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08jan2008
O policial das Camélias
Roger Caillois, citado por Fereydoun Hoveyda, em Historia de La novela policiaca:
“Aqui también la novela policiaca refleja con exactitude y fidelidad las actitudes del individuo frente a la sociedade... La novela policiaca deja de ser un juego cerebral, sin lazo alguno con la realidad concreta y vuelve a ser una novela, o sea, un espejo en el que se reflejan las reacciones del hombre en el seno de la colectividad en la que se inserta su existencia...Y el motivo de que el relato sea policiaco solo estriba em que, em el mundo, existe uma policía”.
Comentários
Olha, adoro seus artigos, mas confesso que eu não entendi muita coisa desse ai não, dá para traduzir? rsrs
Beijos
Carol
Por Carol | 08/jan/2008 15:48
Eu tambem nao.. rs
Por BETO | 10/jan/2008 16:21
O que dirão deste então:
"So if the detective is the writer, his fictional creation is the murder victim. And in fact, there is a sense in the book that as Martin Beck becomes more preoccupied with the character he and his team create - that of Roseanna, the murdered woman - the distance grows between him and the real, living woman who is his wife. She pulls him back to the world of his family - the real rather than the imagined world - and he resents her for it. It's a phenomenon that has been noted in the lives of many artists, including writers. The detective rejects the living and chooses the dead, while the writer chooses the fictional, those who have never lived. The obsessiveness of the detective is akin to the obsessiveness of the writer."
em: http://blogs.guardian.co.uk/books/2008/01/the_writer_as_detective_my_inv.html
Por Frank | 10/jan/2008 21:52
Sorry, I forget, it´s "translate" our "complicate"?
My comment:
Olha, adoro seus artigos, mas confesso que eu não entendi muita coisa desse ai não, dá para "traduzir"?
Ok, I remember now!
I say: "Dá para traduzir?"
It´s translate...
Thank´s Frank
Por Carol | 29/jan/2008 13:47