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By Antonio Callado

About the author:

Antônio Callado (26 January 1917, Niterói, Rio de Janeiro, Brazil – 28 January 1997, Rio de Janeiro) was once a Brazilian journalist, playwright, and novelist. Born in Niterói, Rio de Janeiro, Callado studied legislations, then labored as a journalist in London for the BBC's Brazilian provider from 1941 to 1947. Callado started writing fiction within the Nineteen Fifties. His first novel, A assunção de Salviano (The Assumption of Salviano), used to be released in 1954, and his final, O homem cordial e outras histórias (Men of Feeling and different Stories), got here out in 1993. Quarup (1967) is considered his most famed paintings. Callado has bought literary prizes that come with the Golfinho de Ouro, the Prêmio Brasília, and the Goethe Prize for fiction for Sempreviva (1981).

Sobre o livro:

A madona de cedro, segundo romance de Antonio Callado, publicado em 1957, foi passo decisivo na construção do universo ficcional do autor. Podem-se ver nele as bases da linguagem e do universo romanesco que seriam marca registrada de Callado, e que atingiriam seu auge em Quarup e Sempreviva. O romance é uma batalha psicológica dentro de Delfino, que precisa lidar com as implicações morais de seu ato: remorso, culpa, expiação. Sem perder o energy de um bom policial, o romance de Callado segue dinâmico. A volta de Adriano, a encarnação do príncipe das trevas, força Delfino a enfrentar de modo definitivo seu drama.

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Sample text

This gave rise to a new literary subgenre that became known as Missionary Romance Heroism, the defining tropes of which can be found in the unfeasible animation of a serialised ‘letter’ of February 1891, supposedly posted from South Africa. A local village, plagued by two relentless lions, finds salvation in the form of two genteel-sounding missionaries, Wright and Mr Truscott: The whole crowd of natives came up and commenced blazing away, but none of them hit her, although they were not more than ten paces distant.

7 The tendency to create horizontal metonymic connections that transcended nations and cultures was once again construed as a verification of Western Europe’s imperial vitality and prowess. 9 However, within the discourse produced on Central Africa by the evangelical missionary orders, the stereotypical image is revealed as being contradictory and unsustainable: The real African is not the thoughtless, laughter-loving, untrainable savage, or typical savage, or typical Quashee of works of fiction, or the ‘half-child’ that so many, even of the present day, take him to be.

The skin belonged to Mr. 30 It is difficult not to read this extract as a reactionary response from an ideological elite within an organisation that, by the fin de siècle, had become almost exclusively dependent upon female volunteers. Such an example as Conrad’s, in Heart of Darkness, with its attempted subversion and perversion of the gender status quo in the figures of the aunts and the African mistress, generally accepts that the imperial endeavour was formed by a pre-existing gender ideology; what is interesting in the example of the missionary magazines is that they suggest that the imperial endeavour itself formed gender ideology, rather than being formed by it.

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