A Quinta Essência de Agustina Bessa-Luís : la saveur aigre-douce de Macao

In the narrative A Quinta Essência Agustina Bessa-Luís proposes an original reading of the Portuguese postcolonial History, by reinvesting the topics of the intercultural relation and the meeting with the Other. In fact, in the troubled context of April 1974, the character of Jose Carlos Pessanha expatriates towards the East, more precisely towards Macao, one of the last Eastern colonies of the Portuguese colonial Empire. However, the characteristic of this tour of rediscovery of the East is that it makes the destiny of a character in search of himself coincide with the questioning of a country still looking for its own identity. Thus, in this voyage backwards into the Luso-Eastern History, the Author draws the portrait of a Nation-Empire split between the desire of incarnating this “genetic superiority of the Occident” and the fascination for the culture of the Other, symbolizing an “excess of otherness” (B. of Sousa Santos) in the Portuguese identity. Macao, will be the territory of an “entre-deux” and an intercultural circulation, as well as an emblematic ground to the expression of the “ambivalent and hybrid” position (colonizing/colonized) of Portugal in the Occident. As a consequence, the uncomfortable “non-inscription” (J. Gil) and the “nomadism” (Deleuze/Guattari) which characterizes José Carlos Pessanha, would be a reflection of yesterday’s and today’s Lusitanian epopee.

Aurora Bertrana : Bringing "otherness" home

“Decidida a viure al preu que sigui” underscores contemporary writer Maria-Antònia Oliver in her prologue to Aurora Bertrana’s fourth book, El Marroc sensual i fanàtic (1936). The urge to travel, to explore the world and to slake her thirst for new experiences shaped much of the personality and the work of this Girona-born writer. Taking her own travels as a starting point, Bertrana distinguished herself in the genre of travel writing on exotic countries, which at that time underwent a significant revival in Catalonia. Bertrana’s originality lies partly in the image of the woman traveller that she consciously cultivated for herself, and partly in the way she narrates her travels. This article seeks to recover this author and make visible her singular way of presenting otherness.

The Broken "I" : fragmentation of self and otherness in modern urban narratives

Ce mémoire mélange théorie et fiction pour explorer la technique narrative du “nous” performatif. Le premier chapitre démontre le role du discours dans le processus de formation d’identité, pour éventuellement démontrer que la nature performative du langage est responsable de la creation des constructions sociales du soi et de l’autre. En étudiant les failles de ce système, cet essai tentera de créer une entité narrative libre de ces contraintes. Un second chapitre théorique, après des exemples de fiction, se penchera sur l’entité narrative du flâneur, qui à travers sa relation intime avec la cité, souligne une dichotomie présente dans la relation entre le soi et l’autre. Le flâneur emergera comme un site de traduction dans lequel le “nous” performatif peut prendre action. Toutefois, les limites du flâneur en tant qu’outil narratif l’empêchera d’être la representation ultime de cette dichotomie. Après d’autres exemples de fiction, un troisième chapitre combinera ce qui aura été apprit dans les chapitres précédents pour démontrer que le “nous” performatif et sa dissolution du “je” et du “tu” mène à une narration qui est responsable, consciente d’elle-même et représentative de la réalité urbaine moderne et ses effets sur la création de l’identité.

Science, gender and otherness in Shelley's Frankenstein and Kenneth Branagh's film adaptation

Questions of gender and genre in Frankenstein remain complex issues for contemporary critics, in the novel itself as well as in its cinematographic adaptations, from John Whale's classic 1931 version to Kenneth Branagh's 1994 "Mary Shelley's Frankenstein." Though science seems to be the unifying principle behind the main story of the novel and the films, I will argue that Shelley incorporates science and sexual orientation within her novel in a way that differs significantly from the films, and especially from Branagh's version.

Amerindian anthropology and cultural psychology: Crossing boundaries and meeting otherness` worlds

Addressing integrative possibilities between psychology and anthropology, this paper aims to design conceptual linkages between semiotic-cultural constructivist psychology and the anthropological theory of Amerindian perspectivism. From the psychological view, it is the interdependence between the structural and processual dimensions of the personal culture that makes parallels with Amerindian perspectivism fruitful. This anthropological frame proposes an experiment with native conceptions, which I argue similar to what Baldwin (1906) called sembling. Hence, it can be considered an active imitation of otherness` viewpoint in order to approach indigenous worlds. It is supposed that this procedure leads to the emergence of new symbolic elements configuring the cultural action field of each agency in interaction. It is proposed that ""making-believe`` the Amerindian is convergent with the dialogic-hermeneutic approach of semiotic-cultural constructivism. As a result of the present integrative effort, is designed a meta-model that multiplies the genetic process of concrete symbolic objects.