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The purpose of this paper is to discuss the relationships between memory, violence, and social inscription of the subject in the novel A verdade de Chindo Luz, by Joaquim Arena, and, based on these points, draw some considerations about the representations of colonialism in the work and its consequences for a state of psychic suffering and non-identitarian belonging of the characters. Joaquim Arena’s novel revolves around a group of Cape Verdean immigrants in Portugal, more specifically focused on the Luz family, which arrived in the country between 1977 and 1978, the only black people in the neighborhood. The structure of the narrative is similar to a detective story, where, from the beginning, mysteries are presented that need to be solved. However, more than the mysteries and their solution in relation to the police investigation, the approach intended here aims to discuss the testimony beyond the legal aspects, in its function of symbolic elaboration of trauma. To do this, it is intended to use authors such as Tzvetan Todorov as theoretical support to discuss narrative structures and the specificities of the detective novel. In addition, authors such as Michele Simondon, Márcio Seligmann-Silva, Sigmund Freud, Vilém Flusser, Cathy Caruth, and Walter Benjamin will be used to think about the relationship between trauma, memory, and testimony in its aspect of symbolic elaboration of extreme events and identitarian belonging. [ABSTRACT FROM AUTHOR]

The paper’s aim is to relate some Portuguese-language contemporary poetry to the most relevant technological phenomenon in the last decades, the computer and digital revolution. Three hypotheses to proceed with such approach are proposed: a) the machine as a poetry-generator, executing the poet’s developed project, as in the work of Antero de Alda and André Vallias; b) the incorporation of tech universe in socalled traditional poetry, such as in the exploitation of barcodes in Manuel de Freitas’ Isilda ou a nudez dos códigos de barra, or the appropriation of advertisement and joke in a visual poem by Patricia Lino, or the cloning of e-mail format in Fabiano Calixto’s correspondence poems; and c) the usage of video platforms and social networks as a means of broadcasting and distributing poetry, especially YouTube, in which formats as videopoem and battle rap registers have become common. [ABSTRACT FROM AUTHOR]

This paper studies the transfictionalization devices involved in adapting the novel Aparição (1959), by Vergílio Ferreira, to cinema, directed by Fernando Vendrell (Aparição, 2018) and scripted by Fátima Ribeiro and João Milagre. The interest is on the process of transcoding from one communicative system to another, and its consequent potential for (re)interpretation and (re)creation (HUTCHEON, 2011) of the novel. Recognizing the difficulty of transporting a worldview of a reflective, metaphysical, existentialist nature like Ferreira’s to cinema, I start from the analysis of filmic semiotics, focusing on the way in which history, time, space, characters are transfigured in the sense of refocus some axes themes of the “original” work. Among the aspects that receive new critical-thematic vigor in the film is the representation of women in a conservative, patriarchal society, in the context of the Salazar dictatorship. This representation is highlighted, greatly, in the gender performances (BUTLER, 1998) that give survival (REIS, 2018) to the characters Sofia and Ana. [ABSTRACT FROM AUTHOR]