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The Dead Author in the novel Dom Casmurro

Ronaldes de Melo e Souza ; Faculdade de Letras, Universidade Federal do Rio de Janeiro

Puni tekst: hrvatski, pdf (78 KB) str. 39-47 preuzimanja: 124* citiraj
APA 6th Edition
Souza, R.d.M.e. (2016). Mrtvi autor u romanu Dom Casmurro. Književna smotra, 48 (181(3)), 39-47. Preuzeto s
MLA 8th Edition
Souza, Ronaldes de Melo e. "Mrtvi autor u romanu Dom Casmurro." Književna smotra, vol. 48, br. 181(3), 2016, str. 39-47. Citirano 14.04.2021.
Chicago 17th Edition
Souza, Ronaldes de Melo e. "Mrtvi autor u romanu Dom Casmurro." Književna smotra 48, br. 181(3) (2016): 39-47.
Souza, R.d.M.e. (2016). 'Mrtvi autor u romanu Dom Casmurro', Književna smotra, 48(181(3)), str. 39-47. Preuzeto s: (Datum pristupa: 14.04.2021.)
Souza RdMe. Mrtvi autor u romanu Dom Casmurro. Književna smotra [Internet]. 2016 [pristupljeno 14.04.2021.];48(181(3)):39-47. Dostupno na:
R.d.M.e. Souza, "Mrtvi autor u romanu Dom Casmurro", Književna smotra, vol.48, br. 181(3), str. 39-47, 2016. [Online]. Dostupno na: [Citirano: 14.04.2021.]

Machado de Assis’s invention of the dead author informs the plot weaving not only of The Posthumous Memories of Bras Cubas, but also of Dom Casmurro. Both novels reveal themselves to be posthumous memoires. In the recollection of times gone by the narrator adopts a dual perspective, in which two narrative visions intertwine, the one belonging to the dead author who is ironically distanced from the events, the other to the protagonist emotionally involved with the events. This double narrative mediation is made evident through a comparison with fictional experiments such as Dickens’s David Copperfield and Thackeray’s Henry Esmond. Dom Casmurro’s peculiarity is notable in its shift between internal and external perspective and in its adoption of a multiperspectivism that enables the narrator to take up multiple fictional masks. We demonstrate that the overisight of the narrative multiperspectivism impoverishes the critical reception of the novel, which has predominantly dealt with Capitu’s supposed adultery. After a brief revision of the critical fortune of Dom Casmurro, the essay proposes the theory of the opera as a structural matrix of the novel and highlights the technique of the reversed illusion as key to the transformation of an apparently tragic plot into a tragicomic drama.

Hrčak ID: 170997



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