to shake the hand of happiness, as seu sebastião’s family does at the beginning of “o ataque,” is always a short-lived accomplishment in luiz ruffato’s hellish world. in inferno provisório, the sense of marginality, of living life on the periphery, derives from the author’s decision to register in panoramic, five-volume form a raw and heart-rending history of the working class in Brazil in the second half of the twentieth century. Correspondingly, his narrative lens captures factory workers who strive for upward mobility and get entangled in consumerist cravings. Yet he also portrays the lowly lower classes, the truly down and out: the unemployed, the sick, the unstable, the suicidal, the insignificant, misfits living in makeshift quarters, those excluded, exploited and discarded by society. this essay addresses this extremely marginalized sector of the populace in ruffato’s inferno provisório. i focus in particular on several stories on its third segment, vista parcial da noite, set in the 1960s and 70s during the Brazilian dictatorship. luiz ruffato’s attention to marginality paradoxically takes aim at the center, at that which is most sacrosanct in the stories Brazil tells about itself: the nation and the family. he uses fiction to point to Brazilian society’s pervasive flaws, mostly by way of intimate vignettes of families on the outer fringes. in Marilena Chaui’s “Comemorar?” from Brazil: Mito fundador e sociedade autoritária (89-95), she aptly draws correlations between Brazil’s colonial framework and its post-colonial makeup as an authoritarian society, linking public and private spheres. in Chaui’s mapping of Brazil’s authoritarian profile, she stresses an overall societal arc within which political totalitarianism manifests itself (90). Within what Chaui terms “social authoritarianism,” inequalities abound, rooted in a colonial pattern of socioeconomic imbalance. With a landholding master in command through the privilege and power of racial, gender and class “superiority,” “naturally” inferior beings such as women,

中文翻译：

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握手幸福：路易斯·鲁法托的地狱箴言

像seusebastião的家人在“ o ataque”创立之初所做的那样，与幸福握手，在路易斯·鲁法托（Luiz Ruffato）地狱般的世界中总是短暂的成就。在地狱中，边缘化的边缘生活意识来自于作者决定以全景，五卷的形式进行登记，这是二十世纪下半叶巴西工人阶级的原始和令人心痛的历史。世纪。与此相对应的是，他的叙事镜头吸引了那些努力向上流动并纠结于消费者渴望的工厂工人。然而，他也描绘了低下阶层，真正的下沉者：失业，患病，不稳定，自杀，微不足道的，不适宜居住在临时住所中的人，那些被社会排斥，剥削和丢弃的人。本文讨论了ruffato的地狱规定中人口的这一极端边缘化领域。我特别关注第三部分的几个故事，即1960年代和70年代的巴西独裁时期。路易斯·鲁法托（Luiz Ruffato）对边缘化的关注自相矛盾地将焦点放在了中心，即巴西讲述自己的故事中最神圣不可侵犯的中心：国家和家庭。他用小说来指出巴西社会普遍存在的缺陷，主要是通过外围边缘家庭的亲密小插曲。在Marilena Chaui的“ Comemorar？”中 来自巴西：美图（Mito）资助者e自律社会（89-95），她恰当地得出了巴西的殖民框架与其作为威权社会的后殖民化构成之间的联系，将公共和私人领域联系在一起。在乔伊描绘巴西威权主义形象的过程中，她强调了政治极权主义在其中体现出来的整个社会弧线（90）。在乔伊所说的“社会威权主义”中，不平等现象根深蒂固，其根源在于社会经济失衡的殖民模式。在拥有种族，性别和阶级“优越”，“自然”劣等人（例如妇女）的特权和权力的情况下，拥有土地主人的指挥官