Cuidado com os poetas! Literatura e periferia na cidade de São Paulo shows how urban peripheral communities of the city, often all referred to erroneously as favelas in the media, are spaces where cultural and literary production flourish. A professor of literature at the University of Buenos Aires with a background in anthropology, Tennina combines literary analysis with first-person interviews to effectively counter popular discourses that associate these communities solely with criminality and drug trafficking.
崔达多是诗人！圣保罗的Literatura e periferia na cide de São Paulo展示了城市边缘社区是如何成为文化和文学生产蓬勃发展的空间，这些社区在媒体中经常被错误地称为贫民窟。Tennina是布宜诺斯艾利斯大学的文学教授，具有人类学背景，她将文学分析与第一人称采访相结合，有效地打击了将这些社区仅与犯罪和贩毒联系在一起的流行话语。
{"title":"Tennina, Lucía. Cuidado com os poetas! Literatura e periferia na cidade de São Paulo, translated by Ary Pimentel, Zouk, 2017.","authors":"Kacey Carter","doi":"10.21471/JLS.V3I2.269","DOIUrl":"https://doi.org/10.21471/JLS.V3I2.269","url":null,"abstract":"Cuidado com os poetas! Literatura e periferia na cidade de São Paulo shows how urban peripheral communities of the city, often all referred to erroneously as favelas in the media, are spaces where cultural and literary production flourish. A professor of literature at the University of Buenos Aires with a background in anthropology, Tennina combines literary analysis with first-person interviews to effectively counter popular discourses that associate these communities solely with criminality and drug trafficking.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43860834","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 Joaquim Maria Machado de Assis’s five chronicles, published between 1894-1897 in the Rio de Janeiro newspaper A Gazeta de Notícias, on the Brazilian Republic’s assault against the Canudos community in Northeasten Brazil. Focusing on Machado’s critique of the role of communication technologies, and particularly print news, in fin de siècle Brazil, I argue that he makes use of the transformation of the messianic community into a national mediatic event to thematize the birth of a consumer society, the violent expansion of global capitalist networks and state power, authoritarianism, and the contradictory values of what he refers to as "bourgeois industrial society."
在本文中，我将检视Joaquim Maria Machado de Assis在1894-1897年间发表于巴西里约热内卢报纸A Gazeta de Notícias的五部编年史，内容涉及巴西共和国对巴西东北部Canudos社区的攻击。关注马查多在《巴西末日》中对通讯技术，尤其是印刷新闻角色的批判，我认为他利用弥赛亚社区向国家媒介事件的转变，将消费社会的诞生、全球资本主义网络和国家权力的暴力扩张、威权主义以及他所称的“资产阶级工业社会”的矛盾价值观作为主题。
{"title":"Spectacle and Rebellion in Fin-de-Siècle Brazil: the Commodified Rebel in Machado de Assis's Chronicles.","authors":"C. Carvalho","doi":"10.21471/JLS.V3I2.174","DOIUrl":"https://doi.org/10.21471/JLS.V3I2.174","url":null,"abstract":"In the present article, I examine Joaquim Maria Machado de Assis’s five chronicles, published between 1894-1897 in the Rio de Janeiro newspaper A Gazeta de Notícias, on the Brazilian Republic’s assault against the Canudos community in Northeasten Brazil. Focusing on Machado’s critique of the role of communication technologies, and particularly print news, in fin de siècle Brazil, I argue that he makes use of the transformation of the messianic community into a national mediatic event to thematize the birth of a consumer society, the violent expansion of global capitalist networks and state power, authoritarianism, and the contradictory values of what he refers to as \"bourgeois industrial society.\"","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"68509488","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}
There is nothing diminished or softened about The Art of Being a Tiger. It is always a rare pleasure to find an anthology of one’s favorite poems by one of the towering figures of contemporary Portuguese poetry, Ana Luísa Amaral. To find it in a bilingual edition alongside sensitive, probing, and insightful English translations by Margaret Jull Costa is even better. This edition by Aris and Phillips performs the long overdue task of making Amaral’s poetry available to an Anglophone readership, the first full-scale volume dedicated solely to her work, although isolated examples by other translators have appeared on internet sites.
{"title":"Amaral, Ana Luisa. The Art of Being a Tiger: Poems by Ana Luísa Amaral, translated by Margaret Jull Costa with an introduction by Paulo de Medeiros, Liverpool UP, 2016.","authors":"H. Owen","doi":"10.21471/JLS.V3I2.268","DOIUrl":"https://doi.org/10.21471/JLS.V3I2.268","url":null,"abstract":"There is nothing diminished or softened about The Art of Being a Tiger. It is always a rare pleasure to find an anthology of one’s favorite poems by one of the towering figures of contemporary Portuguese poetry, Ana Luísa Amaral. To find it in a bilingual edition alongside sensitive, probing, and insightful English translations by Margaret Jull Costa is even better. This edition by Aris and Phillips performs the long overdue task of making Amaral’s poetry available to an Anglophone readership, the first full-scale volume dedicated solely to her work, although isolated examples by other translators have appeared on internet sites.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46741349","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 films Casa de areia (2005) and O ano em que meus pais saíram de férias (2006), time serves as an avatar of the larger colonial matrix. Though both films explore other expressions of coloniality, such as race, ethnicity, gender, assimilation, and politics, what sets them apart is that their disobedience against colonial forces takes place on a temporal plane. Both protagonists, Áurea and Mauro, find themselves on geographic or social islands, wrestling against the power of time. Áurea’s story highlights many of the scientific issues of time reckoning. Mauro’s involves rejecting the fusion of a political and temporal colonial project during the 1970 World Cup. In crucial instances of disorientation for each character, they "delink" from colonial paradigms of time, revealing that neither coloniality nor time itself is absolute.
在电影《阿雷亚之家》（2005年）和《O ano em que meus pais saíram de férias》（2006年）中，时间是更大的殖民矩阵的化身。尽管这两部电影都探讨了殖民主义的其他表现，如种族、族裔、性别、同化和政治，但它们的不同之处在于，它们对殖民势力的反抗发生在一个时间层面上。主人公阿尤拉和毛罗都发现自己身处地理或社会孤岛，与时间的力量作斗争。阿的故事突出了时间计算的许多科学问题。毛罗在1970年世界杯期间拒绝了政治和时间殖民项目的融合。在每个角色迷失方向的关键例子中，他们与时间的殖民范式“脱钩”，揭示了殖民主义和时间本身都不是绝对的。
{"title":"The Flags of Time: Temporal Decoloniality in Casa de areia and O ano em que meus pais saíram de férias","authors":"Christopher T. Lewis","doi":"10.21471/JLS.V3I2.176","DOIUrl":"https://doi.org/10.21471/JLS.V3I2.176","url":null,"abstract":"In the films Casa de areia (2005) and O ano em que meus pais saíram de férias (2006), time serves as an avatar of the larger colonial matrix. Though both films explore other expressions of coloniality, such as race, ethnicity, gender, assimilation, and politics, what sets them apart is that their disobedience against colonial forces takes place on a temporal plane. Both protagonists, Áurea and Mauro, find themselves on geographic or social islands, wrestling against the power of time. Áurea’s story highlights many of the scientific issues of time reckoning. Mauro’s involves rejecting the fusion of a political and temporal colonial project during the 1970 World Cup. In crucial instances of disorientation for each character, they \"delink\" from colonial paradigms of time, revealing that neither coloniality nor time itself is absolute.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44145771","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}
Lídia Jorge’s A costa dos murmúrios (1988) has been primarily theorized as a subversion of historical discourse. Similar to a number of Jorge’s examinations of social changes emerging as the Estado Novo declined, the novel juxtaposes two competing versions of the past, in this case a fictional representation of the colonial wars and a woman’s testimonial account twenty years later. This article reconsiders the novel’s status as historical deconstruction, arguing that its oral and visual strategies instead correspond to the methodology of cultural historiography that emerged during the 1970s and 1980s. Expanding Helena Kaufman’s reading of the testimonial as “deliterarization,” I analyze how a slippage of critical terminology over time has equated historical fiction with narrative history. After examining the competing agendas of cultural history and literary postmodernism, I demonstrate how reconceiving Jorge’s historical “annulment” as a productive revision of fiction provides a model of complementary history facilitating interdisciplinary engagement.
Lídia Jorge的A costa dos murmúrios(1988)主要被理论化为对历史话语的颠覆。与豪尔赫对新国家衰落时出现的社会变化的一些考察类似，这本小说将过去的两个相互竞争的版本并列在一起，在这种情况下，一个是殖民战争的虚构表现，另一个是20年后一位妇女的见证。本文重新考虑小说作为历史解构主义的地位，认为其口头和视觉策略与20世纪70年代和80年代出现的文化史学方法论相对应。扩展海伦娜·考夫曼(Helena Kaufman)对证言的解读为“去iterarization”，我分析了随着时间的推移，批评术语的滑落如何将历史小说与叙事历史等同起来。在考察了文化史和文学后现代主义的相互竞争的议程之后，我展示了如何将乔治的历史“废除”重新视为小说的富有成效的修订，为促进跨学科参与提供了一个互补的历史模型。
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There is India, and then there is Goa with a side of India, a state of being that transcends the physical borders of Goa, carving out a national identity that supersedes an Indian one. The Many Lives of Vamona Navelcar is a collection of essays, fiction, poetry and a moving graphic novel that serves as an interpretation of this multicultural transnational state of being. It does so by taking us on an exploration of the Goan painter and artist Vamona Navelcar, told to us by a variety of Goan writers and artists.
{"title":"Ferrão, R. Benedito. The Many Lives of Vamona Navelcar. Cinnamon Teal, 2017.","authors":"Alia Yunis","doi":"10.21471/JLS.V3I2.273","DOIUrl":"https://doi.org/10.21471/JLS.V3I2.273","url":null,"abstract":"There is India, and then there is Goa with a side of India, a state of being that transcends the physical borders of Goa, carving out a national identity that supersedes an Indian one. The Many Lives of Vamona Navelcar is a collection of essays, fiction, poetry and a moving graphic novel that serves as an interpretation of this multicultural transnational state of being. It does so by taking us on an exploration of the Goan painter and artist Vamona Navelcar, told to us by a variety of Goan writers and artists.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42243501","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}
Writing by Ear, despite its subtitle, is not merely a book about the presence of aurality in Clarice Lispector’s fiction. Marília Librandi’s book closely listens to Lispector’s fiction to find the resonances and reverberations of a mode of writing that informs a large part of Brazilian literature of the modern period. There is a “listening in writing,” the author argues, and she offers three interrelated concepts—“writing by ear,” “aural novel,” and “echopoetics”—to help the reader follow her auditory journey through Lispector’s life and writing.
{"title":"Librandi, Marília. Writing by Ear: Clarice Lispector and the Aural Novel. U of Toronto P, 2018.","authors":"M. Méndez","doi":"10.21471/JLS.V3I2.271","DOIUrl":"https://doi.org/10.21471/JLS.V3I2.271","url":null,"abstract":"Writing by Ear, despite its subtitle, is not merely a book about the presence of aurality in Clarice Lispector’s fiction. Marília Librandi’s book closely listens to Lispector’s fiction to find the resonances and reverberations of a mode of writing that informs a large part of Brazilian literature of the modern period. There is a “listening in writing,” the author argues, and she offers three interrelated concepts—“writing by ear,” “aural novel,” and “echopoetics”—to help the reader follow her auditory journey through Lispector’s life and writing.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44727558","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 article examines the implications of the Amazonian allusions in the trilogy of novels by Oswald de Andrade now known as Os condenados (originally called Trilogia do exílio). Published between 1922 and 1934, the trilogy revolves around the life and legacy of a young prostitute in São Paulo and is notable for what critics often describe as its cinematic style. My argument picks up on earlier readings that see it as allegorizing the decline of the "aura" of art—a process I connect to a shift in the regional dynamics of capital accumulation in Brazil, showing how the aestheticist cult of beauty was associated with the export economy and a mode of uneven development most dramatically exemplified by the Amazonian rubber boom. Ultimately, I gesture toward a reappraisal of the Amazon’s role in the imaginary of Brazilian modernismo.
本文探讨了奥斯瓦尔德·德·安德拉德（Oswald de Andrade）小说三部曲中亚马逊典故的含义，该三部曲现在被称为Os condenados（最初被称为Trilogia do exílio）。这部三部曲出版于1922年至1934年，围绕着圣保罗一名年轻妓女的生活和遗产展开，以评论家经常描述的电影风格而闻名。我的论点源于早期的阅读，这些阅读将其视为艺术“光环”的衰落的寓言——我将这一过程与巴西资本积累的区域动态的转变联系起来，展示了美学家对美的崇拜是如何与出口经济和一种不均衡发展模式联系在一起的，亚马逊橡胶繁荣最为引人注目。最终，我要重新评估亚马逊在巴西现代主义想象中的作用。
{"title":"Oswald de Andrade’s Os condenados and the Decay of the Amazonian Aura","authors":"Sarah J. Townsend","doi":"10.21471/JLS.V3I2.180","DOIUrl":"https://doi.org/10.21471/JLS.V3I2.180","url":null,"abstract":"This article examines the implications of the Amazonian allusions in the trilogy of novels by Oswald de Andrade now known as Os condenados (originally called Trilogia do exílio). Published between 1922 and 1934, the trilogy revolves around the life and legacy of a young prostitute in São Paulo and is notable for what critics often describe as its cinematic style. My argument picks up on earlier readings that see it as allegorizing the decline of the \"aura\" of art—a process I connect to a shift in the regional dynamics of capital accumulation in Brazil, showing how the aestheticist cult of beauty was associated with the export economy and a mode of uneven development most dramatically exemplified by the Amazonian rubber boom. Ultimately, I gesture toward a reappraisal of the Amazon’s role in the imaginary of Brazilian modernismo.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47280887","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}
Entrevista com Natalia Borges Polesso, ganhadora do Prêmio Jabuti em 2016 com o livro de contos Amora.
采访2016年凭借短篇小说《阿莫拉》获得Jabuti奖的娜塔莉亚·博尔赫斯·波莱索。
{"title":"Diálogos possíveis: entrevista com Natalia Borges Polesso","authors":"P. Dutra","doi":"10.21471/JLS.V3I2.238","DOIUrl":"https://doi.org/10.21471/JLS.V3I2.238","url":null,"abstract":"Entrevista com Natalia Borges Polesso, ganhadora do Prêmio Jabuti em 2016 com o livro de contos Amora.","PeriodicalId":52257,"journal":{"name":"Journal of Lusophone Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42957773","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 examine an anecdote concerning a counterfeit coin included in João do Rio’s Portugal d’agora (1911). After contextualizing Rio’s interest in Portugal, I argue that the anecdote reveals a latent anxiety about the security of money as a reliable signifier, and about the integrity of the Portuguese monetary system. I contend that this anxiety constitutes one side—the obverse, in numismatic terms—of Rio’s portrait of Portugal during the first years of the 20th century. The "reverse" consists of his descriptions of what we, following Sérgio Buarque de Holanda in Raízes do Brasil (1936), might term Luso-Brazilian desleixo. In my conclusion, I connect Rio’s two-sided view of Portugal with his later positions, as articulated in the journal Atlântida (1915-20), which he co-edited with João de Barros.
在这篇文章中，我研究了一个轶事关于伪造硬币包括在jo do b里约热内卢的葡萄牙d 'agora(1911)。在将b里约热内卢对葡萄牙的兴趣置于背景之后，我认为，这件轶事揭示了一种潜在的焦虑，即对货币作为一种可靠的能指的安全性，以及对葡萄牙货币体系完整性的担忧。我认为，这种焦虑构成了20世纪初b里约热内卢描绘葡萄牙的一面——用货币术语来说，是正面的一面。“反向”包括他对我们的描述，按照ssamrgio Buarque de Holanda在Raízes do Brasil(1936)中的说法，可能会称之为葡-巴西desleixo。在我的结论中，我将b里约热内卢对葡萄牙的两面派观点与他后来的立场联系起来，正如他与jo o de Barros合编的《atlntida》(1915- 1920)杂志所阐述的那样。
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