INTERNATIONAL CONFERENCE " CAUGHT IN THE ACT: THE (LITERARY) IMAGICONOGRAPHY OF PAULA REGO " 3-4 December 2015 (original) (raw)
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Lugares d'Infância / Childhood Places é um capítulo do Catálogo da Exposição "Paula Rego Histórias e Segredos / Secrets & Stories" (Casa das Histórias, Cascais, 2017), inaugurada por altura da estreia do filme documentário com o mesmo título (realizado por Nick Willing, filho da artista). Partindo da narrativa autobiográfica de Paula Rego (suas histórias e segredos em torno do corpo, dos afetos e sexualidades), que nos revela o documentário de Nick Willing, penso-se neste texto o contexto histórico da sexualidade e do género, entre as décadas de 1930 a 1970, em Portugal.
Luso-Brazilian Review, 2010
Anthologies are oft en the unsung heroes of college literary survey courses. Th e anthology chosen for the class oft en defi nes the Portuguese literary canon for the (U.S.) graduate student who sees the text selections as their introduction to the history of Portuguese literature. For more advanced scholars, the anthology provides an opportunity to deepen their knowledge or to specialize in a particular theme, genre, time period or author. At the very least, anthologies provide easy and convenient access to a wide variety of texts, many of which may no longer exist outside of national archives. Th roughout Patricia Anne Odber de Baubeta's text, the author and reader are constantly engaging with the underlying question: What is the ultimate purpose of the literary anthology? Is it literary historiography, literary criticism, social criticism, simply a compilation of texts linked by time, topic and language-or some mixture thereof? While the text does, at times, come across as a routine listing of anthologies and authors, overall the book remains true to its initial purpose: "to explore anthologies produced in Portugal from a multidisciplinary perspective that draws on literary studies, literary historiography, sociology of reading, gender studies, cultural studies, among others" (28-29). Baubeta defi nes the anthology as "a compilation of self-standing poems or short stories, deliberately selected and organised in such a way as to serve the editor's purpose" (34) and specifi cally focuses on anthologies published in Portugal containing Portuguese literature (although some anthologies also included translations of foreign literature) during the course of the twentieth century. She begins her chronological survey of anthologies based on the year of publication, starting in 1907 and ends with texts published up to 2007. In this way, she is able to show how literary tastes change and evolve-oft entimes infl uenced by the very anthologies that she analyzes-and how the role of the anthologist goes beyond the mere choosing of texts, at times demonstrating political or socially rebellious leanings. Baubeta also contends that while the content of anthologies may be studied at length, the composition of the anthology itself and the editor's choice of texts are much more infrequently studied. Th is
RAÍZES: BRAZILIAN WOMEN POETS IN TRANSLATION
RAÍZES: BRAZILIAN WOMEN POETS IN TRANSLATION, 2022
Esta coletânea foi realizada por muitas mãos e inspirada por muitas pessoas, e a elas gostaríamos de agradecer o trabalho que permitiu a existência deste livro. Não poderíamos iniciar esta lista de agradecimentos sem referendar o Mulherio das Letras-Brasil e a importância da presença, no campo literário, da escritora Maria Valéria Rezende que, ao perguntar "Onde estão as mulheres?", plantou a semente da qual germinou o primeiro Mulherio, hoje um rizoma literário a espalhar-se por diversos países. Gostaríamos de agradecer também à escritora Cristiane Sobral, madrinha do Mulherio das Letras-Estados Unidos, que nos inspirou a inspirar outras mulheres a repetirem alto e sem constrangimento a frase "sou escritora!", ocupando lugares antes restritos. Agradecemos à escritora marginal e articuladora cultural Karine Bassi que acreditou neste livro e nos orientou em tantas etapas. É com orgulho que hoje fazemos parte do catálogo da Venas Abiertas, uma editora criada por ela e que publica uma literatura potente e transformadora. Expressamos nossa gratidão, ainda, à artista plástica e escritora Deborah Dornellas que abrilhantou o projeto com suas belas ilustrações. Agradecemos às tradutoras e aos tradutores que, de forma voluntária e durante um ano pandêmico-que nos obrigou a viver sob tantas pressões e desafios imagináveis talvez apenas na ficção-, traduziram ao inglês os poemas desta coletânea:
Revista Letras Raras, 2019
Este trabalho aborda dinâmicas de tradução, circulação, e (auto)divulgação da produção poética dos escritores brasileiros Angélica Freitas, Ricardo Domeneck e Érica Zíngano no espaço de língua alemã, observando as condições e estratégias através das mídias impressas e digitais. Enfocamos o papel desempenhado pelos tradutores, suas motivações determinantes de seleção, assim como as dinâmicas de recepção e divulgação dessa poesia e de suas traduções no mercado editorial, destacando aspectos globais e locais. Mostram-se através desses três poetas as complexas dinâmicas de trânsitos e trocas numa rede contemporânea de poetas, tradutores e agentes culturais e literários na qual a atividade de traduzir passou a ter um papel relevante na publicação de blogs pessoais e de sites internacionais dedicados à poesia do mundo com a proliferação das plataformas de publicação eletrônica.
"Writing and Seeing" - Galeria do Palácio, 2003 (post-doc.FCT)
"Writing and Seeing", 2003
This exhibition seeks to advance towards a space of continuity. The authors presented are emblematic, are historical, and they contemplate some of the dimensions of plasticity inscribed into the perspective of Looks and Writings. They do not, however, represent an exhaustive survey of all the important names that stand out in the historiography of Portuguese art, which is why there is a pressing need for future events to complement this first showing. The history of Portuguese art in the 20th century may also be constructed by focusing upon the inter-relationship between the image and writing, a persistent and relevant trend that has involved authors of unquestionable talent, and has accompanied the general development of poetry and literature and the performing arts. At the beginning of that century, the most representative and high-profile case in Portugal (though achieving recognition only belatedly) was Amadeo de Souza-Cardoso, who made use of fragments of writing in his compositions, giving them a privileged place in keeping with the languages of synthetic cubism, futurism and Dadaism, which were at that time emerging (definitively). As was the case with other unquenchable artists, the very act of integrating external elements into his painting led to an expansion into new combinations, revealing an overlapping relatedness peopled by words from his private hoard, chosen for their creative and provocative seductiveness.
APPROACHES AND PATHS: ROSA AND LINA'S POETICS (Atena Editora)
APPROACHES AND PATHS: ROSA AND LINA'S POETICS (Atena Editora), 2023
The article originates from a concern about the creative process, portraying a theoretical and practical reflection[i]. This article takes as its theme the work of two modern intellectuals who worked in different professional fields and aims to investigate the construction of interdisciplinary connections between architecture and other areas. This way, it touches on themes from literature, history, geography, philosophy and sociology. The focus of the analysis are two exemplary works: the novel: ``Grande Sertão Veredas`` (João Guimarães Rosa, 1956) and the ``Igreja do Espírito Santo do Cerrado`` in Minas Gerais (Lina Bo Bardi with collaboration of André Vainer and Marcelo Carvalho Ferraz, 1976). The first will be mediated by re-reading the texts of “Grande sertão.br``: romance of formation in Brazil” (BOLLE, 2004) and “O super-realismo de Guimarães Rosa`` (CANDIDO, 2006). The second will be based on rereadings of Lina Bo Bardi's texts published in the first five editions of Habitat magazine (1950-1951) and on her thesis “Propedeutic Contribution to the Teaching of Architecture Theory” (Bardi, 1957). The research that has been carried out aims to build a comparative methodological analysis, outlined from the tripod: Lina, Rosa and the issue of the “vernacular” in modern art and architecture.
De profundis: a cartography of the face in the work of Paula Rego
2018
B orn in 1935 in a country ruled by a fascist government that was not only a dictatorship, but also deeply patriarchal, 1 Paula Rego left Portugal at a very young age because, as her father said at the time, "this is not a place for women, this country. You go away." 2 Fortunate in having been born into a rich, bourgeois family, with a rather progressive father (an electronic engineer) and in the fashionable resort town of Estoril, near Lisbon, 3 she moved to England when she was only 16 years old. There she studied painting at the Slade School of Art between 1952 and 1956. Even though Rego remembers it as a place of artistic freedom, John McEwen, in his biography of the artist, notes the similarities between the institution and the gendered repression in Portugal that was then at the peak of the New State Regime: "The Slade might have been the smartest of art schools but in its male domination … it could echo Portugal. Paula particularly disapproved of the way women were not treated as equals, and the fact that the rich girls were admitted at the expense of poor ones in the hope that they would support struggling young male artists by marrying them." 4 Living and working in London until today, 5 the artist has achieved great recognition-one of the landmarks of her career being her appointment as the first Associate Artist at the National Gallery in London, in 1990-working on the threshold between a Portuguese identity, a strong political basis, and a unique pictorial style. Her work evolved from the deeply disconcerting and political 1960s and 1970s collages 6 to later compositions made with acrylic, frequently in series, like the early 1980s Red Monkey series, based on a toy theatre story featuring a monkey, a bear, and a one-eared dog told to her by her husband, the painter Victor Willing. Rego told a story of humiliation and dominance between man and woman with these pictures, with really self-explanatory titles such as Red Monkey Beats his Wife and Wife Cuts off Red Monkey's Tail. Stories, in fact, are one of Rego's favorite things-throughout the years, she has produced series of works and large canvases departing from literary works such as Charlotte Brönte's Jane Eyre, Jean Rhys's Wide Sargasso Sea and J. M. Barrie's Peter Pan, among many others, since her enthusiasm for mise-en-scènes, story-telling, and tales is one of her most distinctive (and emphasized) characteristics. But in 1994, Paula Rego made a radical change in her artistic practice when she started using pastel instead of acrylic
"The Return of the Poetess and Other Gynocritical Anachronisms: the Portuguese Context"
Feministas Unidas, 2003
The gynocritical paradigm in feminist theory and criticism, as defined by Elaine Showalter in her influential essay, "Feminist Criticism in the Wilderness" (1978), and fleshed out in what can be described as its founding texts, Showalter's A Literature of Their Own (1977) and Sandra M. Gilbert's and Susan Gubar's Madwoman in the Attic (1979), has become over the last two decades an empowering framework for a considerable number of critical studies aiming to trace a specifically female literary tradition in various national and transnational contexts. To give but one among many possible examples, monographs published in the series Women in Context (Athlone Press) are historical investigations (dating back to mid-nineteenth century) of women's writing in, respectively, Norway, Italy, France, Sweden, and so on. Showalter herself had projected that feminist studies proceeding from gynocritical postulates would aim to investigate and theorize such subjects as "the psychodynamics of female creativity; linguistics and the problem of the female language; the trajectory of the individual or collective female literary career; literary history; and, of course, studies of particular writers and works" (1992, 382). Some of these pathways of inquiry-especially those dependent on the potentially essentializing and homogenizing notions of "female creativity" and "female language"-were soon to be accused, on the one hand, of relying on a naively tautological assumption "that a 'feminine' identity is one which signs itself with a feminine name" (Kamuf 285) and, on the other, of ignoring or diminishing the constitutive importance of racial, ethnic and geopolitical differences among women writers. By contrast, socially and historically contextualized investigations focusing on the politics of canonicity and the symbolic and ideological constructs shaping national literary histories were energized by the gynocritical call to arms, while at the same time remaining relatively immune to the charges of theoretical and political nearsightedness. In her own recent (1998) contribution to the series Women in Context, Spanish Women's Writing 1849-1996, Catherine Davies recognizes that the last two decades of the twentieth century witnessed "a surge of books on the culture and history of Spanish women" and of "excellent critical studies" on the literary production by women in Spain (1). While it is debatable to what extent this dynamic publishing activity (rooted largely, although not exclusively, in Anglo-American academic environments) has affected canonical constructs of critical and literary-historical writing in Spain itself, it appears that the gynocritical model (as represented, among others, by Susan Kirkpatrick's pioneering study Las Románticas: Women Writers and Subjectivity in Spain, 1835-1850 [1989] or John C. Wilcox's more recent Women Poets of Spain, 1860-1990. Toward a Gynocentric Vision [1997]), has interfaced well with the Spanish literary and cultural contexts, especially of the nineteenth and twentieth centuries. It is through an examination, however cursory, of this contrastive Iberian setting that we can perceive with greater clarity the unique challenges that arise when the gynocritical paradigm of historical-literary investigation is tentatively deployed in the Portuguese context and the urgent need for a wide-reaching, theoretically grounded debate on actual and potential directions that feminist criticism of Portuguese literature has taken and/or may be hoped to take. As a theoretical and pragmatic viewpoint, gynocriticism is dependent on historical depth; it is only against the background of longues (or at least medium-sized) durées that explicit or implicit genealogical plotting of patterns of intertextual or metaliterary connectedness among individual women writers or literary generations can occur. In formal terms, such studies rely on relational and developmental modes of inquiry; they emphasize patterns of historical (dis)continuity and foreground such key concepts as trajectory, evolution, recovery, reinterpretation, or rewriting. Yet, the archaeological excavation that provides the foundation for Isabel Allegro de Magalhães's O tempo das mulheres (1987)-the first (and to date only) book-length essay published in Portugal Klobucka Fall 2003 Volume 23.2 35
Interview with Ana Gabriela Macedo
2013
Centre (CEHUM) and President of the Cultural Council of the Universidade do Minho. Her main research interests are Comparative Literature, English Literature (Modernism and Postmodernism), Feminist Studies and Visual Poetics. She has coordinated several research projects on these topics, and has an extensive list of articles and edited books: Dicionário da