The Violent Maintenance of the Portuguese Colonial Identity and the Search for a Postcolonial one: literary images of Portugal as a colonial and postcolonial nation

Through the examination of Camões's Os Lusíadas , Sena's Os Grão-Capitães and Saramago's A Jangada de Pedra , this article explores violence as a means of shaping Portuguese identity in different historical contexts, and how these works portray the continued recourse to violence as Portugal moves from colonizing to postcolonial nation.

Performing Resistance/Negotiating Sovereignty: Indigenous Women's Perofrmance Art in Canada

Performing Resistance/ Negotiating Sovereignty: Indigenous Women’s Performance Art In Canada investigates the contemporary production of Indigenous performance and video art in Canada in terms of cultural continuance, survivance and resistance. Drawing on critical Indigenous methodology, which foregrounds the necessity of privileging multiple Indigenous systems of knowledge, it explores these themes through the lenses of storytelling, decolonization, activism, and agency. With specific reference to performances by Rebecca Belmore, Lori Blondeau, Cheryl L'Hirondelle, Skeena Reece and Dana Claxton, as well as others, it argues that Indigenous performance art should be understood in terms of i) its enduring relationship to activism and resistance ii) its ongoing use as a tool for interventions in colonially entrenched spaces, and iii) its longstanding role in maintaining self-determination and cultural sovereignty.

Flavian laws, the railway, the newspaper and Loring’s breads

It is abound the research on the formation, rise and failure of the financial and industrial network undertaken by the Loring-Heredia-Larios triangle, bourgeois families who introduced the Industrial Revolution in the south of Andalusia. On the contrary, there are almost nonexistent studies from the perspective of the mentality that sustained their business, social and ethical model in the algid decades of their action (1850-1860). In this paper we propose some hypotheses about the ideological structures of bourgeois group and point out some keys, clues and signs for a future reconstruction of this kind, which so far has not been incardinated that early and failed malaguenan industrial revolution in streams thinking of that time.

Benevolent Patriotism: Art, Dissent and the American Effect

This article examines the role of contemporary art in a post-9/11 context through The American Effect exhibition at the Whitney Museum of American Art in New York in 2003. This exhibition displayed a range of artworks from around the world that specifically engaged with, commented upon and interrogated the USA's pre-eminent position as a global superpower. In the politically charged climate after 9/11, the exhibition offered itself as a critical voice amid the more obvious patriotic clamour: it was one of the places where Americans could ask (and answer) the question, `Why do they hate us so much?' Although The American Effect claimed to be a space of dissent, it ultimately failed to question, let alone challenge, US global hegemony. Instead, the exhibition articulated a benevolent patriotism that forced artwork from other nations into supplicating and abject positions, and it obscured the complex discursive networks that connect artists, curators, critics, audiences and art museums.