By Gozo Shioda, Jacques Payet, Christopher Johnston, Kyoichi Inoue

Trans. Jacques Payet, Christopher Johnston

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The (always male) protagonist must be aware of the meaning of events that are happening to him, which are not hazardous or accidental but instead point coherently to gradual selfdiscovery and the finding of his own place in the world. Alongside the different episodes, and by learning from them, he must correct the previous, naïve, and erroneous image he had of himself and the world. These stages typically consist of the following, according to Jacobs (1989) and Nascimento (2000, 18): i) ii) iii) iv) The separation from the father’s realm (the ‘old house’).

And the beginning of the 19th c. It thus coincides with the start of the romantic revival, a period when the artist was held in high esteem, and the man of genius became an exalted figure. (Cuddon 1998, 446) While José Régio’s The Old House (1945-1966), taken as a cycle centred on the formative years of a poet and memoirist, belongs to the Künstlerroman genre, A Drop of Blood (1945a), its first instalment—sharing some of the anti-school bias of Bildung—had yet another genealogy to belong to. 22 GENRE IN NARRATIVES ABOUT GROWING UP THE SCHULROMAN AND THE INTERNATSROMAN The education novel, or Erziehungsroman, focusing on formal instruction and tutoring, developed around the same time of the formation novel, the Entwicklungsroman, but apart from the Bildung ideal.

Theroux 1994, 130) Exclusion comes under many guises but never truly leaves the stage. Blanchot condensed Foucault‘s remarks on its persistence: […] before the mad, there were lepers, and it was in the sites, simultaneously physical and spiritual, left empty by the lepers, who had disappeared, that shelters for the newly excluded were set up.

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