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O projecto "O Conselheiro Aires e o problema do livro em Machado de Assis" consiste, por um lado, na realização e disponibilização de quatro edições em formato electrónico, as edições genéticas e críticas dos dois últimos romances de que Machado de Assis é autor, Esaú e Jacó e Memorial de Aires. Por outro lado, a par destas edições, serão apresentados vários estudos que pretendem articular os dados materiais que resultam do estudo dos testemunhos com questões de poética, solicitadas pela obra de Machado. Neste texto, far-se-á uma apresentação do estado actual do projecto, mostrando como nele se tenta responder às questões colocadas pela desmaterialização destas edições, colocadas pelo meio em que o projecto se desenvolve.

[Resumo] Un dos motivos para o suceso do teatro breve portugués dos séculos XVII e XVIII débese ao recurso a figuras-tipo, que caricaturizan grupos profesionais ou con características distintivas, como a nacionalidade. Os galegos son un destes grupos, a quen é conferida unha unidade propia, o que se xustificará tendo em conta, designadamente, non só a proximidade xeográfica, como tamém as relacións económicas e fluxos migratorios entre os dous territoriosNeste artigo, analizaremos un corpus de entremeses portugueses, nos cales a figura do galego está presente. A partir deste estudo, delimitaremos o modo como estas figuras eran retratadas e presentadas no teatro breve portugués da época. [Abstract] One of the reasons for the success of Portuguese short theater in the 17th and 18th centuries is the use of typical figures, who caricature professional groups or groups with distinctive characteristics such as nationality. The Galicians are one of these groups, to whom is given its own unity, which is justified taking into account, in particular, not only their geographical proximity, but also the economic relations and migratory flows between the two territories. In this article, we will analyze a corpus of Portuguese short farces, in which the figure of the Galician is present. From this study, we will delimit the way these figures were portrayed and presented in the Portuguese short theater of the time

Resumo Os dois últimos romances machadianos distinguem-se por terem um autor ficcional comum, o Conselheiro Aires. Obedecem, no entanto, a uma forma literária diferente: Esaú e Jacó, ao romance, sendo a narração atribuída a um narrador omnisciente, em terceira pessoa; Memorial de Aires, ao diário, narrativa em nome próprio e que se mostra em curso de escrita. Apesar da diferença de forma narrativa, é possível reconhecer-lhes características comuns. Neste texto, discutirei o modo como a forma livro é tratada nestes romances finais de Machado de Assis, defendendo, a este propósito, ser possível delimitar um projecto literário próprio do Conselheiro Aires, identificável e isolável no universo da poética machadiana. Abstract The last two novels by Machado de Assis have the same fictional author, Counselor Aires. The form of these two books is, however, different: in Esau and Jacob, the narration is attributed to an omnipresent narrator, in the third person; Counselor Ayres' Memorial, on its side, takes the form of a diary, a narrative in the author's own name, a book in the process of writing. Despite the different narrative form of the books, it is possible to identify, in these two books, a common style that characterizes Counselor Aires. In this text, I will discuss how the book form is considered by Machado de Assis, arguing that Counselor Aires has a proper literary project, autonomous from the others Machado fictional authors and from Machado de Assis himself.

On the occasion of the second International Poetry Festival of Las Palmas (Gran Canaria, 1998), the Portuguese poet Alberto Estima de Oliveira (1934–2008) published a booklet titled Otoño en Pequín, whose Spanish poems were later published in Portuguese in Mesopotâmia – espaço que criei (2003). The Portuguese version bears no peritextual reference to the former Spanish booklet, which does not mention any act of translation either; the two sets of poems do, however, bear close textual affinities that make it easy to establish a translational link between them. In 1996 the poet had participated in the first of these Festivals representing Macau, with poems that were published in a Portuguese–English bilingual booklet, Fly. Based on the peritextual differences between Fly and Otoño en Pequín, the chapter argues that the choice of Spanish as the language of publication underlies the assumption that Portuguese and Spanish partake in the same cultural contact zone: the Iberian literary system. Following a genetic approach, the chapter discusses whether the fact of Otoño en Pequín partaking in the Iberian literary system has determined the de facto invisibility of both translator and translation.

Over the last decades, embodiment theories have been mainly developed in the cognitive sciences as well as in various cultural sciences, in philosophy, psychology and linguistics. The concept of ‘embodiment’ refers to the notion of a specific relation between the system of human cognition and the human body. Central is the claim that human cognition forms a functional unit together with the entire human body in such a way that the human ability for thinking is tightly connected to the cognition’s embedment in a human body ─ a human body which itself is embedded in an environment. Since the beginning of the 21st century, the notion of embodiment has also had an impact in the field of Translation Studies, in particular among primarily cognitive oriented translation process researchers. The paper aims to affirm the necessity of rethinking translation in terms of embodiment, and in this context, we argue that also Genetic Translation Studies can help to strengthen a foundation to this idea. The crucial link of evidence is provided by the fact that recently, more and more translators started to produce texts in which they reflect upon the identity of translators by describing themselves, their idea of translation and their translation practices. The individual experience and the concept of body – with its dimensions of perception, senses, movement and emotion – play a central role in such translator’s self-representations.