By Antonio Callado
About the author:
Antônio Callado (26 January 1917, Niterói, Rio de Janeiro, Brazil – 28 January 1997, Rio de Janeiro) used to be a Brazilian journalist, playwright, and novelist. Born in Niterói, Rio de Janeiro, Callado studied legislation, then labored as a journalist in London for the BBC's Brazilian provider from 1941 to 1947. Callado started writing fiction within the 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 thought of as his most famed paintings. Callado has acquired 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 power 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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Extra resources for A Madona de Cedro
The Encyclopedia of Apocalypticism, 3 vols (New York: Continuum, 1999), ii: Apocalypticism in Western History and Culture, 287–325. 28 Cf. , Matthæi Parisiensis, monachi Sancti Albani, Chronica majora, 7 vols, Rerum Britannicarum medii aevi scriptores, 57/1–7 (London: Longman, 1872–1884), i, 81, note 1, and vi, 80. 787–8); HansEberhard Hilpert, ‘Zu den Prophetien im Geschichtswerk des Matthaeus Paris’, Deutsches Archiv für Erforschung des Mittelalters, 41 (1985), 175–91; Suzanne Lewis, The Art of Matthew Paris in the Chronica Majora, California studies in the History of Art, 21 (Berkeley and Los Angeles: University of California Press, 1987), 102–4.
54 Tanner, Decrees, i, 247, 242–3. On these and other abuses by the secular clergy, with lay responses to them, see Daron L. Burrows, The Stereotype of the Priest in the Old French Fabliaux: Anticlerical Satire and Lay Identity (Bern: Peter Lang, 2005). 55 Cf. , Die Apokalypse des Golias, Texte zur Kulturgeschichte des Mittelalters, 5 (Rome: W. Regenberg, 1928). 52 38 Daron Burrows Church (PC 1:15–16, 166a–b). The seven angels with the seven trumpets who stand before God represent the preachers of Holy Church, who are af lame with the grace of God and the seven gifts of the Holy Spirit (PC 8:2, 173b).
3:20]. Chalcedony, which has a pale colour, means those who live a harsh life. Emerald, which is clear and green, means those who have true faith. (PC 21:19, 159b)] Here as elsewhere, the coherence of the Commentary resides not in careful articulation of the constituent parts of an argument, but in the cumulative ef fect of consistency in approach. 304), it is in fact an interpolation added in later recensions of Jerome’s revised version of his text (cf. , Victorin de Poetovio: ‘Sur l’Apocalypse’, suivi du fragment chronologique et de ‘La Construction du monde’, Sources chrétiennes, 423 (Paris: Cerf, 1997), 108, 196).
A Madona de Cedro by Antonio Callado