This article seeks to analyze Brazilian author Tatiana Salem Levy’s debut novel A chave de casa (2007) as a dialogical autofiction. I show how Salem Levy’s interventions in the genres of autobiographical and autofiction writing provide a fertile terrain for the reconstruction of female subjectivities in the aftermath of both personal and collective traumas. In opposition to the historical taxonomy established by Harold Bloom regarding the Oedipal need for the male author to outwrite his literary forefathers in a metaphoric parricide, Salem Levy’s interventions in self-writing show that Gilbert and Gubar’s concept of “anxiety of authorship” experienced by female authors (such as the protagonist of A chave de casa) can be overcome through intergenerational, maternal, and filial solidarity and co-writing, rather than through a revolt against patriarchal literary authority. This article will focus on the mother-daughter relationship in order to illustrate how A chave de casa breaks with the paradigms of autofiction.
本文试图将巴西作家塔蒂亚娜·塞勒姆·莱维的处女作《家的房子》(2007)作为一部对话自传体小说来分析。我展示了塞勒姆·莱维对自传体和自传体小说写作类型的干预如何为在个人和集体创伤之后重建女性主体性提供了肥沃的土壤。与哈罗德·布鲁姆(Harold Bloom)所建立的历史分类法相反，他认为男性作家需要以隐喻性的弑父行为来超越自己的文学祖先，而塞勒姆·莱维(Salem Levy)对自我写作的干预表明，吉尔伯特和古巴尔(Gilbert和Gubar)的“作者焦虑”概念是可以通过代际、母性和孝道的团结和共同写作来克服的，女性作家(如《家有所》(a chave de casa)的主人公)所经历的。而不是通过反抗男权文学权威。本文将以母女关系为重点，来说明《蜗居》是如何打破自传体小说的范式的。
{"title":"Polyphonic Autofiction and Authorship in Tatiana Salem Levy’s A chave de casa","authors":"Nina Longinovic","doi":"10.3368/lbr.59.1.61","DOIUrl":"https://doi.org/10.3368/lbr.59.1.61","url":null,"abstract":"This article seeks to analyze Brazilian author Tatiana Salem Levy’s debut novel A chave de casa (2007) as a dialogical autofiction. I show how Salem Levy’s interventions in the genres of autobiographical and autofiction writing provide a fertile terrain for the reconstruction of female subjectivities in the aftermath of both personal and collective traumas. In opposition to the historical taxonomy established by Harold Bloom regarding the Oedipal need for the male author to outwrite his literary forefathers in a metaphoric parricide, Salem Levy’s interventions in self-writing show that Gilbert and Gubar’s concept of “anxiety of authorship” experienced by female authors (such as the protagonist of A chave de casa) can be overcome through intergenerational, maternal, and filial solidarity and co-writing, rather than through a revolt against patriarchal literary authority. This article will focus on the mother-daughter relationship in order to illustrate how A chave de casa breaks with the paradigms of autofiction.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46402945","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":"Kraay, Hendrik. Bahia’s Independence: Popular Politics and Patriotic Festival in Salvador, Brazil, 1824–1900. Montreal: McGill-Queen’s University Press, 2019.","authors":"Dale T. Graden","doi":"10.3368/lbr.59.1.E5","DOIUrl":"https://doi.org/10.3368/lbr.59.1.E5","url":null,"abstract":"","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44750862","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 inquires the hypothesis that one of the boldest and radical innovations of The Posthumous Memoirs of Brás Cubas, the author defunct, originated from Machado de Assis’ reading of the English essayist Charles Lamb. In the autobiographical and fictional series Essays of Elia, Lamb invented a character and narrator who presents himself as a clerk defunct. The nominalization of defunct (as in defunct author) and the profiling of Elia as a dying and decaying figure, as well as a deceptive narrator who is constantly playing tricks on the readers, may have inspired Machado in the crafting of Brás Cubas. Moreover, Lamb played out his own death in two other moments of his work. Therefore, in this article, I intend to unravel the threads that link Elia to Brás Cubas with an aim of understanding why Machado excluded Lamb from the “definite” prologue to The Posthumous Memoirs.
{"title":"Defunto autor e clerks defunct","authors":"Daniel Lago Monteiro","doi":"10.3368/lbr.59.1.83","DOIUrl":"https://doi.org/10.3368/lbr.59.1.83","url":null,"abstract":"This article inquires the hypothesis that one of the boldest and radical innovations of The Posthumous Memoirs of Brás Cubas, the author defunct, originated from Machado de Assis’ reading of the English essayist Charles Lamb. In the autobiographical and fictional series Essays of Elia, Lamb invented a character and narrator who presents himself as a clerk defunct. The nominalization of defunct (as in defunct author) and the profiling of Elia as a dying and decaying figure, as well as a deceptive narrator who is constantly playing tricks on the readers, may have inspired Machado in the crafting of Brás Cubas. Moreover, Lamb played out his own death in two other moments of his work. Therefore, in this article, I intend to unravel the threads that link Elia to Brás Cubas with an aim of understanding why Machado excluded Lamb from the “definite” prologue to The Posthumous Memoirs.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44150790","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}
Raul Brandão’s As ilhas desconhecidas has always been regarded as a great example of travel literature. This essay attempts a dialectical analysis of the text that highlights its social critique, which remains as urgent in the present. Brandão’s perspective, in all its subjectivity, lack of familiarity, anxiety, and even some feeling of repulsion, never becomes that of a consumer or collector of exotic, strange or alienating, images. While today’s tourists are tempted with the promise to have immediate access, without making any effort, to the “secrets” of nature and the intimate lives of the population, Raul Brandão never spared his readers the necessity to assume an ethical confrontation with a reality that forced itself upon them in all of its contrasts and contradictions to which no one could remain impassive. As Brandão shows us, the specter of the other is also always our own.
{"title":"Ilhas, ilhas, ilhas","authors":"Paulo de Medeiros","doi":"10.3368/lbr.59.1.5","DOIUrl":"https://doi.org/10.3368/lbr.59.1.5","url":null,"abstract":"Raul Brandão’s As ilhas desconhecidas has always been regarded as a great example of travel literature. This essay attempts a dialectical analysis of the text that highlights its social critique, which remains as urgent in the present. Brandão’s perspective, in all its subjectivity, lack of familiarity, anxiety, and even some feeling of repulsion, never becomes that of a consumer or collector of exotic, strange or alienating, images. While today’s tourists are tempted with the promise to have immediate access, without making any effort, to the “secrets” of nature and the intimate lives of the population, Raul Brandão never spared his readers the necessity to assume an ethical confrontation with a reality that forced itself upon them in all of its contrasts and contradictions to which no one could remain impassive. As Brandão shows us, the specter of the other is also always our own.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45420701","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":"Hochman, Gilberto. The Sanitation of Brazil. Translated by Diane Grosklaus Whitty. Champaign: University of Illinois Press, 2016.","authors":"T. Meade","doi":"10.3368/lbr.59.1.E1","DOIUrl":"https://doi.org/10.3368/lbr.59.1.E1","url":null,"abstract":"","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42935568","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}
Capoeira is a combat game developed by enslaved Africans and Brazilian-born Blacks on the streets and squares of port cities in late colonial Brazil. From the 1930s onwards, modernized styles such as Regional and Angola developed, which moved practice to the closed spaces of schools (“academies”). This paper looks at the re-emergence of street performances (rodas) in Rio de Janeiro, in particular those of the “Rio Street Roda Connection” (2012–2016), amid the urban renovation of the central areas for the mega-events of 2014 and 2016. Some of these street rodas take place on locations that are highly significant for the history of slavery, such as the Valongo Wharf. The article discusses to what extent playing capoeira can be understood as a re-enactment of the history of slavery, and how the street rodas and accompanying events contribute to the memorialization of slavery and the resistance of the enslaved. It also analyzes to what extent disputes over identity, ownership and urban territories contributed to the break-up of the Connection.
Capoeira是一款由被奴役的非洲人和巴西出生的黑人在巴西殖民后期港口城市的街道和广场上开发的战斗游戏。从20世纪30年代开始，现代风格，如区域和安哥拉发展起来，将实践转移到学校(“学院”)的封闭空间。本文着眼于街头表演(rodas)在里约热内卢de Janeiro的重新出现，特别是那些“里约热内卢street Roda Connection”(2012-2016)，在2014年和2016年大型活动的中心地区的城市改造中。其中一些街头表演发生在奴隶制历史上非常重要的地方，比如瓦隆戈码头。本文讨论了在多大程度上演奏卡波耶拉可以被理解为奴隶制历史的重演，以及街头罗达和伴随的事件如何有助于奴隶制的纪念和被奴役者的抵抗。它还分析了身份、所有权和城市领土的争议在多大程度上导致了连接的破裂。
{"title":"Street Capoeira and the Memorialization of Slavery in Rio de Janeiro","authors":"Matthias Röhrig Assunção","doi":"10.3368/lbr.59.1.143","DOIUrl":"https://doi.org/10.3368/lbr.59.1.143","url":null,"abstract":"Capoeira is a combat game developed by enslaved Africans and Brazilian-born Blacks on the streets and squares of port cities in late colonial Brazil. From the 1930s onwards, modernized styles such as Regional and Angola developed, which moved practice to the closed spaces of schools (“academies”). This paper looks at the re-emergence of street performances (rodas) in Rio de Janeiro, in particular those of the “Rio Street Roda Connection” (2012–2016), amid the urban renovation of the central areas for the mega-events of 2014 and 2016. Some of these street rodas take place on locations that are highly significant for the history of slavery, such as the Valongo Wharf. The article discusses to what extent playing capoeira can be understood as a re-enactment of the history of slavery, and how the street rodas and accompanying events contribute to the memorialization of slavery and the resistance of the enslaved. It also analyzes to what extent disputes over identity, ownership and urban territories contributed to the break-up of the Connection.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48601221","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 draws on ethnographic research on contemporary music in Recife, Brazil, to show how people in the northeastern state of Pernambuco are redefining regional identity through engaging in a musically mediated rivalry with the neighboring state of Bahia. While this rivalry is longstanding, during the 2000s and 2010s, it was reconfigured in relation to the state government’s efforts to brand Pernambuco as a multicultural place. Accordingly, I analyze how middle-class participants at events hosted by a government institution that I call the Fundação Cultural de Pernambuco, disparage two Bahian dance genres: axé music and swingueira (a.k.a. pagode baiano), in ways that intertwine racial and class-based stereotypes. I therefore argue that the stigmatization of northeastern people is not exclusive to the hegemonic southeast, but it is also (re)produced within the northeast. This case thus demonstrates how place-based branding enables individuals and institutions to reproduce and justify social inequality.
本文利用对巴西累西腓当代音乐的民族志研究，展示了东北部伯南布哥州的人们如何通过与邻近的巴伊亚州进行音乐调解竞争来重新定义地区身份。虽然这种竞争是长期存在的，但在2000年代和2010年代，州政府努力将伯南布哥打造成一个多元文化的地方，它被重新配置。因此，我分析了中产阶级参与者在一个我称之为伯南布哥文化基金会(funda o Cultural de Pernambuco)的政府机构主办的活动中，是如何贬低巴伊亚的两种舞蹈类型的:ax音乐和swingueira(又名pagode baiano)，其方式与种族和阶级成见交织在一起。因此，我认为，东北人的污名化并不是东南霸权所独有的，而是在东北内部(再)产生的。因此，这个案例证明了基于地点的品牌如何使个人和机构能够再现和证明社会不平等。
{"title":"Pernambuco and Bahia’s Musical “War”","authors":"Falina Enriquez","doi":"10.3368/lbr.59.1.22","DOIUrl":"https://doi.org/10.3368/lbr.59.1.22","url":null,"abstract":"This article draws on ethnographic research on contemporary music in Recife, Brazil, to show how people in the northeastern state of Pernambuco are redefining regional identity through engaging in a musically mediated rivalry with the neighboring state of Bahia. While this rivalry is longstanding, during the 2000s and 2010s, it was reconfigured in relation to the state government’s efforts to brand Pernambuco as a multicultural place. Accordingly, I analyze how middle-class participants at events hosted by a government institution that I call the Fundação Cultural de Pernambuco, disparage two Bahian dance genres: axé music and swingueira (a.k.a. pagode baiano), in ways that intertwine racial and class-based stereotypes. I therefore argue that the stigmatization of northeastern people is not exclusive to the hegemonic southeast, but it is also (re)produced within the northeast. This case thus demonstrates how place-based branding enables individuals and institutions to reproduce and justify social inequality.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41260952","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}
While a considerable amount of scholarship in the field of historiography has been devoted to the transformation of the urban landscape of Rio de Janeiro in the early 20th century and literary studies have largely focused on the representations of the city by major authors of this period, until now research on the literary treatment of the changing city by foreigners remains scarce. The purpose of this paper is to introduce and problematize how travelers writing in English reflected the new realities of Rio de Janeiro during the First Republic by relating a corpus of selected travelogues to the literary works of Brazilian authors Machado de Assis, João do Rio, and Lima Barreto. By focusing on the concepts of speed, acceleration, globalization, and modernity, I propose to unpack the underlying tensions that accompany the far-reaching changes that occurred as a consequence of the urban reformation promoted by Mayor Francisco Pereira Passos. To do so, following a critical review of the historical context leading to the scenes of urban transformation, this text reflects on three central leitmotifs of travel writing in the city, and analyses them against selected canonical literary texts: the introduction of foreign technology (especially urban railroads) and its impacts; the links between urban transformation and the reproduction of images of the city (with an emphasis on cinema); and the topic of accidents and progress as a problematic idea. The conclusions of the present essay point towards a deep mutual implication between the foreign gazes and the development of the imaginary of a cosmopolitan city, suggesting a correlation between social change, literary representations, and the creation of a corpus of travel writing centered on the city of Rio. Uma baleia, uma telenovela, um alaúde, um trem? Uma arara? Mas era ao mesmo tempo bela e banguela a Guanabara. Caetano Veloso, “Estrangeiro,” 1989
{"title":"Globalização, técnica e modernidade no Rio de Janeiro das primeiras três décadas do século XX","authors":"Pedro Lopes de Almeida","doi":"10.3368/lbr.59.1.109","DOIUrl":"https://doi.org/10.3368/lbr.59.1.109","url":null,"abstract":"While a considerable amount of scholarship in the field of historiography has been devoted to the transformation of the urban landscape of Rio de Janeiro in the early 20th century and literary studies have largely focused on the representations of the city by major authors of this period, until now research on the literary treatment of the changing city by foreigners remains scarce. The purpose of this paper is to introduce and problematize how travelers writing in English reflected the new realities of Rio de Janeiro during the First Republic by relating a corpus of selected travelogues to the literary works of Brazilian authors Machado de Assis, João do Rio, and Lima Barreto. By focusing on the concepts of speed, acceleration, globalization, and modernity, I propose to unpack the underlying tensions that accompany the far-reaching changes that occurred as a consequence of the urban reformation promoted by Mayor Francisco Pereira Passos. To do so, following a critical review of the historical context leading to the scenes of urban transformation, this text reflects on three central leitmotifs of travel writing in the city, and analyses them against selected canonical literary texts: the introduction of foreign technology (especially urban railroads) and its impacts; the links between urban transformation and the reproduction of images of the city (with an emphasis on cinema); and the topic of accidents and progress as a problematic idea. The conclusions of the present essay point towards a deep mutual implication between the foreign gazes and the development of the imaginary of a cosmopolitan city, suggesting a correlation between social change, literary representations, and the creation of a corpus of travel writing centered on the city of Rio. Uma baleia, uma telenovela, um alaúde, um trem? Uma arara? Mas era ao mesmo tempo bela e banguela a Guanabara. Caetano Veloso, “Estrangeiro,” 1989","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48367927","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":"Konta, Ryohei. The Housing Movement and the Urban Poor in São Paulo: Agency, Structure, and Institutionalization. Lanham: Lexington Books, 2020.","authors":"P. Cantisano","doi":"10.3368/lbr.59.1.E3","DOIUrl":"https://doi.org/10.3368/lbr.59.1.E3","url":null,"abstract":"","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42549874","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}
In this article, I aim to understand the cordel leaflet titled José Saramago: vida e morte (n.d.) by the Brazilian writer Medeiros Braga as literature and as political action. Based on Medeiros Braga’s ideas about the Portuguese writer, I propose an interpretation of socialism by both Saramago and the Brazilian author. I argue in favor of what Saramago said about himself: he did not see himself as a writer who was a communist, but as a communist who was a writer. At the same time, I show that the formula “writer who was a communist” fits Medeiros Braga.
在这篇文章中，我的目的是将巴西作家Medeiros Braga的题为JoséSaramago:vida e morte（n.d.）的科德尔传单理解为文学和政治行动。基于布拉加对葡萄牙作家的思想，我提出了萨拉马戈和巴西作家对社会主义的解读。我支持萨拉马戈对自己的评价：他并不认为自己是一个共产主义者，而是一个作家共产主义者。同时，我展示了“共产主义作家”这个公式适合Medeiros Braga。
{"title":"José Saramago na literatura de cordel brasileira","authors":"Carlos Nogueira","doi":"10.3368/lbr.58.2.34","DOIUrl":"https://doi.org/10.3368/lbr.58.2.34","url":null,"abstract":"In this article, I aim to understand the cordel leaflet titled José Saramago: vida e morte (n.d.) by the Brazilian writer Medeiros Braga as literature and as political action. Based on Medeiros Braga’s ideas about the Portuguese writer, I propose an interpretation of socialism by both Saramago and the Brazilian author. I argue in favor of what Saramago said about himself: he did not see himself as a writer who was a communist, but as a communist who was a writer. At the same time, I show that the formula “writer who was a communist” fits Medeiros Braga.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46003919","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：