age of novel belongs. The novel is essentially concerned with describing the career of an individual in search of some totality, some coherence, some identity, whose image he carries deep within himself.[3] Trecho original: Some archetypes are so deeply rooted in conventional association that they can hardly avoid suggesting that association, as the geometrical figure of the cross inevitably suggests the death of Christ.[4] Trecho original: sense of rupture and disjuntction, the dissolution of certainties.[5] Trecho original: the burgher epic, the novel of social reality, moral assessment, direct representation of life and history. [6] Trecho original: The modernist crisis in the novel implies a reenactment of the dilemma that produced the Bildungsroman. [7] Referencias a esta obra, em citacoes, serao feitas com a abreviacao BG, seguida do numero da pagina. [8] Trecho original: In postmodern societies, anything which is not able to be translated into a form recognizable and storable by a computer--i.e. anything that's not digitalizable will cease to be knowledge. In this paradigm, the opposite of "knowledge" is not "ignorance," as it is the modern/humanist paradigm, but rather "noise [which] not recognizable as anything within this system. [9] Trecho original: Everyone was too conscious of being observed, of being judged.[10] Conceito pensado por Derrida para demonstrar a multiplicidade de leituras que podem ser realizadas a partir de um texto.[11] Trecho original: All literary works, in other words, are rewritten, if only unconsciously, by the society which read them; indeed there is no reading of a work which is not a re-writing._________Pagina 1555 REFERENCIAS BIBLIOGRAFICAS BAUMAN, Zygmunt. A utopia na era da incerteza. In: _____. Tempos liquidos. Rio deJaneiro: Jorge Zahar, 2007.CAVALCANTI, Ariane da Mota. Sao Bernardo: A traducao do mito literario de Otelo e afratura no neo-naturalismo de 30. In: ENCONTRO INTERNACIONAL DA ABRALIC, 11,2008, Sao Paulo. Tessituras, Interacoes, Convergencias; Sao Paulo: EDUSP, 2008.Disponivel em: CAVALCANTI, Ildney. As margens das margens, o futuro do futuro: o espaco-tempo utopicoem Body of Glass, de Marge Piercy. In: III Seminario Internacional Mulher e Literatura,outubro 2007, Ilheus. Anais. Disponivel em:Acesso:10 de novembro de 2007.EAGLETON, Terry. Introduction: What is literature? In: _____. Literary theory naintroduction. Oxfors: Blackwell, 1995.FRYE, Northrop. Fabulas de identidade: estudos de mitologia poetica. Traducao SandraVasconcelos. Sao Paulo: Nova Alexandria, 2000._____. Mythical phase: symbol as archetype. In: _____. Anatomy of criticism: four essays.New Jersey: Princeton University Press, 1957.HUBNER, Patrick. Utopia e mito. In: BRUNEL, Pierre. Dicionario de mitos literarios. Rio deJaneiro: Olympio, 1997.IANNI, Octavio. Tipos e mitos da modernidade. Disponivel em:Acesso em: 27 de junho de 2010JOLLES, Andre. Formas simples: legenda, saga, mito, adivinha, ditado, caso, memoravel,conto, chiste. Traducao Alvaro Cabral. Sao Paulo: Cultrix, [s/d].KLAGES, Mary. Postmodernism. In: _____. Literary Theory: A Guide for the Perplexed. [s/l]:Continuum, 2007. Disponivel em:Acesso em: 13 desetembro de 2010LUKACS, Georg. A teoria do romance. Traducao Jose Marcos Mariani de Macedo. SaoPaulo: Duas Cidades, 2000.PIERCY, Marge. Body of Glass. London: Penguin Books, 1992.SHELLEY, Mary. Frankenstein. [s/l]: Create Space, 2010.SHEENAN, Paul. Mapping modernism: crisis in form. In: _____. Modernism, narrative andhumanism. Cambridge: Cambridge University Press, 2004.SOUZA, Darli Alves de. O desencantamento do mundo. Ultimo andar. Sao Paulo, marco2006, p.