Bulletin of Hispanic Studies

O cruzamento do desejo e da memória em 'O Belo Adormecido' e 'Assobio na Noite' de Lídia Jorge

Bulletin of Hispanic Studies (2009), 86, (4), 565–574.

DOI
https://doi.org/10.1353/bhs.0.0066
Language
English
Pages
10

Abstract

Quem conhece a obra de Lídia Jorge não ficará surpreendido ao ser confrontado em O Belo Adormecido com uma colectânea de contos da qual transparece um jogo de sedução entre texto e leitor ao qual a escritora nos vem habituando e que aqui é corroborado pelo efeito de imediação característico do género literário do conto.1 Directamente relacionada com este jogo encontramos igualmente a reflexão sobre temas como a memória, a identidade e o género que, embora também já habituais na sua ficção, nos são agora propostos através da clara articulação com um outro elemento: o do desejo. Ao nos oferecer seis contos sobre o desejo, Lídia Jorge confronta-nos com imagens de uma identidade e subjectividade que passam por um seduzir do outro e um expôr-se-lhe, cujo resultado é por vezes controverso, contraditório e até mesmo confrontante, como acontece com as personagens dos contos 'O Belo Adormecido' e 'Assobio na Noite', e que já de seguida irei demonstrar.

The short stories included in Lídia Jorge's O Belo Adormecido are in a sense the reconfirmation of a game of seduction between text and reader already familiar to those acquainted with the author's oeuvre, in which questions such as memory, identity and gender remain central. This game is even more evident in O Belo Adormecido, not only from the specific immediacy characteristic of the short story but also because all six stories interrelate in one major aspect: the reflection on desire in human relationships. While articulating identity and subjectivity with the intense desire for the other, Lídia Jorge confronts us with expectations that, implicit in this desire, eventually have surprising and contradictory outcomes, as in the stories 'O Belo Adormecido' and 'Assobio na Noite'.

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Achter, Erik van, 2005b. 'What's in a Name? Generic Labels for Short Prose Fiction in Portuguese Criticism', Derivas (Aveiro: Universidade de Aveiro). What's in a Name? Generic Labels for Short Prose Fiction in Portuguese Criticism Derivas Google Scholar

Bal, Mieke, 1999. Quoting Caravaggio. Contemporary Art, Preposterous History (London and Chicago: The University of Chicago Press). Quoting Caravaggio. Contemporary Art, Preposterous History Google Scholar

Braidotti, Rosi, 2006. Transpositions (Cambridge and Malden: Polity Press). Transpositions Google Scholar

Butler, Judith, 2005. Giving an Account of Oneself (New York: Fordham University Press). Giving an Account of Oneself Google Scholar

Grosz, Elizabeth, 1990. Jacques Lacan. A Feminist Introduction (London and New York: Routledge). Jacques Lacan. A Feminist Introduction Google Scholar

Jorge, Lídia, 2004. O Belo Adormecido (Lisboa: Dom Quixote). O Belo Adormecido Google Scholar

Medeiros, Paulo de, 1999. 'Memória Infinita', Portuguese Literary & Cultural Studies, 2, Spring: 261–77. Google Scholar

Moisés, Massaud, 1975. A Criação Literária (São Paulo: Edicções Melhoramentos). A Criação Literária Google Scholar

Prower, Emanuel, 1999. 'Memory as Sign', in Memory – Remembering – Forgetting, ed. Wojciech H. Kalaga and Tadeusz Rachwal (Frankfurt am Main: Peter Lang), pp. 11–27. Memory as Sign Memory – Remembering – Forgetting 11 27 Google Scholar

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Jordão, Paula