: 2526: 2511: 2504: 2491: 2490: 2471: 2457: 2456: 2399: 2392: 2375: 2374: 2359: 2347: 2346: 2315: 2305: 2303: 2287: 2286: 2282: 2277: 2254: 2230:Eliane Giardini 2208: 2192: 2180:Ronaldo Miranda 2172: 2160:Ronaldo Miranda 2128: 2116:Marcos Palmeira 2080: 2075: 1985:: Eesti Raamat 1795:1953 1992 1997 1624: 1570: 1565: 1438: 1395: 1333:intertextuality 1289:and especially 1287:Érico Veríssimo 1217:role regarding 1191: 1189:Interpretations 1078: 1073: 1023:Dalton Trevisan 1009: 946:Modern Art Week 918: 887:Madeleine Férat 698: 653:intertextuality 598:intertextuality 594:proto-modernist 580: 556:Antonio Candido 489:Interpretations 433: 387: 385:Roberto Schwarz 363: 293: 288: 286:Characteristics 231: 221: 197:Dalton Trevisan 155:intertextuality 38: 17: 12: 11: 5: 4525: 4523: 4515: 4514: 4509: 4504: 4499: 4494: 4484: 4483: 4477: 4476: 4474: 4473: 4465: 4457: 4448: 4446: 4442: 4441: 4439: 4438: 4430: 4428: 4424: 4423: 4421: 4420: 4411: 4409: 4405: 4404: 4397: 4395: 4393: 4392: 4388:Esau and Jacob 4384: 4376: 4368: 4360: 4352: 4348:A Mão e a Luva 4344: 4335: 4333: 4327: 4326: 4317: 4315: 4314: 4307: 4300: 4292: 4286: 4285: 4259: 4258: 4244: 4230: 4216: 4200: 4199:External links 4197: 4196: 4195: 4188: 4173: 4170: 4167: 4166: 4140: 4121: 4102: 4093:omelete.com.br 4079: 4061: 4039: 4022:"Dom Casmurro" 4013: 4006: 3984: 3958: 3951: 3926: 3919: 3897: 3874: 3867: 3845: 3838: 3809: 3788: 3767: 3736: 3729: 3707: 3700: 3679: 3672: 3650: 3628: 3621: 3603: 3581: 3559: 3552: 3530: 3509:10.2307/337406 3503:(3): 436–440. 3483: 3450: 3443: 3421: 3357: 3342: 3320: 3294: 3276: 3256: 3249: 3231: 3212: 3205: 3183: 3155: 3148: 3118: 3103: 3096: 3078: 3055: 3038: 3023: 2984: 2960: 2937: 2930: 2905: 2890: 2868: 2861: 2836: 2810: 2787: 2780: 2758: 2732: 2705: 2686: 2679: 2652: 2645: 2627: 2597: 2590: 2568: 2549: 2542: 2509: 2502: 2469: 2397: 2390: 2357: 2313: 2279: 2278: 2276: 2273: 2253: 2250: 2224:, directed by 2207: 2204: 2196:Amor de Capitu 2191: 2188: 2171: 2168: 2127: 2124: 2079: 2076: 2074: 2071: 2068: 2067: 2061: 2060:Xavier Pàmies 2058: 2053: 2048: 2044: 2043: 2037: 2034: 2029: 2024: 2020: 2019: 2007: 2004: 1999: 1994: 1987: 1986: 1980: 1979:Aita Kurfeldt 1977: 1972: 1967: 1963: 1962: 1956: 1955:Ante Gettineo 1953: 1948: 1946:Serbo-Croatian 1943: 1939: 1938: 1932: 1929: 1924: 1919: 1915: 1914: 1911: 1908: 1903: 1900: 1896: 1895: 1889: 1888:Eugen Spálený 1886: 1881: 1876: 1872: 1871: 1865: 1862: 1857: 1852: 1848: 1847: 1841: 1838: 1833: 1828: 1824: 1823: 1813: 1808:Helen Caldwell 1805: 1800: 1797: 1790: 1789: 1776: 1770: 1765: 1762: 1755: 1754: 1745: 1739: 1726: 1723: 1716: 1715: 1709: 1703: 1690: 1687: 1680: 1679: 1667: 1663:Giuseppe Alpi 1661: 1656: 1653: 1646: 1645: 1642: 1641:Translator(s) 1639: 1636: 1633: 1623: 1620: 1569: 1566: 1564: 1561: 1497:José Veríssimo 1480:Cousin Bazilio 1475:Eça de Queiroz 1469:". His friend 1453: 1452: 1445: 1444: 1437: 1434: 1377: 1376: 1325:Helen Caldwell 1315: 1314: 1311:Helen Caldwell 1306: 1305: 1294:novel and see 1279:José Veríssimo 1190: 1187: 1179:psychoanalysis 1167: 1166: 1163: 1160: 1127:Helen Caldwell 1120:existentialism 1098: 1097: 1090: 1089: 1077: 1074: 1072: 1069: 1056:psychoanalysis 1042:psychoanalysis 1027:Capitu Sou Eu" 994:Guimarães Rosa 936:metalinguistic 917: 914: 855:Helen Caldwell 817:Helen Caldwell 809:Mephistopheles 697: 694: 631: 630: 626: 625: 596:, filled with 579: 576: 514:Almeida Júnior 481:Rio de Janeiro 432: 429: 396:metalinguistic 340:, such as the 292: 289: 287: 284: 225:Rio de Janeiro 220: 217: 143:Rio de Janeiro 92: 91: 88: 84: 83: 76: 72: 71: 62: 58: 57: 54: 50: 49: 44: 40: 39: 32: 15: 13: 10: 9: 6: 4: 3: 2: 4524: 4513: 4510: 4508: 4505: 4503: 4500: 4498: 4495: 4493: 4490: 4489: 4487: 4471: 4470: 4466: 4463: 4462: 4458: 4455: 4454: 4450: 4449: 4447: 4443: 4436: 4432: 4431: 4429: 4427:Short stories 4425: 4418: 4417: 4413: 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1363:Hélder Macedo 1360: 1359:Second Empire 1355: 1353: 1349: 1344: 1340: 1339: 1334: 1330: 1326: 1322: 1312: 1308: 1307: 1303: 1302: 1299: 1297: 1292: 1288: 1284: 1280: 1276: 1271: 1269: 1265: 1261: 1256: 1252: 1247: 1245: 1241: 1237: 1233: 1229: 1228:Psychiatrists 1225: 1220: 1216: 1212: 1208: 1204: 1200: 1196: 1188: 1186: 1184: 1180: 1176: 1172: 1164: 1161: 1158: 1157: 1156: 1154: 1149: 1147: 1146: 1141: 1137: 1132: 1128: 1123: 1121: 1117: 1113: 1109: 1105: 1096: 1095:David Haberly 1092: 1091: 1086: 1082: 1081: 1075: 1070: 1068: 1066: 1065: 1059: 1057: 1053: 1049: 1048: 1043: 1039: 1038:Sigmund Freud 1035: 1030: 1028: 1024: 1020: 1016: 1013: 1008: 1003: 997: 995: 991: 990: 985: 981: 977: 976:love triangle 973: 969: 968:David Morrell 965: 964: 959: 955: 951: 947: 943: 939: 937: 933: 929: 926: 922: 915: 913: 911: 907: 903: 899: 898: 893: 889: 888: 883: 877: 875: 871: 870: 864: 860: 856: 852: 848: 840: 836: 832: 831:Muñoz Degrain 828: 824: 820: 818: 814: 810: 806: 802: 797: 795: 791: 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