This article aims to provide the reader with a brief introduction to Mário Filho’s O negro no futebol brasileiro (The Black Man in Brazilian Soccer). While emphasizing the importance of this classic book, I will discuss a few of its central ideas, the context in which these ideas were produced, and how they came to shape the perception of sports and race in Brazil. Furthermore, in the last sections of this article, I will examine how issues of genre classification regarding Mário Filho’s book have affected the way it has been read and interpreted over the years.
本文旨在向读者简要介绍马里奥-菲略（Mário Filho）的《巴西足球中的黑人》（O negro no futebol brasileiro）。在强调这本经典著作的重要性的同时，我将讨论其中的一些中心思想、这些思想产生的背景，以及它们如何塑造了巴西人对体育和种族的看法。此外，在本文的最后几节，我将探讨有关马里奥-菲略著作的体裁分类问题如何影响了多年来对该书的解读和诠释。
{"title":"Mário Filho’s O Negro No Futebol Brasileiro (The Black Man in Brazilian Soccer) under and beyond the Shadow of Gilberto Freyre","authors":"Mario Higa","doi":"10.3390/h13020055","DOIUrl":"https://doi.org/10.3390/h13020055","url":null,"abstract":"This article aims to provide the reader with a brief introduction to Mário Filho’s O negro no futebol brasileiro (The Black Man in Brazilian Soccer). While emphasizing the importance of this classic book, I will discuss a few of its central ideas, the context in which these ideas were produced, and how they came to shape the perception of sports and race in Brazil. Furthermore, in the last sections of this article, I will examine how issues of genre classification regarding Mário Filho’s book have affected the way it has been read and interpreted over the years.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"15 17","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140227133","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The standard image of First World War soldiers is of men in open trenches: waiting to attack or be attacked; walking, sitting, sleeping, dead. Ford’s Parade’s End includes such scenes. But it is a different kind of image which predominates in his war writings and often produces its most memorable passages: images of houses or house-like shelters. The mind seeks protection in such structures; but they offer little security against the destructiveness outside, against the bombardments, gas, shrapnel, bullets. Ford wrote that the experience of war revealed: ‘men’s dwellings were thin shells that could be crushed as walnuts are crushed. … all things that lived and moved and had volition and life might at any moment be resolved into a scarlet viscosity seeping into the earth of torn fields […]’. This realisation works in two ways. The soldier’s sense of vulnerability provokes fantasies of home, solidity, sanctuary, while for the returnee soldier, domestic architecture summons war-visions of its own annihilation: ‘it had been revealed to you’, adds Ford, ‘that beneath Ordered Life itself was stretched, the merest film with, beneath it, the abysses of Chaos’. It is now customary to read war literature through trauma theory. Building on analyses of Ford’s use of repression, but drawing instead on object relations theory, I argue that Ford’s houses of war are not screen memories but images of the failure of repression to screen off devastating experiences. The abysses of Chaos can be seen through the screen or projected upon it. Attending to Ford’s handling of this theme enables a new reading of his war writing and a new case for its coherence. The essay will connect the opening of No More Parades (in a hut, during a bombardment) with the war poem ‘The Old Houses of Flanders’; the postwar poem A House; the memoir It Was the Nightingale (quoted above); and the otherwise puzzling, fictionalised memoir No Enemy, structured in terms of ‘Four Landscapes’ and ‘Certain Interiors’.
{"title":"‘[M]en’s Dwellings Were Thin Shells’: Uncertain Interiors and Domestic Violence in Ford Madox Ford’s War Writing","authors":"Max Saunders","doi":"10.3390/h13020054","DOIUrl":"https://doi.org/10.3390/h13020054","url":null,"abstract":"The standard image of First World War soldiers is of men in open trenches: waiting to attack or be attacked; walking, sitting, sleeping, dead. Ford’s Parade’s End includes such scenes. But it is a different kind of image which predominates in his war writings and often produces its most memorable passages: images of houses or house-like shelters. The mind seeks protection in such structures; but they offer little security against the destructiveness outside, against the bombardments, gas, shrapnel, bullets. Ford wrote that the experience of war revealed: ‘men’s dwellings were thin shells that could be crushed as walnuts are crushed. … all things that lived and moved and had volition and life might at any moment be resolved into a scarlet viscosity seeping into the earth of torn fields […]’. This realisation works in two ways. The soldier’s sense of vulnerability provokes fantasies of home, solidity, sanctuary, while for the returnee soldier, domestic architecture summons war-visions of its own annihilation: ‘it had been revealed to you’, adds Ford, ‘that beneath Ordered Life itself was stretched, the merest film with, beneath it, the abysses of Chaos’. It is now customary to read war literature through trauma theory. Building on analyses of Ford’s use of repression, but drawing instead on object relations theory, I argue that Ford’s houses of war are not screen memories but images of the failure of repression to screen off devastating experiences. The abysses of Chaos can be seen through the screen or projected upon it. Attending to Ford’s handling of this theme enables a new reading of his war writing and a new case for its coherence. The essay will connect the opening of No More Parades (in a hut, during a bombardment) with the war poem ‘The Old Houses of Flanders’; the postwar poem A House; the memoir It Was the Nightingale (quoted above); and the otherwise puzzling, fictionalised memoir No Enemy, structured in terms of ‘Four Landscapes’ and ‘Certain Interiors’.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"46 26","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140231674","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Behn and Centlivre used their comedies about the rivalry between an elder and a younger brother concerning an inheritance to make a political statement. Primogeniture was customary in early-modern England, and if an estate was entailed (rather than held in fee simple), it was difficult, though not impossible, to will it away to another person. The reasons meriting disinheritance were widely discussed, but in the two plays, the Tory fathers disinherit their Whig elder sons for political reasons. As The Younger Brother was staged posthumously and altered by Charles Gildon, it is arguable what Behn’s manuscript looked like, but there are indications that the elder brother was meant to be a downright republican and that Behn saw to it that the estate would go to the Tory younger brother, whose political stance she shared. In The Artifice, the father disinherits his upright elder son because he punished a Jacobite clergyman (whom the Whigs would have considered traitorous), but Centlivre—a zealous Whig herself—engineered an ending that reinstates the elder brother but also provides the younger with a comfortable income. Both dramatists also dealt with the inheritance prospects of women and the power of disposal they have over their portions.
{"title":"Sibling Rivalry, (Dis)Inheritance and Politics in Aphra Behn’s The Younger Brother and Susanna Centlivre’s The Artifice","authors":"Margarete Rubik","doi":"10.3390/h13020053","DOIUrl":"https://doi.org/10.3390/h13020053","url":null,"abstract":"Behn and Centlivre used their comedies about the rivalry between an elder and a younger brother concerning an inheritance to make a political statement. Primogeniture was customary in early-modern England, and if an estate was entailed (rather than held in fee simple), it was difficult, though not impossible, to will it away to another person. The reasons meriting disinheritance were widely discussed, but in the two plays, the Tory fathers disinherit their Whig elder sons for political reasons. As The Younger Brother was staged posthumously and altered by Charles Gildon, it is arguable what Behn’s manuscript looked like, but there are indications that the elder brother was meant to be a downright republican and that Behn saw to it that the estate would go to the Tory younger brother, whose political stance she shared. In The Artifice, the father disinherits his upright elder son because he punished a Jacobite clergyman (whom the Whigs would have considered traitorous), but Centlivre—a zealous Whig herself—engineered an ending that reinstates the elder brother but also provides the younger with a comfortable income. Both dramatists also dealt with the inheritance prospects of women and the power of disposal they have over their portions.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"6 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140241202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 2009, Seth Grahame-Smith published Pride and Prejudice and Zombies, sparking a subgenre that situates itself within multiple genres. I draw from the rebellious nature of nineteenth-century proto-feminists who tried to reclaim the female monster as an initial methodology to analyze Grahame-Smith’s Elizabeth Bennet. I argue that the (white) women in this horror rewriting inadvertently become the oppressors alongside contextualized zombie theory. This article also explores Grahame-Smith’s Charlotte Lucas as a complex female monster, as she is bitten and turned into a zombie, which reflects in part Jane Austen’s Charlotte’s social status and (potential) spinsterdom. It is the mythos of the zombie that makes Grahame-Smith’s Elizabeth Bennet’s feminist subversion less remarkable. And it is Charlotte’s embodiment of both the rhetorical and the religio-mythic monster that merges two narratives: the Americanized appropriated zombie and the oppressed woman. Grahame-Smith’s characters try to embody the resistance of twenty-first feminist sensibilities but fail due to the racial undertones of the zombie tangentially present in Pride and Prejudice and Zombies.
2009 年，塞斯-格雷厄姆-史密斯（Seth Grahame-Smith）出版了《傲慢与偏见和僵尸》（Pride and Prejudice and Zombies）一书，引发了一种将自己置于多种流派之中的亚流派。我从十九世纪原女性主义者试图重塑女性怪物的反叛本质出发，作为分析格雷厄姆-史密斯笔下伊丽莎白-班纳特的初步方法。我认为，这种恐怖改写中的（白人）女性无意中成为了语境化僵尸理论的压迫者。本文还探讨了格雷厄姆-史密斯笔下的夏洛特-卢卡斯这一复杂的女性怪物，因为她被咬后变成了僵尸，这在一定程度上反映了简-奥斯汀笔下夏洛特的社会地位和（潜在的）老处女身份。正是 "僵尸 "的神话让格雷厄姆-史密斯笔下的伊丽莎白-班纳特对女性主义的颠覆不那么引人注目。正是夏洛特所体现的修辞和宗教神话中的怪物融合了两种叙事：美国化的僵尸和受压迫的女性。格拉哈梅-史密斯笔下的人物试图体现二十一世纪女权主义的反抗精神，但由于《傲慢与偏见与僵尸》中切切实实存在的僵尸种族色彩而失败。
{"title":"Bloody Petticoats: Performative Monstrosity of the Female Slayer in Seth Grahame-Smith’s Pride and Prejudice and Zombies","authors":"Michelle L. Rushefsky","doi":"10.3390/h13020052","DOIUrl":"https://doi.org/10.3390/h13020052","url":null,"abstract":"In 2009, Seth Grahame-Smith published Pride and Prejudice and Zombies, sparking a subgenre that situates itself within multiple genres. I draw from the rebellious nature of nineteenth-century proto-feminists who tried to reclaim the female monster as an initial methodology to analyze Grahame-Smith’s Elizabeth Bennet. I argue that the (white) women in this horror rewriting inadvertently become the oppressors alongside contextualized zombie theory. This article also explores Grahame-Smith’s Charlotte Lucas as a complex female monster, as she is bitten and turned into a zombie, which reflects in part Jane Austen’s Charlotte’s social status and (potential) spinsterdom. It is the mythos of the zombie that makes Grahame-Smith’s Elizabeth Bennet’s feminist subversion less remarkable. And it is Charlotte’s embodiment of both the rhetorical and the religio-mythic monster that merges two narratives: the Americanized appropriated zombie and the oppressed woman. Grahame-Smith’s characters try to embody the resistance of twenty-first feminist sensibilities but fail due to the racial undertones of the zombie tangentially present in Pride and Prejudice and Zombies.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":" 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140392148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper we analyze the relationship between antiracism and black self-defense. We draw a distinction between liberal and political black self-defense and argue that antiracism can at most sanction a juridical and individualistic notion of self-defense rather than a communal one. We argue that any and all theoretical conceptions of contestation, resistance, or revolution need to seriously grapple with the necessity of theorizing black self-defense. In doing so, we thematize antiblack violence through accounts of self-defense given by black radicals. Together, these arguments outline a perpetual conditional threat of violence against any and all black freedom projects, which in turn justifies enunciative black counterviolence.
{"title":"Antiracism and Black Self-Defense in the Face of (Juridical) Catastrophe","authors":"Adam Burgos, Khalil Saucier","doi":"10.3390/h13020051","DOIUrl":"https://doi.org/10.3390/h13020051","url":null,"abstract":"In this paper we analyze the relationship between antiracism and black self-defense. We draw a distinction between liberal and political black self-defense and argue that antiracism can at most sanction a juridical and individualistic notion of self-defense rather than a communal one. We argue that any and all theoretical conceptions of contestation, resistance, or revolution need to seriously grapple with the necessity of theorizing black self-defense. In doing so, we thematize antiblack violence through accounts of self-defense given by black radicals. Together, these arguments outline a perpetual conditional threat of violence against any and all black freedom projects, which in turn justifies enunciative black counterviolence.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"1991 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140246648","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper discusses the secrecies of border spirits within 20th century Finnish belief narratives. The aim is to explore how and in which contexts the imaginary aspects of border spirit narratives link to the idea of the “power of storytelling”. The following study touches on areas such as the suspension of the fantasy and sociopolitical aspects within the narratives. The folklore materials focus mainly on the Finnish heartland and partly on the national borders. Especially, narrative research methods were used to analyse what is heard and seen of the border spirits and what contexts these narratives involve. Moreover, the results touch on the dynamics of belief narratives without limiting them to the territorial aspects of borders. Hence, the study also explores interpretative bridges between folklore and border studies.
{"title":"The Ordinary Looks behind the Horrifying Screams: The Secrecies of Border Spirits in 20th Century Finnish Belief Narratives","authors":"Kari Korolainen","doi":"10.3390/h13020049","DOIUrl":"https://doi.org/10.3390/h13020049","url":null,"abstract":"This paper discusses the secrecies of border spirits within 20th century Finnish belief narratives. The aim is to explore how and in which contexts the imaginary aspects of border spirit narratives link to the idea of the “power of storytelling”. The following study touches on areas such as the suspension of the fantasy and sociopolitical aspects within the narratives. The folklore materials focus mainly on the Finnish heartland and partly on the national borders. Especially, narrative research methods were used to analyse what is heard and seen of the border spirits and what contexts these narratives involve. Moreover, the results touch on the dynamics of belief narratives without limiting them to the territorial aspects of borders. Hence, the study also explores interpretative bridges between folklore and border studies.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"67 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140249858","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I question the logic informing paradigms of trauma that ontologize and essentialize events, such as the Holocaust and chattel slavery, making them unique, incomparable exceptions that encapsulate or inaugurate the violence of Western modernity, while standing outside and above the order they found. In an effort to avoid the urge to rank that follows almost effortlessly from such ontologization, I mobilize the appeal to the universal undergirding the works of Slavoj Žižek and that of Frantz Fanon. Both Fanon and Žižek read racial trauma and racist violence in light of the eviscerating ontological effects of an imperialist capitalism that divides the world and segregates its peoples. Rather than opting for identity politics, however, these thinkers argue against ontologizing and exceptionalizing victims, in favor of elaborating a politics based on their concrete universality.
{"title":"Against Exceptionalism","authors":"Zahi Zalloua","doi":"10.3390/h13020050","DOIUrl":"https://doi.org/10.3390/h13020050","url":null,"abstract":"In this article, I question the logic informing paradigms of trauma that ontologize and essentialize events, such as the Holocaust and chattel slavery, making them unique, incomparable exceptions that encapsulate or inaugurate the violence of Western modernity, while standing outside and above the order they found. In an effort to avoid the urge to rank that follows almost effortlessly from such ontologization, I mobilize the appeal to the universal undergirding the works of Slavoj Žižek and that of Frantz Fanon. Both Fanon and Žižek read racial trauma and racist violence in light of the eviscerating ontological effects of an imperialist capitalism that divides the world and segregates its peoples. Rather than opting for identity politics, however, these thinkers argue against ontologizing and exceptionalizing victims, in favor of elaborating a politics based on their concrete universality.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140251230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay adopts a stylistic approach to delineate the various—and varying—pragmatic effects inherent in the use and interactions of pronouns in Ford’s war prose. Ford’s singular use of pronouns is shown to be instrumental in his practice of literary impressionism. In particular, the omnipresent second person is granted a variety of referents that coexist along a “continuum of reference” (as defined by Bettina Kluge), from a “you” that is speaker-oriented to one that is addressee-oriented. Sorlin’s intersection of Kluge’s continuum with a gradient from personalisation to generalisation (2022) is illuminating when examining the manifold significance of Ford’s use of the second person, as it brings to light its ethical impact. Ford’s war essays shift from the general to the particular and from the collective to the individual in a manner that opposes propaganda rhetorics. Furthermore, the gradient established by Sandrine Sorlin to account for the pragmatic effect of “you” also proves remarkably useful when applied to the pronoun “one”. Scrutinising the interplay between these various pronouns allows us to investigate the multifarious relationships that Ford establishes in his war essays between the persona, the reader, those he often called “my men”, and the collective ethos of wartime Britain.
{"title":"The Pragmatics, Poetics, and Ethics of Pronouns in Ford Madox Ford’s War Prose","authors":"Isabelle Brasme","doi":"10.3390/h13020048","DOIUrl":"https://doi.org/10.3390/h13020048","url":null,"abstract":"This essay adopts a stylistic approach to delineate the various—and varying—pragmatic effects inherent in the use and interactions of pronouns in Ford’s war prose. Ford’s singular use of pronouns is shown to be instrumental in his practice of literary impressionism. In particular, the omnipresent second person is granted a variety of referents that coexist along a “continuum of reference” (as defined by Bettina Kluge), from a “you” that is speaker-oriented to one that is addressee-oriented. Sorlin’s intersection of Kluge’s continuum with a gradient from personalisation to generalisation (2022) is illuminating when examining the manifold significance of Ford’s use of the second person, as it brings to light its ethical impact. Ford’s war essays shift from the general to the particular and from the collective to the individual in a manner that opposes propaganda rhetorics. Furthermore, the gradient established by Sandrine Sorlin to account for the pragmatic effect of “you” also proves remarkably useful when applied to the pronoun “one”. Scrutinising the interplay between these various pronouns allows us to investigate the multifarious relationships that Ford establishes in his war essays between the persona, the reader, those he often called “my men”, and the collective ethos of wartime Britain.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"76 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140257218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Countless polls, studies and surveys conducted prior to and following the 2016 UK Referendum on Membership of the European Union confirmed immigration to be the key emotive issue for not only the British electorate, but several Western European nations. By critiquing key pieces of EU legislation, Go, Went, Gone (2015) by Jenny Erpenbeck offers a humanising, caustic warning of the troubling politicisation of EU and non-EU migration in Germany, suggesting the ways by which literature can destabilise institutional optics of power and counteract myths surrounding the process of racial othering.
{"title":"Reframing the Refugee: Jenny Erpenbeck’s Compassionate Politics","authors":"Kristian Shaw","doi":"10.3390/h13020047","DOIUrl":"https://doi.org/10.3390/h13020047","url":null,"abstract":"Countless polls, studies and surveys conducted prior to and following the 2016 UK Referendum on Membership of the European Union confirmed immigration to be the key emotive issue for not only the British electorate, but several Western European nations. By critiquing key pieces of EU legislation, Go, Went, Gone (2015) by Jenny Erpenbeck offers a humanising, caustic warning of the troubling politicisation of EU and non-EU migration in Germany, suggesting the ways by which literature can destabilise institutional optics of power and counteract myths surrounding the process of racial othering.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"40 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140077047","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper analyzes Mia Couto’s short story “O dia em que explodiu Mabata-bata” [The day Mabata-bata exploded] and its adaptation by Sol de Carvalho’s film Mabata Bata. Through an analysis of both versions, this study aims to understand how Couto’s narrative was recreated and transfigured in the film adaptation. The film adaptation of the story employs a blend of images and additional text to extend the verbal dimensions of the original story, thus creating a new experience. It establishes affinities with the original story and introduces new elements that add to the narrative’s depth and complexity. The adaptation of the story in the film provides an opportunity to examine the decolonial perspective of the nation’s history, portraying the symbolic metamorphosis during the civil war (1977–1992). By analyzing both the short story and the film, this study highlights the pivotal role of literature and cinema in fostering a Mozambique “de-linking” identity through language, religion and traditions.
本文分析了米娅-库托（Mia Couto）的短篇小说《马巴塔爆炸之日》（O dia em que explodiu Mabata-bata）及其由索尔-德-卡瓦略（Sol de Carvalho）改编的电影《马巴塔》（Mabata Bata）。本研究旨在通过对这两个版本的分析，了解库托的叙事在电影改编中是如何被再创造和改造的。故事的电影改编采用了图像和附加文字的融合，扩展了原故事的语言维度，从而创造了一种新的体验。它与原故事建立了亲和力，并引入了新的元素，增加了叙事的深度和复杂性。电影中对故事的改编提供了一个机会，从非殖民化的角度审视国家历史，描绘内战（1977-1992 年）期间的象征性蜕变。通过对短篇小说和电影的分析，本研究强调了文学和电影在通过语言、宗教和传统促进莫桑比克 "脱钩 "身份认同方面的关键作用。
{"title":"Mabata-Bata in Motion: The Transformation of Mia Couto’s Narrative in Sol de Carvalho’s Film","authors":"Lola Geraldes Xavier, João Viana, Silvie Špánková","doi":"10.3390/h13020046","DOIUrl":"https://doi.org/10.3390/h13020046","url":null,"abstract":"This paper analyzes Mia Couto’s short story “O dia em que explodiu Mabata-bata” [The day Mabata-bata exploded] and its adaptation by Sol de Carvalho’s film Mabata Bata. Through an analysis of both versions, this study aims to understand how Couto’s narrative was recreated and transfigured in the film adaptation. The film adaptation of the story employs a blend of images and additional text to extend the verbal dimensions of the original story, thus creating a new experience. It establishes affinities with the original story and introduces new elements that add to the narrative’s depth and complexity. The adaptation of the story in the film provides an opportunity to examine the decolonial perspective of the nation’s history, portraying the symbolic metamorphosis during the civil war (1977–1992). By analyzing both the short story and the film, this study highlights the pivotal role of literature and cinema in fostering a Mozambique “de-linking” identity through language, religion and traditions.","PeriodicalId":509613,"journal":{"name":"Humanities","volume":"114 22","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140079530","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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