CEAUL/ULICES - Artigos em Revistas Internacionais
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- Dwelling in a junkyard: longing for home and self in Janisse Ray’s "Ecology of a Cracker Childhood"Publication . Alves, Isabel Maria Fernandes, 1964- This article discusses Janisse Ray’s Ecology of a Cracker Childhood (1999) as an example of the nature writing tradition, suggesting that her knowledge of southern Georgia is based on an intimate relationship with that specific place. Drawing from Thomas Lyon, Lawrence Buell, Lorraine Anderson, Nathan Straight, and L. Hönnighausen my approach focuses on how Ray’s work reflects on the relationship between a childhood spent in rural isolation and poverty in a junkyardand the diminishing longleaf pine ecosystem that used to cover the South of the United States. This method will help establish a connection, on the one hand, between Ray’s growing awareness of a lost self and the loss of natural ecosystems, and, on the other hand, between Ray’s success in building a home, which means repairing her own self, and the restoration of the longleaf pine ecosystem. Moreover, I argue, Ray is looking to determine her place within that specific ecosystem but also in the larger world, thus embodying the paradox inherent in the way place is understood in the light of the new regionalism: it roots the body but liberates the imagination. Arguing that considerations about place are at the basis of nature writing, I show that Ray constructs a literary home in which she offers alternatives to repair the longleaf pine ecosystem; providing for a vocabulary that readers might use in formulating their own relationships with the places they live in, urging them, southerners and all others, to take responsibility in promoting healthier relationships between humans, nonhumans, and the environment. Ultimately, this article contributes to the debate in nature writing by addressing Ray’s Ecology of a Cracker Childhood as an example of how in the face of a widening global environmental crisis, we might engage more closely with local and regional perspectives as they often demand a heightened environmental sensibility and a language that contributes to repairing both ecological and personal damage.
- “They settle down on us / they dwell within”: A. M. Pires Cabral’s attunement with birdsPublication . Alves, Isabel Maria Fernandes, 1964- Recent studies prove that imagination is a constructive process that transports the reader from one place to another, from one time to another, offering the possibility to inhabit another consciousness. To interpret, which in itself is an act of attention, opens a door to otherness, to kinship and empathy, asking from us affective responses towards human and nonhuman others. Drawing upon an ecocritical perspective, this paper considers how the depiction of birds in A. M. Pires Cabral’s poetry illustrates the way human dialogue with the nonhuman is a powerful tool in contemporary rediscovery of nature. The paper argues that by thinking with birds, the poet transforms not only his own self, but also the way readers envision the nonhuman other. Although Cabral’s passion for birds is not unique but part of a tradition that goes back to medieval bestiaries, I argue that at a time of biodiversity rarefaction his poetic depiction of birds is an expression of the human affection attuned to the more-than-human world; mostly, however, this paper invites discussion on the poet’s multilayered affection for birds as a result of his recognition that thinking with birds prompts, ultimately, deeper thinking about human beings.
- ‘Lift me up!’: the new major siscourses of care and ageing in Doris Lessing’s "The Diaries of Jane Somers"Publication . Zarebska, ZuzannaThe genre of Reifungsroman considers different temporal aspects of individuation. It aids and assesses the capacity of an older person to re-story their life, enter meaningful relationships, make amends with the past and productively evolve as an individual. Instead of focusing solely on the present, time is seen as a continuum in Reifungsroman with a special emphasis on the past events and narratives. This article will trace the late life transformation that Jane and Maudie undergo as all life is mutable and finite, awareness of which can make us more compassionate. In The Diaries of Jane Sommers, written by Doris Lessing and published in 1984 the narrator tells the story of the relationship she constructs with an elderly friend, Maudie, whom she meets in the streets of London and who triggers her identarian metamorphoses. Maudie embodies all the stereotypes of an old woman, she has crone-like features and an unforgiving temper. From the physical maladies to emotional suffering, Jane Sommers is herself a source of discomfort and displeasure to those around her. As the narrative unravels and cleanses Jane from rampant egoism, as she bathes after each visit to Maudie’s home, she deconstructs her old narratives and transitions into an empathetic self. As Maudie shades her trauma in words and being bathed by Jane, both undergo a process of healing. Maudie dies with dignity and out of this sacrificial moment of catharses, the meeting of the now and then, new Jane is born. She erases the old wry Jane, an ambitious and vain journalist in a women’s magazine, only concerned with success and everlasting youth, who spends time and her financial gains on material goods. This article will look into the discourses on ageing and the genre of Reifungsroman in The Diaries of Jane Sommers, Lessing’s fifth novel, published under a pseudonym and separately as two separate books: The Diaries of a Good Neighbour and If the Old Could against criticism from various editorial boards. I will analyse the processes of resignification of the minor discourses and their relationship towards the major discourses on growing older. I will consider Jana and Maudie as a two-faced Janus and a dyad of the old and the new, the ich and the poor, the successful and the unsuccessful: a crone, a witch and young woman whose polyphony of voices can re-story the narratives of women and ageing.
- Cultural memory in contemporary fiction: F. R. Leavis’s and Matthew Arnold’s intellectual presence in A. S. Byatt’s workPublication . Cheira, Alexandra Isabel Bugio Bonito Batista, 1972-The concept of “cultural memory” serves as the foundation for this article, which explains the complex relationships between two prominent figures in the history of English letters, Matthew Arnold and F. R. Leavis, as well as how A. S. Byatt’s own work was influenced by their combined, though occasionally diametrically opposed, approaches to literature, culture, and criticism. As a result, this article begins with a discussion of the conflictual continuity and/or sustained ambivalence in Byatt’s critique of Leavisite criticism. It does this by first looking into Leavis’s position within the larger literary criticism context and then focusing on how Leavisite criticism fits into Byatt’s critical thought. Thus, Byatt’s assertion that Leavis made English literature the focal point of university education is examined by first looking into Leavis’s Cambridge. Lastly, Byatt’s criticism of Leavis’s idea of English studies is looked into in the context of critical evaluations of English literature’s place in higher education, at the same time that Byatt’s work is used as a prism to analyse the Arnoldian matrix of the Leavisite concept of “moral seriousness”. Afterward, Byatt’s critical work is critically examined in the framework of culture, society, and literature, continuing Arnold’s legacy.
- “The Shifting Light of History”: addressing philosophy of memory in Julian Barnes’s Elizabeth FinchPublication . Bollinger, ElenaThis article discusses the narrative construction of various philosophical reflections on cultural memory in Julian Barnes’s novel Elisabeth Finch. It addresses the dichotomy between recollection and oblivion, presenting a memory process as a the “problem of forgotten evidence”, thoroughly discussed in today’s Cultural and Memory Studies. While contemporary scholars and philosophers aim at reflecting on the role of memory in metaphysics and epistemology, mainly relating the process of recollection either to personal identity, or the experience of time, space and epistemic rationale, the dimension of collective memory, and its foregrounding role in everyone’s self-perceptiveness, receives a considerably reduced critical attention. The literary analysis of Elizabeth Finch seeks to problematize this divisive understanding of functions of memory, proposing instead to consider the semantic complementarity of various processes of recollection/forgetting, connecting the narrative representation of events that one has personally experienced and the officially stated collective renderings of factual memory. It resists considering personal remembering and collective forgetting as ostensibly competing rationales, proposing to delve deeper into a tightly crafted relationship between the perception of one’s identity in time and epistemological framework of collective experience mostly focused on the officially stated dimension of memory. Revisiting discourses on religion associated with the narrative construction of borderlands in Julian Barnes’s Elizabeth Finch, this article contributes to reconsider collective memory and counter-memory not as mutually exclusive, but as synthetized and put into productive motion narrative dimensions. The intertextual articulation of discourses on religion fosters new theoretical perspectives for rethinking counter-memory not only as a mode of recovering silenced and contested versions of the European history, but also as a means of providing multidimensional and transcultural interpretation of the collective past. Perceived as a form of discursive resistance to any kind of political and social dominance, the narrative construction of “forgotten evidence” elucidates the complex post-dialectical relationship between official collective memory and marginalized counter-memory.
- Rethinking transcultural reception of memories in Julian Barnes’s Nothing to Be Frightened ofPublication . Bollinger, Elena“People say of death, ‘There’s nothing to be frightened of.’ They say it quickly, casually. Now let’s say it again, slowly, with re-emphasis. ‘There’s NOTHING to be frightened of’. The word that is most true, most exact, most filled with meaning, is the word ‘nothing’”, reflects the narrator in Julian Barnes’s Nothing to Be Frightened Of (2008). He continues: “We live, we die, we are remembered, we are forgotten” (Barnes, 99-100). In several Barnes’s works, the concept of nothingness provides access to important and yet unexplored aspects of human experience, displaying a dialectical relationship between remembering and forgetting. In Nothing to Be Frightened Of, the narrative construction of semantic silence approximates to the conception of rhetorical nothingness, thoroughly analysed in J.M. Winter’s examination of collective memory and carried out in Beyond Memory: Silence and the Aesthetics of Remembrance. Instead of considering remembering and forgetting as hermetical and mutually exclusive, this study insists on their profound etymological connectiveness and thematic interplay, observable within contemporary social and cultural frameworks.
- The archaeology of absence in Kamila Shamsie’s "A god in every stone"Publication . Martins, Margarida PereiraApproximately 1.4 million Indians were recruited to the First World War. Despite their role in the war and the high number of deaths, most of the literature in English on the Great War has been narrowed down to British experience. However, in recent years their stories have been emerging through fiction, in academic research and educational projects resulting in a more complete picture of the war and who was involved. A British arts education group engaged students in a project designed to teach and share the stories of forgotten soldiers from World War I. Writing about the project in The Guardian in 2018 Kamila Shamsie claimed the aim was to teach school children about the war and the involvement of non-British recruits whose narratives had up till then been unknown. In academia, respected scholars such as Santanu Das or Claire Buck have undergone thorough research on the representation of Indian recruits through an analysis of literary texts and artefacts states that war memories of the Indian sepoy whose stories were left behind and forgotten on the battle ground. According to Das, the lack of stories by Indian recruits does not mean that history cannot be rectified since it is possible to recover the experience and memory of the recruits. Recently emerging literary representation of the Indian recruit provided historical insight into their experience shedding light on new perspectives of the War. The aim of this article is to analyse the representation of Indian recruits and their experience of World War I in Kamila Shamsie’s 2014 novel A God in Every Stone. I argue that through fiction, it is possible to construct a broader and more inclusive understanding of this historical event as well as to uncover deeper complexities and anxieties on the Indian colonial experience.
- Reading in silence: translations of homosexual-themed fiction in state-socialist Hungary and Estado Novo PortugalPublication . Gombár, ZsófiaThe present study examines the Portuguese right-wing and Hungarian communist regimes’ attitudes towards homosexuality and sexual minorities through an analysis of English-language literary works translated and published in Hungary and Portugal between 1939 and 1974. One of its main objectives is to contribute to the scarce body of research on the history of non-normative sexualities by mapping literary works in English that might have been read by the queer community as possible self-help literature in the two countries. Besides the prevailing publishing practices, the modi operandi of the Hungarian and Portuguese censoring apparatuses are compared to see what kind of translated literature with homosexual content was or was not allowed to be published under the two opposing dictatorial regimes and why. The research draws heavily on the book censorship files stored at the National Archives of the Torre do Tombo in Lisbon along with the findings of the Hungarian project English-Language Literature and Censorship (1945-1989) and the project Intercultural Literature in Portugal 1930-2000: A Critical Bibliography.
- Decolonizing the global north university: host-guest dynamics and the limits of hospitalityPublication . Mendes, Ana Cristina Ferreira, 1975-; Lau, LisaThis article critically assesses the hospitality premise on which the project-practice of decolonizing the curriculum rests, investigating the texture and limitations of the hos- pitality that Global North universities seem willing to offer their many Others, including students, staff, and stakeholders, particularly in the form of knowledges and pedagogies. It investigates how the guests-strangers are treated within the Global North Universities, their knowledges posited as a separate category within the epistemic system rather than integrated into being a part of the system; guests relegated to unpaid servants when obliged to shoulder the lion’s share of the work in addressing the unfair, racist systems which devalue them and their knowledges. Embedding the discourse of decolonizing the university in and with postcolonial concepts, the article highlights the profoundly unequal power relationships between hosts and guests that continue to inform even the best- intentioned Global North higher education institutions, self-declaredly dedicated to decolonization efforts. It argues for pressing need on the part of the Global North universities to deepen their awareness of the historical legacies of coloniality and its matrix of power, and consequently reflect on the treatment of Global South guests and knowledges. This long, hard look at their role of host is necessary for a true commitment to decolonising the university spaces and rendering them genuinely hospitable, and to transforming the unequal power dynamics and the impacts on guests-stranger Others.
- Unlearning imperialism through artistic remediation: a critical pedagogy approachPublication . Mendes, Ana CristinaAnalysing art that emerges from remediation can be a form of critical pedagogy in and of itself. This article focuses on art forms that involve remediation as a strategy of the critical pedagogy of “unlearning imperialism” (Azoulay 2019). The aim is to examine the role of the adaptive process of artistic remediation (by which new media technologies incorporate, reinterpret, and reference older media forms) in conceptualising and developing a critical and engaged approach in the classroom to the inequities in knowledge production, mediation, and sharing. The strategic approach to unlearning imperialism is combined with Ariella Azoulay’s idea of “potential history”. This frames the analysis of three artworks that are, in different ways, linked to photography, either as photography-to-painting or painting-to-photography remediations. The first artwork discussed is Roxana Manouchehri’s Power (2014), a neo-Victorian photography-to-painting remediation depicting Queen Victoria and Princess Tadj es-Saltaneh; the second and third artworks are Jan Banning’s Immigrant (Jamaican) Olympia with Dutch Servant (2011) and Raeda Saadeh’s Who Will Make Me Real? (2003), both painting-to-photography remediations of Édouard Manet’s 1863 oil painting Olympia.