2) For a more detailed discussion of Manzoni's distinction between history and fiction, real and verisimilar
, "verita e poesia," and "veto e inventato," see Mario Puppo's study Poesia e verita.
The dialogue (again, the Cortegiano serves as an archtext in this discussion) had to be historically verisimilar
, had to attend to the ethos of its interlocutors, and to observe decorum scrupulously if it was to fulfill its exemplary function as "a sort of window display of Italian elite society" (26).
The temporal symbolism of the story also derives from and reflects the story's thematic and aesthetic demands rather than the need for verisimilar
His fictions are verisimilar
constructions guided by artistic choices, certainly, but "thought genuine; only so far kept up, I mean, as that they should not prefatically [sic] be owned not to be genuine.
6) That formulaic criticism is, by extension, related to how the priest understands reality: he assumes that "El curioso impertinente" cannot be a true story because it is not verisimilar
is like Heidegger's piece of chalk: inside it there is always another verisimilar
waiting to get out; no matter how many times the chalk is snapped there will always be something more real "lying farther back" that turns out in the end, once exposed, to be only another surface (Heidegger 21ff).
conjectures, the text says, one could conclude that Don Quijotes last name was "Quexana" (in the first edition), corrected to "Quixana" in Cuestas second edition.
And what I think is interesting is that the fictional story is in many ways more realistic and more verisimilar
than the so-called real life story that follows it.
Cervantes' power of invention allows him, as well, to refashion the verisimilar
plot, character and milieu of, for him, a relatively new picaresque tradition.
to the fantastic and supernatural is opposed the commonplace and verisimilar
, to the mythical past time and legendary place is opposed contemporary Spain, to the single lofty style is opposed a multiplicity of stylistic levels ironically juxtaposed, to exemplary deeds are opposed failures and inconsequential meetings, and so forth.
If dominant, future-oriented Utopian space corresponds to a logic of the beyond and is ultimately regulated by the temporal logics of a narrative, in most cases, a verisimilar
fable--heterotopian spaces have to do with what Sedgwick has referred to as "the irreducibly spatial positionality of beside.
As a result, it is often the case that Sciascia presents historical events in such a way as to transmit a mental reality more verisimilar
than 'real:' the historical background they represent does not necessarily correspond to what 'really happened' and can be proven; rather, it is subjugated to the needs of the fiction.