Signs and Designs: Art and Architecture in the Work of Michel Butor


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SIGNS AND DESIGNS: ART AND ARCHITECTURE IN THE WORK OF MICHEL BUTOR

Further, it could challenge that canned online links cannot be found or dedicated to Use below what has really Free and registered, then by God. In the light with which that Rembrandt signs his paintings or in the reflection of the flames on a piece of metal, on a bottle, on a face, I am inclined to see, it is irresistible, resonances of Roos.

Something like that impels Captain Melville. Would he yield to such an obstinate search if the whale that gets him to ceaselessly rummage the ocean were bluish like other cetaceans - and not white? In both cases, that is, Abel and Ahab, it is an obstinate search. Intertextuality thickens even more because the object of each search also has something in common: light Roos and whiteness the whale. Both are elusive, with the difference that "cities are bigger than whales and do not swim as fast", in which Abel "has an advantage over Melville's unfortunate hero," in the words of Lins' character, in a second dialogical link between Avalovara and Moby Dick ibid, p.

After the meeting between Roos and Abel in Milan, she returns to Paris and he continues his journey through Italy. In reflecting on the foolishness of his itinerary, he decides to no longer listen to the inner voices that show him the scarcity of his possessions. He will continue to search:. I convince myself that the City, regardless of how little it identifies itself - and it was not its emergence that has imposed this belief developed through reasoning, but rather the evocation of some previous events and the examination of similes - emits a prestigious light.


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Ahab, to mention just one example, would take on the duty that destroys him, would accept the demand of his long chase, if Moby Dick were anything but an enormous being and in which "everything that removes the leeward side of things" is embodied? This principle, to some extent unquestionable, applies to me. In this intertextual occurrence, the spotlight is once again on the relationship between the nature of the search and the uniqueness of its object, whose main attributes are hugeness and destructive force.

In a sense, by invoking Ahab's experience, Abel projects himself in Ahab. His search will be as long as his.

Like Ahab was destroyed by the whale, Abel will also die when he reaches the Ideal City, which intertwines with total fulfillment in love, in the understanding of the world and in the act of writing. Evoking the example of Ahab appeases Abel's anxiety. Just like Ahab was no longer interested in hunting the whales that crossed his path, despite the economic losses, because he wanted to focus his efforts on the search for Moby Dick, Abel no longer feels tempted to get off in every city he passes through.

He chooses to visit those that are of some interest to him; his gaze becomes more analytical, sharp and cautious. He no longer considers these days to have been wasted. All he has seen, codices and incunabula and artistic achievements, gives him instructions about the book he secretly intends to write and "whose central theme would be how things, having crossed a threshold, rise through new relationships to the level of fiction.

At that moment, when he realizes that the quest is lengthy, the text of Avalovara already clearly indicates the explanation of one of the facets of the object of his quest, the book he intends to write from his own experience. Between their failed meeting in Amsterdam and their meeting in Milan, Abel and Roos meet in a cafe in Paris:. We sat face to face, under the awning of the cafe.

All lights are on in the square. Vehicles pass by almost constantly and I cannot always hear Roos' voice, who guides the conversation in a direction at the same time neutral and personal. Many birds in Brazil? If I have read Goethe's Werther? What I think about the final scene between the hero and his beloved. What I am I looking for in the world The reference to Werther, unlike previous intertextual occurrences, always in Abel's voice, is made by Roos. As it is known, Werther killed himself with the pistol he had borrowed from Alberto, on the pretext of a trip he was supposedly going to take.

At the request of her husband, the gun is handed to Werther's servant by Charlotte herself, with whom Goethe's hero is madly in love. The day before Werther visited Charlotte, whose husband, and a friend of his, had traveled on business. This is this scene Roos is referring to. At this meeting, in a tense atmosphere, the physical contact between the two materializes in a passionate kiss, followed by an immediate distancing initiated by Charlotte, concerned about being faithful to her husband.

This intertextual outburst conveys subtly and discretely the anticipation of Roos' final response to Abel's appeals for affection and love. This explicit manifestation is preceded also by another, implicit, which reinforces very subtly the tenor of Roos' slippery and icy feelings for Abel. This is the episode in which the ferruginous bird comes close to Roos' hand, as if it were a drinking fountain, in a reference to the scene in which, during Werther's visit to Charlotte a canary, which she feeds, rests on her shoulders.

It happens that, when Charlotte feeds the little animal, it kisses her lips. And she gets the bird to kiss Werther's lips as well. Representing a moment of closer contact, this scene gives rise to a dialogue between the two and prepares, along with other events, the kiss of their last meeting.

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Unlike in Avalovara , the bird will not lead to a connection between Abel and Roos. When the bird comes close to Roos' hands, Abel claps, the little animal flutters, flees, she gets up and walks away. This happens shortly after Abel himself, inclined to reading in things representations of his life, as the narrator tells us, had said to himself: "let the bird rest on this foreigner's hand and I am forever entangled in a noose" ibid.

These two intertextual occurrences reiterate the direction of the relationship between Abel and Roos, anticipating its end, in which each follows their destiny. She asks Abel about the last meeting between Charlotte and Werther and goes on with her speech. Maybe she is not even interested in finding out what he thinks about that scene.

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Drawing on the literary reference, she obliquely informs him that their relationship will never materialize. At that time, he still did not know that Roos was married. Anyway, this situation would not be another insurmountable obstacle, in the twentieth century context, to the union of people who are in love.

Unlike Charlotte, who has a strong affective inclination towards Werther, Roos does not love Abel. She does not project herself in Charlotte, but in a way announces that Abel will die a tragic death because of his uncontrollable love for a married woman. Werther and Abel become equals in their tragic fates in the name of absolute love. Tragic fates with different shades, in line with the trajectory and the time of each one: Werther, disturbed and unfulfilled, commits suicide, like a romantic hero. Abel, a Brazilian character-writer from the s, conscious and completely fulfilled, is murdered together with his beloved and with her ascends to heaven.

He will not meet her in heaven after death, as happened with Dante and Beatrice. Heaven is concretely represented in the allegorical scene of sexual intercourse on the rug with idyllic motifs. By "intertextualizing" The Divine Comedy , Werther and Moby Dick , Osman Lins gives life, for the readers of Avalovara, to these works of literary memory, through explicit dialogues, which are available to any attentive reader.

As for Butor's novel, the movement is different.

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Its literary memory will only be perceived by the reader who has read La modification. The dialogue between these novels is consubstantiated in echoes of one work in the other, allowing a comparative reading in various situations, but always under the sign of reminiscence. Osman Lins chooses to not make the dialogue with his contemporary explicit. Perhaps this can be explained by the proximity and even by the fact that he interviewed Michel Butor in Paris in the early s when, besides proving to be an attentive and critical reader of La modification and other books by Butor, he interviewed him as his peer, establishing with him a dialogue between writers.

The structure of Avalovara refers to the content of the conversation between Osman Lins and Michel Butor about the immobility of artwork. Avalovara is based on a tension between the changeable and the unchangeable, from which results the appearance of an open structure, allowing the reader to penetrate it in various ways, but which is ultimately rigorously engineered by a omnipresent constructor, perfectly in line with the idea that narrative is a cosmogony. As a representative in Paris of the typewriter company Scabelli, he travels frequently to Rome.

A special trip from Paris to Rome merges with Delmont's inner journey, to which the reader has access through the narrative focus, set in a "here "and "now", expressed in the second person which, in fact, corresponds to the first. But the city is also fatal to him: entering Rome means to seek what is mistaken, from the psychological point of view, for a descent into hell, leading him to a shock of awareness.

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The City of Light will bring the enlightenment he needs to find himself, but he will endure the pains of someone damned to hell, before coming out renewed. Moving her to Paris and living the everyday life with her, away from Rome, will only bring him the life he is already living with Henriette, his wife.

Instead of replacing one with the other, which would mean a deep change in his life, the primary objective of this special trip from Paris to Rome, he eventually chooses to maintain the current status of his love life, as a result of his inner journey. The solution presented to him is the act of writing.


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Signs and Designs: Art and Architecture in the Work of Michel Butor Signs and Designs: Art and Architecture in the Work of Michel Butor
Signs and Designs: Art and Architecture in the Work of Michel Butor Signs and Designs: Art and Architecture in the Work of Michel Butor
Signs and Designs: Art and Architecture in the Work of Michel Butor Signs and Designs: Art and Architecture in the Work of Michel Butor
Signs and Designs: Art and Architecture in the Work of Michel Butor Signs and Designs: Art and Architecture in the Work of Michel Butor
Signs and Designs: Art and Architecture in the Work of Michel Butor Signs and Designs: Art and Architecture in the Work of Michel Butor
Signs and Designs: Art and Architecture in the Work of Michel Butor Signs and Designs: Art and Architecture in the Work of Michel Butor
Signs and Designs: Art and Architecture in the Work of Michel Butor Signs and Designs: Art and Architecture in the Work of Michel Butor

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