'The more stories, the more yarn' or the threads of another Xerazade: About narrating the migrant transits and the exile condition of volunteers and r

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Breve resumo:
Based on the perception of the narrative gesture, as an affirmative exercise of an action well suited to the character-narrator Xerazade, as postulated by Isabel Pires de Lima (2012), this article intends to reflect on the transits mobilized in the narrative texture of Julieta Monginho's novel, Um Muro no Meio do Caminho (2018). Thus, if, on the one hand, the narrator-protagonist J. moves to Greece to perform a humanitarian activity, it is this mobility that makes her find other subjects in a forced transit: the refugees. When rescuing each transitive figure in this transitional space on the island of Chios, J. is configuring herself as an authentic Xerazade, in a double movement of telling the stories (Benjamin 1985). As a volunteer, she puts herself in a migrant condition, at the same time that, as a listener of the refugees' narratives, she captures the exile condition to which they are exposed (Nouss 2016). In both features (volunteers and refugees), the characters intertwine their stories, with their most peculiar problems and complexities, their fears and their hopes, which allows them to recognize themselves as figures of and in movement (Ette 2016).​



Info Adicional:
Based on the perception of the narrative gesture, as an affirmative exercise of an action well suited to the character-narrator Xerazade, as postulated by Isabel Pires de Lima (2012), this article intends to reflect on the transits mobilized in the narrative texture of Julieta Monginho's novel, Um Muro no Meio do Caminho (2018). Thus, if, on the one hand, the narrator-protagonist J. moves to Greece to perform a humanitarian activity, it is this mobility that makes her find other subjects in a forced transit: the refugees. When rescuing each transitive figure in this transitional space on the island of Chios, J. is configuring herself as an authentic Xerazade, in a double movement of telling the stories (Benjamin 1985). As a volunteer, she puts herself in a migrant condition, at the same time that, as a listener of the refugees' narratives, she captures the exile condition to which they are exposed (Nouss 2016). In both features (volunteers and refugees), the characters intertwine their stories, with their most peculiar problems and complexities, their fears and their hopes, which allows them to recognize themselves as figures of and in movement (Ette 2016).



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