Borrowing the notion of “projet d’ensemble” from Roland Barthes’s Critique et verite, this essay proposes a critical analysis of Adilia Lopes’s Bandolim (2016). Two of the procedures that configure the book’s interior are outlined on the cover: text as sound and text as image. The metaphor of the mandolin and its performative demands relates to Eliot’s ideas about tradition and individuality and describes Lopes’s approach to poetry. Through a close reading of poems in the collection, I argue that Bandolim performs on the infinity of unity while representing the unity of infinity.
{"title":"Recitações: Bandolim de Adília Lopes","authors":"Diana Duarte Ferreira","doi":"10.21471/jls.v5i2.359","DOIUrl":"https://doi.org/10.21471/jls.v5i2.359","url":null,"abstract":"Borrowing the notion of “projet d’ensemble” from Roland Barthes’s Critique et verite, this essay proposes a critical analysis of Adilia Lopes’s Bandolim (2016). Two of the procedures that configure the book’s interior are outlined on the cover: text as sound and text as image. The metaphor of the mandolin and its performative demands relates to Eliot’s ideas about tradition and individuality and describes Lopes’s approach to poetry. Through a close reading of poems in the collection, I argue that Bandolim performs on the infinity of unity while representing the unity of infinity.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":"5 1","pages":"75-92"},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42300246","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 focuses on the literary image of contemporary Lisbon. Through an analysis of the anthology Lisbon Tales and Trails (2017) and Djaimilia Pereira de Almeida’s Luanda, Lisboa, Paraíso (2018), I examine how Lisbon’s representation on a global stage exposes the complexities and ambiguities of a metropolitan area deeply connected to the legacies of empire. Moving through fictional texts from the city center to the suburban periphery, I offer a focused reflection on Lisbon’s postcolonial/post-imperial ethnoscape.
本文着重探讨当代里斯本的文学形象。通过对选集《里斯本的故事与轨迹》（2017）和Djaimilia Pereira de Almeida的《罗安达，里斯本，帕拉索》（2018）的分析，我考察了里斯本在全球舞台上的表现如何暴露出一个与帝国遗产紧密相连的大都市地区的复杂性和模糊性。通过从市中心到郊区的虚构文本，我对里斯本的后殖民/后帝国种族景观进行了集中反思。
{"title":"Imperial Debris: Reflections on the Lisbon Cityscape in Contemporary Portuguese Fiction","authors":"P. Ferreira","doi":"10.21471/jls.v5i2.325","DOIUrl":"https://doi.org/10.21471/jls.v5i2.325","url":null,"abstract":"This essay focuses on the literary image of contemporary Lisbon. Through an analysis of the anthology Lisbon Tales and Trails (2017) and Djaimilia Pereira de Almeida’s Luanda, Lisboa, Paraíso (2018), I examine how Lisbon’s representation on a global stage exposes the complexities and ambiguities of a metropolitan area deeply connected to the legacies of empire. Moving through fictional texts from the city center to the suburban periphery, I offer a focused reflection on Lisbon’s postcolonial/post-imperial ethnoscape.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":"5 1","pages":"93-110"},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48329130","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 present article opens with a generic plea for the de-imperialization of Lusophone studies. A de-imperial turn should allow researchers to explore more thoroughly the experiences of diaspora and exile that an empire-centered history and its spin-offs have obfuscated; it should also help to de-essentialize depictions of Portuguese heritage and culture shaped by these narratives. Such a turn promises to address the multiple identifications, internal diversities, and racialized inequalities produced by the making and unmaking of empire. My contribution consists of a few ethnographic-historic case studies collected at the intersections of empire, post-empire, and diaspora. These include nineteenthcentury diasporic movements that brought Portuguese subjects to competing empires; past and present celebrations of heritage in diasporic contexts; culture wars around representations; and current directions in post-imperial celebrations and reparations.
{"title":"Intersections of Empire, Post-Empire, and Diaspora: De-Imperializing Lusophone Studies","authors":"Cristiana Bastos","doi":"10.21471/jls.v5i2.367","DOIUrl":"https://doi.org/10.21471/jls.v5i2.367","url":null,"abstract":"The present article opens with a generic plea for the de-imperialization of Lusophone studies. A de-imperial turn should allow researchers to explore more thoroughly the experiences of diaspora and exile that an empire-centered history and its spin-offs have obfuscated; it should also help to de-essentialize depictions of Portuguese heritage and culture shaped by these narratives. Such a turn promises to address the multiple identifications, internal diversities, and racialized inequalities produced by the making and unmaking of empire. My contribution consists of a few ethnographic-historic case studies collected at the intersections of empire, post-empire, and diaspora. These include nineteenthcentury diasporic movements that brought Portuguese subjects to competing empires; past and present celebrations of heritage in diasporic contexts; culture wars around representations; and current directions in post-imperial celebrations and reparations.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46586910","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 correspondence of Elizabeth Bishop during her years in Brazil with fellow poet Robert Lowell shed light not only on her personal impressions and experience there but also on the broader atmosphere of Brazil in the 1950s and 60s. The abundant letters show an intimacy that Bishop was willing to explore in personal correspondence that was not readily forthcoming in her published poetry. The present essay analyzes that correspondence alongside the few poems Bishop wrote in or about Brazil to understand her pursuit of belonging and happiness that found an unlikely home—and a tragic end—in and around Rio de Janeiro for almost twenty years. Bishop’s trajectory from love to loss and happiness to tragedy intimately interacts, this essay argues, with changes in midcentury Brazil, from the national development pursued by Vargas and Kubitschek, including the building of Brasília, to the fallout from the 1964 military coup and beyond.
{"title":"Elizabeth Bishop's Brazil: An Attraction in Difference","authors":"T. Winterbottom","doi":"10.21471/jls.v5i2.383","DOIUrl":"https://doi.org/10.21471/jls.v5i2.383","url":null,"abstract":"The correspondence of Elizabeth Bishop during her years in Brazil with fellow poet Robert Lowell shed light not only on her personal impressions and experience there but also on the broader atmosphere of Brazil in the 1950s and 60s. The abundant letters show an intimacy that Bishop was willing to explore in personal correspondence that was not readily forthcoming in her published poetry. The present essay analyzes that correspondence alongside the few poems Bishop wrote in or about Brazil to understand her pursuit of belonging and happiness that found an unlikely home—and a tragic end—in and around Rio de Janeiro for almost twenty years. Bishop’s trajectory from love to loss and happiness to tragedy intimately interacts, this essay argues, with changes in midcentury Brazil, from the national development pursued by Vargas and Kubitschek, including the building of Brasília, to the fallout from the 1964 military coup and beyond.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43506412","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 early 2006, fourteen Portuguese teenagers murdered Gisberta Salce, a Brazilian transgender woman, in Porto. A long and emotional criminal trial followed. Since then, several literary and artistic works inspired by Gisberta’s life and tragic death have emerged in both Portugal and Brazil. In the present article, I argue first that these works are intertextually related; I then show how they are connected through a contemporary artistic, social, and political ecology. At the center of this ecology—besides the image of Gisberta herself—is the complex relation between art, technology, and media in a digital world marked by a rapid transnational flow of information and new modes of archival design.
{"title":"Quantas vidas tem Gisberta?: imagem, mídia e arquivo na narrativa contemporânea","authors":"Manaíra Aires Athayde","doi":"10.21471/jls.v5i2.324","DOIUrl":"https://doi.org/10.21471/jls.v5i2.324","url":null,"abstract":"In early 2006, fourteen Portuguese teenagers murdered Gisberta Salce, a Brazilian transgender woman, in Porto. A long and emotional criminal trial followed. Since then, several literary and artistic works inspired by Gisberta’s life and tragic death have emerged in both Portugal and Brazil. In the present article, I argue first that these works are intertextually related; I then show how they are connected through a contemporary artistic, social, and political ecology. At the center of this ecology—besides the image of Gisberta herself—is the complex relation between art, technology, and media in a digital world marked by a rapid transnational flow of information and new modes of archival design.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68511737","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 the present essay, I examine Portuguese poet Vergílio Alberto Vieira’s 2018 collection, Cleptopsydra, an explicit parody on Camilo Pessanha’s Clepsidra (1920). Within the collection, the poetic voice moves beyond the rigidity of Pessanha’s form through a series of sublime, transcendent, but ultimately earthbound symbols. This tension between form, symbol, and transcendence likewise exists in the work of several of Vieira’s contemporaries, and I suggest an openly transnational and translinguistic link between them. Finally, I discuss how contemporary Portugal has come to serve as both a challenge and a point of articulation for Vieira’s poetics.
{"title":"Transcendence and Abjection in Vergílio Alberto Vieira’s Cleptopsydra","authors":"Robert Simon","doi":"10.21471/jls.v5i2.356","DOIUrl":"https://doi.org/10.21471/jls.v5i2.356","url":null,"abstract":"In the present essay, I examine Portuguese poet Vergílio Alberto Vieira’s 2018 collection, Cleptopsydra, an explicit parody on Camilo Pessanha’s Clepsidra (1920). Within the collection, the poetic voice moves beyond the rigidity of Pessanha’s form through a series of sublime, transcendent, but ultimately earthbound symbols. This tension between form, symbol, and transcendence likewise exists in the work of several of Vieira’s contemporaries, and I suggest an openly transnational and translinguistic link between them. Finally, I discuss how contemporary Portugal has come to serve as both a challenge and a point of articulation for Vieira’s poetics.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43422503","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}
Here I present the results of BridgePORT, an ethnographic study I carried out in 2018 within the Portuguese community of Bridgeport, CT (USA). I describe language use and representation among Portuguese speakers within the community, and I investigate the integration of these speakers into the dominant American English speech community. Through my fieldwork, I observe mixing practices in day-to-day interaction, while I also consider the evolution of the Portuguese language in light of language contact and speakers’ discourse as this relates to ideologies about the status of Portuguese within the community. My findings rely on questionnaires, participant observation of verbal interaction, and semi-structured interviews. My aim is to show how verbal practice shapes the process of identity construction and how ideas of linguistic “purity” mediate the maintenance of a link to Portugal and Portuguese identity.
{"title":"A Bridge to Portugal: Language and Identity in Bridgeport, CT","authors":"Fabio Scetti","doi":"10.21471/jls.v5i2.357","DOIUrl":"https://doi.org/10.21471/jls.v5i2.357","url":null,"abstract":"Here I present the results of BridgePORT, an ethnographic study I carried out in 2018 within the Portuguese community of Bridgeport, CT (USA). I describe language use and representation among Portuguese speakers within the community, and I investigate the integration of these speakers into the dominant American English speech community. Through my fieldwork, I observe mixing practices in day-to-day interaction, while I also consider the evolution of the Portuguese language in light of language contact and speakers’ discourse as this relates to ideologies about the status of Portuguese within the community. My findings rely on questionnaires, participant observation of verbal interaction, and semi-structured interviews. My aim is to show how verbal practice shapes the process of identity construction and how ideas of linguistic “purity” mediate the maintenance of a link to Portugal and Portuguese identity.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42186675","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 the present article, I locate an implicit environmentalism João Guimarães Rosa’s writing from the 1950s and 1960s. This sensibility is easy to miss, in part because it transposes political debates on damage inflicted in the name of development and progress onto the affective-ethical plane; however, it does so in a way that resists sentimentality or projecting a misplaced innocence onto the non-human world. Focusing on emotional relationships between humans and non-humans, I read “As margens da alegria” and “Os cimos” as expressing an eco-critical discourse that was already latent in Grande sertão: veredas. Recasting the natural world as a site of both unfathomable otherness and relations of tenderness, Guimarães Rosa presents the emotional hold that nature has on humans and the cost of cleaving oneself from it—a cost that includes diminishing the human capacity for delight, wonder, and eros.
在本文中，我找到了若昂·吉马良斯·罗莎在20世纪50年代和60年代的作品中隐含的环保主义。这种敏感性很容易被忽视，部分原因是它将关于以发展和进步的名义造成的损害的政治辩论转移到了情感伦理层面；然而，它是以一种抵制多愁善感或将错位的天真投射到非人类世界的方式来做到这一点的。关注人类和非人类之间的情感关系，我读了《As margens da alegria》和《Os cimos》，表达了一种已经潜伏在Grande sertão中的生态批判话语：veredas。吉马良斯·罗莎（Guimarães Rosa）将自然世界重新描述为一个既有深不可测的另类又有温柔关系的地方，他展示了大自然对人类的情感控制，以及将自己从中分离出来的代价——这一代价包括削弱人类的愉悦、好奇和性爱能力。
{"title":"Loving Nature in João Guimarães Rosa: The Non-human as 'amável'","authors":"Ashley Brock","doi":"10.21471/jls.v5i2.386","DOIUrl":"https://doi.org/10.21471/jls.v5i2.386","url":null,"abstract":"In the present article, I locate an implicit environmentalism João Guimarães Rosa’s writing from the 1950s and 1960s. This sensibility is easy to miss, in part because it transposes political debates on damage inflicted in the name of development and progress onto the affective-ethical plane; however, it does so in a way that resists sentimentality or projecting a misplaced innocence onto the non-human world. Focusing on emotional relationships between humans and non-humans, I read “As margens da alegria” and “Os cimos” as expressing an eco-critical discourse that was already latent in Grande sertão: veredas. Recasting the natural world as a site of both unfathomable otherness and relations of tenderness, Guimarães Rosa presents the emotional hold that nature has on humans and the cost of cleaving oneself from it—a cost that includes diminishing the human capacity for delight, wonder, and eros.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":"5 1","pages":"55-74"},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42508222","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}
Esse Aires surge em formato eletrónico, reunindo as comunicações do encontrohomónimo lisboeta de 2017 dedicado ao Conselheiro Aires. O título do livro é feliz ao retomar o dístico do capítulo XII de Esaú e Jacó: o pronomedemonstrativo implicando distanciamento e a letra mais sinuosa do alfabetocondizem com a figura enigmática do protagonista machadiano tardio.Personagem autorizada em Esaú e Jacó e autor personificado no Memorial de Aires, o Conselheiro é, como o palíndromo, legível em inversos sentidos. Ambosos romances se pautam, a nível formal e temático, por gestos de apagamento etruncagem.
{"title":"Baptista, Abel Barros, Clara Rowland, and Pedro Meira Monteiro, editors. Esse Aires. Peixe-Elétrico Ensaios, 2020.","authors":"Diana Duarte Ferreira","doi":"10.21471/jls.v5i2.394","DOIUrl":"https://doi.org/10.21471/jls.v5i2.394","url":null,"abstract":"Esse Aires surge em formato eletrónico, reunindo as comunicações do encontrohomónimo lisboeta de 2017 dedicado ao Conselheiro Aires. O título do livro é feliz ao retomar o dístico do capítulo XII de Esaú e Jacó: o pronomedemonstrativo implicando distanciamento e a letra mais sinuosa do alfabetocondizem com a figura enigmática do protagonista machadiano tardio.Personagem autorizada em Esaú e Jacó e autor personificado no Memorial de Aires, o Conselheiro é, como o palíndromo, legível em inversos sentidos. Ambosos romances se pautam, a nível formal e temático, por gestos de apagamento etruncagem.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68511756","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 the present article, I examine Daniela Thomas and Walter Salles's Linha de passe (2008) and Anna Muylaert's Que horas ela volta? (2015). I argue that these films create new representational possibilities for subjects withincontemporary Brazilian culture by breaking with the dominant model of the favela as a predominantly masculine space that is essentially "out of control." This renegotiation brings with it a valorization of the subjectivity of women who work in the city. I argue that this valorization takes place in both films through the physical displacement of those who traditionally do not enjoy subject status and yet dare to enter territories previously denied to them.
在本文中，我考察了丹妮拉·托马斯和沃尔特·萨勒斯的《Linha de passe》（2008）和安娜·穆伊拉特的《Que horas ela volta？（2015）。我认为，这些电影打破了贫民窟作为一个基本上“失控”的以男性为主的空间的主导模式，为巴西当代文化中的主体创造了新的表现可能性。这种重新谈判带来了对在城市工作的女性主体性的重视。我认为，这种价值观在这两部电影中都是通过那些传统上不享有主体地位但却敢于进入以前被剥夺的领土的人的身体位移而发生的。
{"title":"Deslocamento e reconfiguração de espaço no cinema brasileiro: o caso de Linha de passe e Que horas ela volta?","authors":"A. R. Mooney","doi":"10.21471/jls.v5i1.322","DOIUrl":"https://doi.org/10.21471/jls.v5i1.322","url":null,"abstract":"In the present article, I examine Daniela Thomas and Walter Salles's Linha de passe (2008) and Anna Muylaert's Que horas ela volta? (2015). I argue that these films create new representational possibilities for subjects withincontemporary Brazilian culture by breaking with the dominant model of the favela as a predominantly masculine space that is essentially \"out of control.\" This renegotiation brings with it a valorization of the subjectivity of women who work in the city. I argue that this valorization takes place in both films through the physical displacement of those who traditionally do not enjoy subject status and yet dare to enter territories previously denied to them.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":"5 1","pages":"187-202"},"PeriodicalIF":0.0,"publicationDate":"2020-05-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43501382","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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