This essay examines the use of silence as a symbolic, thematic, and stylistic tool employed by Afro-Brazilian writer Conceição Evaristo in Ponciá Vicêncio (2003), within the larger context of the literature written by black women. Focusing on Ponciá, a sculptor who is evasive and emotionally absent, the novel presents narrative gaps and ruptures that foreground silence. Building on theoretical works that examine the role of silence in subaltern discourse, this essay demonstrates how Evaristo transforms silence into an empowering tool that highlights the systematic erasure of black female subjectivity from Brazilian history and literature. In Ponciá Vicêncio, Evaristo makes use of silence to denounce the adverse living conditions of Afro-Brazilians, more specifically their daily, albeit often invisible, reality of exploitation, injustice, and resistance.
{"title":"O silêncio como resistência em Ponciá Vicêncio de Conceição Evaristo","authors":"Luciana Namorato","doi":"10.3368/lbr.57.2.4","DOIUrl":"https://doi.org/10.3368/lbr.57.2.4","url":null,"abstract":"This essay examines the use of silence as a symbolic, thematic, and stylistic tool employed by Afro-Brazilian writer Conceição Evaristo in Ponciá Vicêncio (2003), within the larger context of the literature written by black women. Focusing on Ponciá, a sculptor who is evasive and emotionally absent, the novel presents narrative gaps and ruptures that foreground silence. Building on theoretical works that examine the role of silence in subaltern discourse, this essay demonstrates how Evaristo transforms silence into an empowering tool that highlights the systematic erasure of black female subjectivity from Brazilian history and literature. In Ponciá Vicêncio, Evaristo makes use of silence to denounce the adverse living conditions of Afro-Brazilians, more specifically their daily, albeit often invisible, reality of exploitation, injustice, and resistance.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49047692","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 addresses the morpholinguistic and stylistic devices underwriting Freyre’s writing as the notion of “lusotropicalism” is advanced, mainly in the travelogue Aventura e rotina (1953) and the accompanying volume Um brasileiro em terras portuguesas (1953). With a view to questioning the foundations as well as to reexamining the conditions of possibility of a number of national and transnational commonplaces, policies and discourses which, knowingly or unknowingly, are inspired or shaped by Freyre’s “lusotropicalism,” it will break down the use of metaphors, morpholinguistic tropes, and the simile carrying Freyre’s self-fashioning as a modern Luís de Camões. Freyre’s observations on the then Portuguese colonies are of importance only insofar as they help build up his own projection of a “mundo português” and a lusotropical “family” led by Brazil, as he disingenuously acquiesces that his journey (sponsored by the Portuguese Estado Novo) acquires a “significado quase político.”
这篇文章讨论了弗雷尔写作中“热带主义”概念的形态语言学和风格手段，主要是在他的游记《罗马游记》(1953)和随附的《巴西游记》(1953)中。为了质疑基础，并重新审视一些国家和跨国的俗语，政策和话语的可能性条件，有意或无意地受到弗雷尔的“热带主义”的启发或塑造，它将打破隐喻的使用，形态语言学的比喻，以及作为弗雷尔自我塑造为现代Luís de Camões的明喻。弗雷尔对当时葡萄牙殖民地的观察是重要的，因为它们有助于建立他自己的“世界português”和以巴西为首的热带“家庭”的预测，因为他不诚实地默认他的旅行(由葡萄牙的Estado Novo赞助)获得了一个“重要的quase político”。
{"title":"Ida e volta","authors":"Rui Gonçalves Miranda","doi":"10.3368/lbr.58.1.179","DOIUrl":"https://doi.org/10.3368/lbr.58.1.179","url":null,"abstract":"This article addresses the morpholinguistic and stylistic devices underwriting Freyre’s writing as the notion of “lusotropicalism” is advanced, mainly in the travelogue Aventura e rotina (1953) and the accompanying volume Um brasileiro em terras portuguesas (1953). With a view to questioning the foundations as well as to reexamining the conditions of possibility of a number of national and transnational commonplaces, policies and discourses which, knowingly or unknowingly, are inspired or shaped by Freyre’s “lusotropicalism,” it will break down the use of metaphors, morpholinguistic tropes, and the simile carrying Freyre’s self-fashioning as a modern Luís de Camões. Freyre’s observations on the then Portuguese colonies are of importance only insofar as they help build up his own projection of a “mundo português” and a lusotropical “family” led by Brazil, as he disingenuously acquiesces that his journey (sponsored by the Portuguese Estado Novo) acquires a “significado quase político.”","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69621850","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}
My goal in this article is to show how the emphasis on mestiçagem (ethnic/racial/cultural mixture) in the formation of Brazilian popular culture may have obscured our understanding of performance traditions deemed to be “typically Brazilian.” I focus on the quicumbi and begin the article with an analysis of the earliest references to this performance, followed by theories on its origin and meaning. I then contribute to this discussion by adding references to festive traditions in Angola. By showing that certain aspects of the performance traditionally assumed to have been shaped by mestiçagem, such as the “African Indians,” may in actuality have been African in nature, I challenge the interpretation of the quicumbi as an essentially Brazilian tradition. I conclude with a reflection on the importance of the findings presented in this article for our general understanding of cultural identity formation in Brazil.
{"title":"How Brazilian are Quicumbis?","authors":"J. Dewulf","doi":"10.3368/lbr.58.1.62","DOIUrl":"https://doi.org/10.3368/lbr.58.1.62","url":null,"abstract":"My goal in this article is to show how the emphasis on mestiçagem (ethnic/racial/cultural mixture) in the formation of Brazilian popular culture may have obscured our understanding of performance traditions deemed to be “typically Brazilian.” I focus on the quicumbi and begin the article with an analysis of the earliest references to this performance, followed by theories on its origin and meaning. I then contribute to this discussion by adding references to festive traditions in Angola. By showing that certain aspects of the performance traditionally assumed to have been shaped by mestiçagem, such as the “African Indians,” may in actuality have been African in nature, I challenge the interpretation of the quicumbi as an essentially Brazilian tradition. I conclude with a reflection on the importance of the findings presented in this article for our general understanding of cultural identity formation in Brazil.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69621963","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 aims to evaluate how the Rio Grande do Sul Republican Party (PRR) and the state government, led by Julio de Castilhos and Antonio Augusto Borges de Medeiros, reacted during the last five years of the nineteenth century to the pacification of the 1895 Federalist Revolution. Special attention is paid to the Party’s relationship with the Brazilian Army and Uruguayans, the mobilization of militiamen at the border, the treatment of those opposed to the amnesty, and smuggling. These themes will be evaluated based on aspects of the personal trajectory of Colonel João Francisco Pereira de Souza, who was given the strategic task of taking care of public security in Livramento and Quaraí, stationed at the barracks in Cati, where he had about 800 well-armed and well-trained men. Conflicts with military commanders from the border, especially General Carlos Maria da Silva Telles, led him and his family to oppose Castilhos.
本文旨在评估由Julio de Castilhos和Antonio Augusto Borges de Medeiros领导的大南共和党(PRR)和州政府如何在19世纪最后五年对1895年联邦党人革命的平息做出反应。特别注意的是党与巴西军队和乌拉圭人的关系、在边境动员民兵、反对大赦者的待遇以及走私问题。这些主题将根据jo·o·弗朗西斯科·佩雷拉·德·索萨上校个人轨迹的各个方面来评价，他被赋予了在利夫拉曼托和Quaraí负责公共安全的战略任务，他驻扎在卡蒂军营，在那里他有大约800名装备精良和训练有素的士兵。与边境的军事指挥官，特别是卡洛斯·玛丽亚·达席尔瓦·泰勒斯将军的冲突，导致他和他的家人反对卡斯蒂略斯。
{"title":"Depois da Revolução Federalista","authors":"Gunter Axt","doi":"10.3368/lbr.58.1.87","DOIUrl":"https://doi.org/10.3368/lbr.58.1.87","url":null,"abstract":"This article aims to evaluate how the Rio Grande do Sul Republican Party (PRR) and the state government, led by Julio de Castilhos and Antonio Augusto Borges de Medeiros, reacted during the last five years of the nineteenth century to the pacification of the 1895 Federalist Revolution. Special attention is paid to the Party’s relationship with the Brazilian Army and Uruguayans, the mobilization of militiamen at the border, the treatment of those opposed to the amnesty, and smuggling. These themes will be evaluated based on aspects of the personal trajectory of Colonel João Francisco Pereira de Souza, who was given the strategic task of taking care of public security in Livramento and Quaraí, stationed at the barracks in Cati, where he had about 800 well-armed and well-trained men. Conflicts with military commanders from the border, especially General Carlos Maria da Silva Telles, led him and his family to oppose Castilhos.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69621976","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 the early minutes of O som ao redor (Neighboring Sounds, 2012), by director Kleber Mendonça Filho, photographs marked by extradiegetic sounds represent an aesthetic choice that describes how the experience of slavery in colonial Brazil actualizes its effects in a contemporary neighborhood of Northeastern Brazil. This article investigates how O som ao redor engages with Gilberto Freyre’s theories by exposing racialization processes and the impression that violence resulting from racism is inevitable. Through acousmatization, a resource that destabilizes the temporal and spatial limits of diegetic action, this film intervenes in a polarized debate around racism and makes it possible to criticize the hegemonic reading of miscegenation as the visual representation of racial harmony in Brazil. With a sound design that invokes the genre of terror and proposes listening as a racializing act, O som ao redor challenges the ocularcentric myth of racial democracy and the ideology of exclusivist classism.
在导演克莱伯·门多尼拉·菲尔霍(Kleber mendon a Filho)执导的《邻近的声音》(2012)的前几分钟，以超现实的声音为标志的照片代表了一种审美选择，描述了巴西殖民时期的奴隶制经历如何在巴西东北部的当代社区中实现。本文通过揭示种族化过程和种族主义导致的暴力不可避免的印象，研究奥索姆·奥雷多是如何与吉尔伯托·弗雷尔的理论相结合的。通过声音化(一种打破叙事动作的时间和空间限制的资源)，这部电影介入了围绕种族主义的两极分化辩论，并使批评巴西种族和谐的混血儿的霸权解读成为可能。通过一种唤起恐怖类型的声音设计，并将倾听作为一种种族化行为，O som ao redor挑战了以视觉为中心的种族民主神话和排他的阶级主义意识形态。
{"title":"Ruídos raciais","authors":"Francisco Quinteiro Pires","doi":"10.3368/lbr.57.2.32","DOIUrl":"https://doi.org/10.3368/lbr.57.2.32","url":null,"abstract":"In the early minutes of O som ao redor (Neighboring Sounds, 2012), by director Kleber Mendonça Filho, photographs marked by extradiegetic sounds represent an aesthetic choice that describes how the experience of slavery in colonial Brazil actualizes its effects in a contemporary neighborhood of Northeastern Brazil. This article investigates how O som ao redor engages with Gilberto Freyre’s theories by exposing racialization processes and the impression that violence resulting from racism is inevitable. Through acousmatization, a resource that destabilizes the temporal and spatial limits of diegetic action, this film intervenes in a polarized debate around racism and makes it possible to criticize the hegemonic reading of miscegenation as the visual representation of racial harmony in Brazil. With a sound design that invokes the genre of terror and proposes listening as a racializing act, O som ao redor challenges the ocularcentric myth of racial democracy and the ideology of exclusivist classism.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69622106","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":"Lino, Patrícia. Manoel de Barros e a poesia cínica: o círculo dos três movimentos com vista ao homem-árvore. Belo Horizonte: Relicário, 2019. 144 pp.","authors":"Ricardo Vasconcelos","doi":"10.3368/lbr.58.1.E15","DOIUrl":"https://doi.org/10.3368/lbr.58.1.E15","url":null,"abstract":"","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69622024","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}
The single issue of Portugal Futurista is a landmark in Portuguese Modernism. It opens a transnational dialogue with the European literary and artistic avant-garde, engaging not only with Futurism but also with various other ‘isms’ of the early twentieth century. This article presents a close reading of a number of the texts and images printed in the magazine to examine the ways in which the contributors sought to make vital the written word. The article argues that this vitality culminates in the competitive framing of the manifestoes by José de Almada Negreiros and Álvaro de Campos (Fernando Pessoa) that bring notions of masculinity into dialogue with Portugal’s history and sense of nationhood. Through its exploration of the relationship between word, image, and the senses, the article investigates the radical qualities of Portugal Futurista and the interrogations and performances of gender and identity that are revealed in the magazine.
《葡萄牙未来》单刊是葡萄牙现代主义的一个里程碑。它开启了与欧洲文学和艺术先锋派的跨国对话，不仅涉及未来主义，还涉及20世纪早期的各种其他“主义”。这篇文章提出了一些文本和图像印刷在杂志的仔细阅读，以检查的方式，投稿人寻求使重要的书面文字。文章认为，这种活力在jos de Almada Negreiros和Álvaro de Campos (Fernando Pessoa)的宣言的竞争性框架中达到顶峰，这些宣言将男子气概的概念与葡萄牙的历史和国家意识进行了对话。通过对文字、图像和感官之间关系的探索，文章探讨了《葡萄牙未来主义者》的激进特质，以及杂志中所揭示的对性别和身份的质疑和表现。
{"title":"Fora, pum!","authors":"Rhian Atkin","doi":"10.3368/lbr.57.2.97","DOIUrl":"https://doi.org/10.3368/lbr.57.2.97","url":null,"abstract":"The single issue of Portugal Futurista is a landmark in Portuguese Modernism. It opens a transnational dialogue with the European literary and artistic avant-garde, engaging not only with Futurism but also with various other ‘isms’ of the early twentieth century. This article presents a close reading of a number of the texts and images printed in the magazine to examine the ways in which the contributors sought to make vital the written word. The article argues that this vitality culminates in the competitive framing of the manifestoes by José de Almada Negreiros and Álvaro de Campos (Fernando Pessoa) that bring notions of masculinity into dialogue with Portugal’s history and sense of nationhood. Through its exploration of the relationship between word, image, and the senses, the article investigates the radical qualities of Portugal Futurista and the interrogations and performances of gender and identity that are revealed in the magazine.","PeriodicalId":52041,"journal":{"name":"Luso-Brazilian Review","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69622161","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}
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