Aspectos cognitivos en torno a la novela y el cine de la memoria histórica: "La voz dormida" de Dulce Chacón y su adaptación fílmica

Culture, history, and biology are inseparable. Cultural manifestations are necessarily immersed in a context, originate in the embodied minds that create them, and are directed to the embodied minds that receive them and recreate them within their contexts (individual and collective). The novel and the film of historical memory in Spain aim to connect their audiences with a problem that has not been solved, as the Civil War, the postwar, and the pact of forgetfulness left a wide sector of the Spanish society voiceless. During the last few years, a series of initiatives coming from the arts, as well as other realms such as the legal, have sought to reexamine the unhealed wound that still haunts Spanish subjects. La voz dormida [The Sleeping Voice] is one of those initiatives. It begins as testimony, develops into a hybrid and intertextual novel, and later becomes a film. It constitutes an inclusive project, one of offering an alternative version to the “official history”, while incorporating the marginal voices of women that had been left out of the memory of the war and the dictatorship. Objective and Results By examining both the literary and the cinematic versions of Chacón’s work I aimed to evidence the connections that exist between the artistic portrayal of the postwar repression (particularly how it affects women) and the current movement of recovery of historical memory in Spain. Specifically, I was interested in showing how both the novel and the film employ a series of narrative strategies that emphasize the body and intentionality, with the purpose of creating in readers and spectators an empathetic response that may lead to prosocial behavior. In order to carry out this interdisciplinary study, which relates fiction, mind, and socio-historical context, I draw on cognitive theories of literature and film, as well as theories from social and developmental psychology, such as the Richard Gerrig’s theory of narrative experience, Keith Oatley’s psychology of fiction, Suzanne Keen’s theory of narrative empathy, and the empathy-altruism hypothesis, derived form the ideas of Jean Decety, among others...

A literatura no cinema Oliveiriano

São nítidas na cinematografia do emblemático realizador português Manoel de Oliveira as influências de outras artes, nomeadamente da literatura. Com efeito, a adaptação literária é objeto de interesse do cineasta em diversas produções fílmicas dando origem a obras centradas sobre variadas temáticas, onde sobressai a figura feminina e os textos de Agustina Bessa-Luís. O envolvimento do realizador neste contexto de diálogo intertextual remonta às suas primeiras produções ficcionais (Aniki-Bobó, 1942) e permanece ao longo da sua vasta carreira cinematográfica. Estudar o registo filmográfico ficcional Oliveiriano é repensar questões relativas à adaptação literária e às suas particularidades. É, similarmente, refletir sobre o lugar da adaptação no cinema português e, ao mesmo tempo, equiparar o cineasta luso à constelação de realizadores paradigmáticos da história do cinema mundial que estabeleceram uma relação dialógica com fontes escritas. Com o propósito de sustentar a argumentação, a reflexão encontra-se ancorada em estudos de literatura e cinema e na teoria da adaptação. Partindo do vínculo dialogal entre literatura e cinema na obra de Manoel de Oliveira, o presente texto procura estabelecer uma reflexão acerca da adaptação literária e paralelamente relembrar as singularidades da transmutação fílmica dando destaque às diversas adaptações literárias de índole Oliveiriana que o cinema português tem testemunhado. A literatura no cinema de Oliveira contribui para testemunhar o elo positivo que historicamente tem ligado estas duas formas de expressão e oferece um exercício de releitura original destacando liberdade criativa e a independência que caracterizam Manoel de Oliveira.

Christine Zurbach, « Le répertoire du théâtre de marionnettes au Portugal: le cas des Bonecos de Santo Aleixo »

A comunicação descreve e analisa os textos que compõem o repertório do teatro tradicional dos Bonecos de Santo Aleixo numa perspectiva intertextual de modo a integrar esta forma regional de teatro num quadro mais complexo de filiações textuais e dramatúrgicas.

TECER A INVESTIGAÇÃO E A (TRANS)FORMAÇÃO DANDO VEZ E VOZ AOS PROFESSORES

RESUMO Neste texto partilha-se uma reflexão a partir da nossa investigação de doutoramento, realizada em Portugal, na qual participaram quatro professores experientes do Ensino Básico e Secundário. As histórias de vida foram fenómeno e método, num estudo que visou conhecer e compreender os percursos de vida de docentes e como se desenvolveram (ou não) em contextos de mudança. Nesta viagem as narrativas foram escritas pelos docentes e os feedbacks foram valiosos contributos na construção dos saberes. A trajectória mostrou-se uma construção partilhada, onde (com)textos entrelaçámos histórias, memórias, análise, interpretação e os feedbacks trocados com os professores. Relatamos um trabalho comunicativo com construção de sentidos, a partir de narrativas (auto)biográficas, entendendo-as portadoras de conhecimentos, práticas e significações. Enquanto fontes da produção de conhecimentos, revelaram-se processos pelos quais a vida se faz na escola e fora dela e as experiências se cruzam. Assim, não silenciando conexões entre os conhecimentos que se narraram e o que se viveu, favoreceu-se a apreensão de especificidades que se exprimem nos actos de viver e de narrar. As narrativas foram desvelando que os contextos vivenciais dos professores lhes permitiram construir a mudança de si e dos outros, que urgia alterar algumas tradições escolares e que formação, aprendizagem e desenvolvimento exibiam relações. As interacções com a investigadora e a sua participação mostraram que a abordagem metodológica foi tempo e espaço de construção intertextual e intercontextual, de compreensão partilhada e, quiçá, de emergentes desejos de estreitarmos relações entre a universidade e a escola, entre a docência e a investigação com os professores. Cruzar palavras escritas, foi para nós todos, participantes, um ir ao encontro de si, espelhando e projectando a vida no que vamos tecendo e (re)construindo, por caminhos mais humanizados de investigação e de (trans)formação.

The Legacy of Frankenstein’s Creature: Monstrosity and Female Grotesque in Mary Shelley, Angela Carter and Jeanette Winterson

This English Literature thesis (European PhD EDGES – Women’s and Gender Studies – 34th cycle) is an investigation into the representation of the monstrous body according to the British writers Mary Shelley, Angela Carter and Jeanette Winterson. The main objective is to observe how the representation of the categories of monstrous, abject and grotesque in Western cultural imagination have been influenced across time and literary genres. In the novels of Shelley, Carter and Winterson, the monstrous subject is configured as an alternative to the anthropocentric ideal embodied by the normative subject, of which Victor Frankenstein is the paradigmatic exponent. Plus, there are places considered anti-topoi within which the monster acquires a situatedness and claims a voice, generating an opposed counter-narrative to the imaginary conveyed by the normative subject. Monstrosity outlined by Shelley in the novels Frankenstein and The Last Man constitutes the starting point of my research, aiming to observe how the discourse of the normative body vs. the anti-normative body intersects with the discourse of the spaces of the centre vs. the spaces of the margin. In Carter's novels The Passion of New Eve and Nights at the Circus, the monstrous female constitutes the embodiment of wills, desires and claims challenging the heteronormative system. The space of otherness in which Carter's monster-woman is confined becomes a possibility of reshaping identity for the Subject, deconstructing the logic of power that moulded her within society. Finally, Winterson creates two monstrous women in Sexing the Cherry and The Passion who move through urban spaces, going from the centre to the margins and testifying to the arbitrariness of the system and its weaknesses. Similarly, in Frankissstein, Winterson recovers Shelley's original novel and transforms it into a parodic and intertextual speculation on the fluidity of identity and the limits of transhumanism.

Sustainable futuring. Learning and unlearning the past A critical discourse study of ‘fashion sustainability’-related discursive formations in Vogue Italia (1965-2021)

Recent scholarly works on the relationship between ‘fashion’ and ‘sustainability’ have identified a need for a systemic transition towards fashion media ‘for sustaianbility’. Nevertheless, the academic research on the topic is still limited and rather circumscribed to the analysis of marketing practices, while only recently some more systemic and critical analyses of the symbolic production of sustainability through fashion media have been undertaken. Responding to this need for an in-depth investigation of ‘sustainability’-related media production, my research focuses on the ‘fashion sustainability’-related discursive formations in the context of one of the most influential fashion magazines today – Vogue Italia. In order to investigate the ways in which the ‘sustainability’ discourse was formed and has evolved, the study considered the entire Vogue Italia archive from 1965 to 2021. The data collection was carried out in two phases, and the individualised relevant discursive units were then in-depth and critically analysed to allow for a grounded assessment of the media giant’s position. The Discourse-Historical Approach provided a methodological base for the analysis, which took into consideration the various levels of context: the immediate textual and intertextual, but also the broader socio-cultural context of the predominant, over-production oriented and capital-led fashion system. The findings led to a delineation of the evolution of the ‘fashion sustainability’ discourse, unveiling how despite Vogue Italia’s auto-determination as attentive to ‘sustainability’-related topics, the magazine is systemically employing discursive strategies which significantly mitigate the meaning of the ‘sustainable commitment’ and thus the meaning of ‘fashion sustainability’.

Gestaltwandlungen des Imperiums. Heiner Muller und Rom

Die Arbeit schlägt eine systematische Studie der Rezeption des antiken Rom in den Werken von Heiner Müller vor. Die Analyse von Dramen, Gedichten und Essays, sowie von Interviews und Manuskripten, liefert ein umfassendes Bild wiederholter und vielschichtiger Begegnungen mit der römischen Geschichte und Literatur, die bisher weitgehend im kritischen Diskurs im Schatten standen. Der Schwerpunkt der Analyse liegt einerseits auf dem philologisch-literarischen Vergleich mit diesen Quellen und andererseits auf der darauf basierenden Rekonstruktion des umfassenden Bildes eines Imperiums, das seine historischen Grenzen überschreitet, um zu einem zivilisatorischen Prinzip zu werden, so allgegenwärtig wie ambivalent – das "Urbild" einer unauflöslichen Verschränkung von Staat und Gewalt, Kultur und Barbarei, Gesetz und Terror. Diese kulturelle Prägung zeigt sich nicht nur in Werken mit römischem Thema, sondern auch in nachfolgenden historischen Konstellationen, die Müller inszenierte, vom Elisabethanischen England über das Preußen Friedrichs II. bis hin zu den Blöcken des 20. Jahrhunderts. Besondere Aufmerksamkeit wird der Untersuchung literarischer Einflüsse und philosophischer Vorgänger dieser zivilisationskritischen Vision Roms gewidmet – eine Untersuchung, die bestehende Interpretationen korrigiert und neue einführt. Im Lichte des thematischen Komplexes "Rom" wird so ein beträchtlicher Teil von Müllers Produktion neu interpretiert, wodurch ein neues hermeneutisches Paradigma ebenso wie bisher übersehene Einflüsse und intertextuelle Beziehungen bei der Untersuchung von Dramen und Lyrik hervortreten.