{"title":"Niyi Afolabi. Ilê Aiyê in Brazil and the Reinvention of Africa. New York: Palgrave Macmillan, 2016. 288 pp.","authors":"Christopher Dunn","doi":"10.3368/lbr.56.2.e14","DOIUrl":"https://doi.org/10.3368/lbr.56.2.e14","url":null,"abstract":"","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":"56 1","pages":"E14 - E16"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42421334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Sarzynski, Sarah. Revolution in the Terra do Sol: The Cold War in Brazil. Stanford: Stanford UP, 2018. 352 pp.","authors":"Theresa Bachmann","doi":"10.3368/lbr.56.2.e4","DOIUrl":"https://doi.org/10.3368/lbr.56.2.e4","url":null,"abstract":"","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":"56 1","pages":"E4 - E5"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43182598","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines the impact of contemporary curating and cultural programming in the configuration of critical perspectives on Portugal’s postcolonial identity. It argues that visual creativity is forging a new paradigm in the Portuguese cultural field. In this context, postcolonial discourses are not silenced but, rather, aligned with international agendas in broader cultural initiatives mirroring the transformation of the main Portuguese cities into cosmopolitan, multicultural, and multiethnic enclaves. This situation, however, does not imply that these new visual productions are liberated from the present contradictions deriving from the legacies of colonialism. In addressing this situation, the essay seeks to understand how artistic practices and curatorial conceptions have begun to develop a critical reading of the major questions centered around current debates on coloniality in Portugal.
{"title":"Notes on Curatorship, Cultural Programming and Coloniality in Portugal","authors":"Carlos Garrido Castellano, M. Lança","doi":"10.3368/lbr.56.2.42","DOIUrl":"https://doi.org/10.3368/lbr.56.2.42","url":null,"abstract":"This article examines the impact of contemporary curating and cultural programming in the configuration of critical perspectives on Portugal’s postcolonial identity. It argues that visual creativity is forging a new paradigm in the Portuguese cultural field. In this context, postcolonial discourses are not silenced but, rather, aligned with international agendas in broader cultural initiatives mirroring the transformation of the main Portuguese cities into cosmopolitan, multicultural, and multiethnic enclaves. This situation, however, does not imply that these new visual productions are liberated from the present contradictions deriving from the legacies of colonialism. In addressing this situation, the essay seeks to understand how artistic practices and curatorial conceptions have begun to develop a critical reading of the major questions centered around current debates on coloniality in Portugal.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":"56 1","pages":"42 - 63"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43763565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article examines two films that portray the experiences of women in armed revolutionary movements in twentieth-century Brazil: Olga (2004), directed by Jayme Monjardim and set in the 1930s during the dictatorship of Getúlio Vargas, and O que é isso, companheiro? (1997), directed by Bruno Barreto and centered on the 1969 kidnapping of Charles Burke Elbrick, the American ambassador to Brazil. An examination of the potential of historical fiction and fictionalized history to expand the historical record and contest the “official” accounts of past-marginalized groups reveals a similar discrepancy in both films: While they establish counternarratives for leftist groups, they reproduce and reinforce heteronormative, binary divisions of gender. Drawing upon Jack Halberstam’s notion of female masculinity, this article argues that the two films seek to “correct” the gender expression of their lead female characters, sliding them from positions of masculine power to ones of feminine weakness and self-sacrifice. Pierre Bourdieu’s notion of the “double bind” and recent Brazilian politics reveal how the films, inadvertently, capture the dilemma of women seeking to wield authority in Brazil: While a woman’s feminine presentation is not respected as strong by the Brazilian public, her masculine expression is not seen as legitimate.
{"title":"Defusing Brazil’s Woman Militant","authors":"Dana A. Meredith","doi":"10.3368/lbr.56.2.84","DOIUrl":"https://doi.org/10.3368/lbr.56.2.84","url":null,"abstract":"This article examines two films that portray the experiences of women in armed revolutionary movements in twentieth-century Brazil: Olga (2004), directed by Jayme Monjardim and set in the 1930s during the dictatorship of Getúlio Vargas, and O que é isso, companheiro? (1997), directed by Bruno Barreto and centered on the 1969 kidnapping of Charles Burke Elbrick, the American ambassador to Brazil. An examination of the potential of historical fiction and fictionalized history to expand the historical record and contest the “official” accounts of past-marginalized groups reveals a similar discrepancy in both films: While they establish counternarratives for leftist groups, they reproduce and reinforce heteronormative, binary divisions of gender. Drawing upon Jack Halberstam’s notion of female masculinity, this article argues that the two films seek to “correct” the gender expression of their lead female characters, sliding them from positions of masculine power to ones of feminine weakness and self-sacrifice. Pierre Bourdieu’s notion of the “double bind” and recent Brazilian politics reveal how the films, inadvertently, capture the dilemma of women seeking to wield authority in Brazil: While a woman’s feminine presentation is not respected as strong by the Brazilian public, her masculine expression is not seen as legitimate.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":"56 1","pages":"104 - 84"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42695693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Green, James N. Exile within Exiles: Herbert Daniel, Gay Brazilian Revolutionary. Durham: Duke UP, 2018. 334 pp.","authors":"Kristal Bivona","doi":"10.3368/lbr.56.2.e6","DOIUrl":"https://doi.org/10.3368/lbr.56.2.e6","url":null,"abstract":"","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":"56 1","pages":"E6 - E7"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45986392","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Piçarra, Maria do Carmo and Teresa Castro, eds. (Re)imagining African Independence: Film, Visual Arts and the Fall of the Portuguese Empire. Bern: Peter Lang, 2017. xvi + 287 pp.","authors":"E. Brugioni","doi":"10.3368/lbr.56.2.e8","DOIUrl":"https://doi.org/10.3368/lbr.56.2.e8","url":null,"abstract":"","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":"56 1","pages":"E10 - E8"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47430327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Hilda Hilst’s Pornographic or Obscene Trilogy, composed of the novels O caderno rosa de Lori Lamby (1990), Contos d’escárnio/textos grotescos (1990), and Cartas de um sedutor (1991), were deemed by many to be a scandalous offense for their explicit (and comic) representations of sexuality, particularly for their treatment of sexual taboos. Hilst regarded the novels as part of a larger effort to gain more attention after years of relative obscurity. In this essay, I argue that the trilogy signifies an important change in the philosophical concerns that characterize her poetry, theatre, and fiction. If in other works by Hilst, one finds a certainty in the ability of thought and language to represent the real, whose condition of possibility assumes the presence of a divine figure, the Pornographic Trilogy marks the absence or death of God. As a result, the novels trouble notions of a centered individual and collective subject. This shift in the ontological assumptions that underlie Hilst’s work is evoked in varying figures of limit and transgression that inform the novels’ enumeration of sexual taboos, as well as a recurrent tension between three images of writing. I show that the novels consider the death of God as it relates to writing, particularly as it concerns narrative voice, authorship, and genre. Finally, I contend that it is through the decidedly comic mode of the trilogy that the novels signal the attempt to think of self as singular being and community as a sharing of the condition of human finitude.
希尔达·希尔斯特的色情或淫秽三部曲由小说《O caderno rosa de Lori Lamby》（1990年）、《Contos d’escárnio/textos grotescos》（1990）和《Cartas de um sedutor》（1991年）组成，因其对性的露骨（和喜剧）表现，尤其是对性禁忌的处理，被许多人认为是一种可耻的冒犯。希尔斯特认为，在经历了多年的默默无闻之后，这些小说是为了获得更多关注而做出的更大努力的一部分。在这篇文章中，我认为三部曲标志着她诗歌、戏剧和小说哲学关注的一个重要变化。如果在希尔斯特的其他作品中，人们发现思想和语言表达真实的能力是确定的，而真实的可能性条件假设存在一个神圣的人物，那么色情三部曲标志着上帝的缺席或死亡。因此，小说对以个人和集体为中心的主体观念产生了困扰。希尔斯特作品背后的本体论假设的这种转变，在小说对性禁忌的列举以及三种写作形象之间反复出现的紧张关系中，以各种各样的限制和越轨的形象被唤起。我表明，小说在与写作有关的时候考虑到了上帝的死亡，尤其是在叙事声音、作者身份和类型方面。最后，我认为，正是通过三部曲中明显的喜剧模式，小说标志着试图将自我视为单一的存在，将社区视为人类有限条件的共享。
{"title":"Limit and Transgression in Hilda Hilst’s Pornographic Trilogy","authors":"Derek Beaudry","doi":"10.3368/lbr.56.2.64","DOIUrl":"https://doi.org/10.3368/lbr.56.2.64","url":null,"abstract":"Hilda Hilst’s Pornographic or Obscene Trilogy, composed of the novels O caderno rosa de Lori Lamby (1990), Contos d’escárnio/textos grotescos (1990), and Cartas de um sedutor (1991), were deemed by many to be a scandalous offense for their explicit (and comic) representations of sexuality, particularly for their treatment of sexual taboos. Hilst regarded the novels as part of a larger effort to gain more attention after years of relative obscurity. In this essay, I argue that the trilogy signifies an important change in the philosophical concerns that characterize her poetry, theatre, and fiction. If in other works by Hilst, one finds a certainty in the ability of thought and language to represent the real, whose condition of possibility assumes the presence of a divine figure, the Pornographic Trilogy marks the absence or death of God. As a result, the novels trouble notions of a centered individual and collective subject. This shift in the ontological assumptions that underlie Hilst’s work is evoked in varying figures of limit and transgression that inform the novels’ enumeration of sexual taboos, as well as a recurrent tension between three images of writing. I show that the novels consider the death of God as it relates to writing, particularly as it concerns narrative voice, authorship, and genre. Finally, I contend that it is through the decidedly comic mode of the trilogy that the novels signal the attempt to think of self as singular being and community as a sharing of the condition of human finitude.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":"56 1","pages":"64 - 83"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.3368/lbr.56.2.64","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49185510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper analyzes two poems, by Gonçalves Crespo and Caetano da Costa Alegre, both entitled “A negra,” and dating from 1882 and 1884. My comparison focuses on the writers’ revindications of the figure of the negra. Drawing on Alfredo Bosi’s understanding of historically-situated, “resistant” literary texts, I argue that the poems show their writers grappling with—and partially subverting—poetic conventions that were hostile to the affirmation of the beauty and dignity of African and Afro-diasporic women, particularly in comparison to the figure of the loira, a commonplace of nineteenth-century Portuguese poetry. The poems pushed the boundaries of what could be said concerning race and beauty in late-nineteenth-century Portuguese verse, while respecting certain conventions so as to be formally and conceptually “legible.” I contend that we should understand these poems in terms of Bosi’s ideology/ counter-ideology dyad, as exercises in ideological and poetic negotiation rather than examples of uncritical conformity, or of a radicalism that, per Bosi, would have been unavailable to these writers.
本文分析了Gonçalves Crespo和Caetano da Costa Alegre的两首诗，这两首诗的标题都是“黑人”，可追溯到1882年和1884年。我的比较集中在作家对黑人形象的重述上。根据阿尔弗雷多·博西对历史背景下的“抵抗”文学文本的理解，我认为这些诗歌表明，他们的作家正在努力应对——并部分颠覆——那些对非洲和非洲散居妇女的美丽和尊严的肯定持敌对态度的诗歌惯例，特别是与卢伊拉的形象相比，十九世纪葡萄牙诗歌中常见的一种。这些诗歌突破了19世纪末葡萄牙诗歌中关于种族和美丽的界限，同时尊重某些惯例，以便在形式和概念上“清晰可见”。我认为，我们应该从博西的意识形态/反意识形态二元体的角度来理解这些诗歌，作为意识形态和诗意谈判的练习，而不是这些作家无法获得的不加批判的一致性或激进主义的例子。
{"title":"Figurations of the Negra in Gonçalves Crespo and Caetano da Costa Alegre","authors":"R. Newcomb","doi":"10.3368/lbr.56.2.1","DOIUrl":"https://doi.org/10.3368/lbr.56.2.1","url":null,"abstract":"This paper analyzes two poems, by Gonçalves Crespo and Caetano da Costa Alegre, both entitled “A negra,” and dating from 1882 and 1884. My comparison focuses on the writers’ revindications of the figure of the negra. Drawing on Alfredo Bosi’s understanding of historically-situated, “resistant” literary texts, I argue that the poems show their writers grappling with—and partially subverting—poetic conventions that were hostile to the affirmation of the beauty and dignity of African and Afro-diasporic women, particularly in comparison to the figure of the loira, a commonplace of nineteenth-century Portuguese poetry. The poems pushed the boundaries of what could be said concerning race and beauty in late-nineteenth-century Portuguese verse, while respecting certain conventions so as to be formally and conceptually “legible.” I contend that we should understand these poems in terms of Bosi’s ideology/ counter-ideology dyad, as exercises in ideological and poetic negotiation rather than examples of uncritical conformity, or of a radicalism that, per Bosi, would have been unavailable to these writers.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":"56 1","pages":"1 - 19"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47736680","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Braga-Pinto, César. A violência das letras: Amizade e inimizade na literatura brasileira: (1888–1940). Rio de Janeiro: EdUERJ, 2018. 619 pp.","authors":"J. Mello","doi":"10.3368/lbr.56.2.e30","DOIUrl":"https://doi.org/10.3368/lbr.56.2.e30","url":null,"abstract":"","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":"56 1","pages":"E30 - E33"},"PeriodicalIF":0.1,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44782100","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：