and more here. Parkview Apartments, Seongnam, Gyeonggi Do. na Coreia do Sul, em 2007 por Thomas Struth, um dos meus fotógrafos favoritos depois de S. Paulo que me demorei a ver em Bruxelas no museu que fica ao lado do novíssimo (então) museu Magritte. lembro-me da sala, em que tínhamos de descer alguns degraus, e da guarda, em pé a um canto provavelmente a pensar porque ficaria eu a olhar uma avenida degradada e alguns candeeiros de iluminação pública durante uns quinze minutos. a cada um, neste caso uma, as suas donzelas.
o milagre capitalista. se antes de morrer tivesse de escolher um livro para ler, provavelmente escolheria Anna Karénina. também, e como uma espécie de bónus adicional, vejo que o livro da memória é filho dela e que os traços do seu rosto se lhe assemelham tanto que negar a maternidade seria loucura. o fim de ambas é semelhante, o princípio é que não. cada 'cena' vale por si e são tantas. espero nunca ver um filme com esta história: os placards, as revistas e os trailers são já ameaçadores. consegui um certo silêncio de ruídos, o controlo do eflúvio sonoro. sinto-me tentada a fazer o mesmo no mar visual e deixar as exteriores no exterior durante algum tempo.
a diferença está nos objectos.
a cena do comboio é vertiginosa: entra-se com Vronski e é a sua sensação que nos invade. mas saímos da estação já do lado de fora, pairando sobre a cena. como se se entrasse na pessoa e se saísse com a facilidade de um espírito. reparei na vida que um carácter obscuro tem um momento de glória vingativa quando um fio de luz o ilumina, e esse seria um momento de crime e castigo. não misturemos autores, ou antes, misturemos mais ainda:
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IMAGERY
Imagery may be defined as the evocation, by means of words, of something that is meant to appeal to the reader's sense of color, or sense of outline, or sense of sound, or sense of movement, or any other sense of perception, in such a way as to impress upon his mind a picture of fictitious life that becomes to him as living as any personal recollection. For producing these vivid images the writer has a wide range of devices from the brief expressive epithet to elaborate word pictures and complex metaphors.
1) Epithets. Among these to be noted and admired are the "limply plopping" and "scabrous" as applied so magnificently to the slippery insides and rough outsides of the choice oysters Oblonski enjoys during his restaurant meal with Lyovin. Mrs. Garnett omitted to translate these beautiful shlyupayushchie and bershavye; we must restore them. Adjectives used in the scene of the ball to express Kitty's adolescent loveliness and Anna's dangerous charm should also be collected by the reader. Of special interest is the fantastic compound adjective, literally meaning "gauzily-ribbonly-lacily-iridescent" (tyulevo-lento-kruzhevno-tsvetnoy), used to describe the feminine throng at the ball. The old Prince Shcherbatski calls a flabby type of elderly clubman, shlyupik, pulpy thing, a child's word for a hard boiled egg that has become quite pulpy and
spongy from too much rolling in a Russian Easter game where eggs are rolled and knocked at each other.
2) Gestures. Oblonski, while his upper lip is being shaved, answering his valet's question (Is Anna coming with her husband or alone) by lifting one finger; or Anna, in her talk with Dolly, illustrating Steve's spells of moral oblivion by making a charming blurred gesture of obliteration before her brow.
3) Details Of Irrational Perception. Many examples in the account of Anna's half dream on the train.
4) Colorful Comedy Traits. As when the old Prince thinks he is mimicking his wife as he grotesquely simpers and curtseys when speaking of matchmaking.
5) Word Pictures. These are innumerable: Dolly miserably sitting at her dressing table and the rapid deep-chested voice in which, disguising her distress, she asks her husband what he wants; Grinevich's convexedly-tipped fingernails; the old sleepy blissful hound's sticky lips — are all delightful and unforgettable images.
6) Poetical Comparisons. Seldom used by Tolstoy, appealing to the senses, such as the charming allusions to diffuse sunlight and a butterfly, when Kitty is described on the skating rink and at the ball.
7) Utilitarian Comparisons. Appealing to the mind rather than to the eye, to the ethical sense rather than to the esthetical one. When Kitty's feelings before the ball are compared to those of a young man before a battle, it would be ridiculous to visualize Kitty in a lieutenant's uniform; but as a rational black-and-white verbal scheme the comparison works nicely and has the parable note that Tolstoy cultivates so assiduously in certain later chapters.
Not all is direct imagery in Tolstoy's text. The parable comparison grades insensibly into the didactic intonations with their meaningful repetitions that characterize Tolstoy's accounts of situations and states of mind. In this respect, the direct statements of chapter openings should be especially marked: "Oblonski had learned easily at school" or "Vronski had never had any real home life."
8) Similes And Metaphors.
The old curly birches of the gardens, with all their branches weighed down by snow, seemed decked in new festive vestments (Part one, chapter 9).
But for Lyovin she was as easy to find in that crowd as a wild rose among nettles. Everything was made bright by her. She was the smile that shed light on all around her. The place where she stood seemed to him a holy shrine He walked down, for a long while avoiding looking at her as at the sun, but seeing her, as one does the sun, without looking.
Nabokov, who else, daqui.
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