Search

The article focuses on author and sinologist Launcelot Cranmer-Byng's contribution to Symbolist literature, emphasizing his cosmopolitan approach. Topics discussed include his engagement with multiple cultural literatures, particularly Chinese and Portuguese; his role in the transnational development of Symbolism; and his efforts to provide an optimistic, spiritually-oriented alternative to materialistic modernity through translation and creative practice.

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Brasília and Fernando Pessoa share a fictional essence: the former as an invented city, the latter as a multifaceted, self-reflective poet. This special issue captures the unique encounter between Pessoa and Brazil’s capital, celebrated at the “II International Congress Pessoa invites pessoas” at the University of Brasília in 2024. The dossier “Brasília invites Pessoa” presents eight revised and expanded essays from the congress, reflecting on the poet’s connection to Lusophone and Anglophone cultures. Covering topics from poetry to cinema, the collection delves into Pessoa’s “labyrinths,” showcasing his influence across contemporary literature and art. Inspired by Brasília’s symbolic butterfly shape, this issue seeks to reach readers worldwide, far beyond Brasília.

This article reads Mário de Sá-Carneiro's 1913 novella A Confissão de Lúcio [Lúcio's Confession] alongside Lacan's seemingly dissenting claim that "censorship is not resistance." A close friend and collaborator of Fernando Pessoa, Sá-Carneiro was a key figure in the "Grupo de Orpheu" that was responsible for the introduction and development of modernism in Portuguese literature and art. A Confissão de Lúcio , Sá-Carneiro's most famous work, is a first-person confessional narrative that tells the story of a sexual liaison between the eponymous protagonist and his friend Ricardo de Loureiro. Yet, although this liaison is the crux of the novella, it is at the same time banished from the letter of the text, which rather narrates Lúcio's affair with Ricardo's wife, Marta, who acts as a mediatory figure for the homosexual desire between the two men. Following Lacan's argument that censorship is not a form of resistance to desire but rather part of its very expression, I ask: how might the doubts, hesitations, and aporia in Sá-Carneiro's novella be read as articulations of the text's repressed and unconscious truth? [ABSTRACT FROM AUTHOR]

The broader goal of this article is to offer a possible answer to the apparent absence of authorship marks in scripts for films written by Fernando Pessoa. Focusing on “Note for a thriller, or film”, adapted by director Pedro Varela in O Ídolo, a 2021 short film, I present an analysis in which scripts and realized version are approached in dialogue with the detective fiction theorized and practiced by Fernando Pessoa.

Visual narratives, such as graphic novels and comic books, are powerful forms of literature that use verbal and pictorial modes, in intersemiotic complementarity, making them an effective tool to tackle social issues, namely to explore hidden or sensitive topics in a thought-provoking, entertaining, and inspiring way. This is the case in the last graphic novel published by a young Portuguese writer and illustrator for children and young adults, Joana Estrela, the recipient of numerous prestigious awards. In this study, then, we intend to focus on Raquel, the protagonist in Pardalita, who takes her future into her hands and ventures to navigate the waters of self-discovery, crossing prejudice and challenging gender role stereotypes. Through her theatre group, she enters a third space that promotes inclusivity and empowers individuals regardless of gender. By analysing the multimodality that characterises this book, we come to realise the synergistic and transformative potential that visual narratives hold. [ABSTRACT FROM AUTHOR]

Writer Isabela Figueiredo (Lourenço Marques, Mozambique, 1963) and documentary filmmaker Diana Andringa (Dundo, Angola, 1947) share the common experience of being born and raised in former Portuguese colonies in Africa. Having lived in Portugal for a long time, both have a strong emotional connection with the lands where they were born. Additionally, they have produced works dedicated to the memory of their parents, which deal with recollections of their childhoods in colonial territories where exploitation and various forms of violence were widespread against the local populations. Despite belonging to different social classes - Figueiredo's father was an electrician, while Andringa's father was an engineer -, both men experienced gender and racial privileges within an oppressive colonial structure rooted in racism, which, in turn, reflected the policies of the metropolis. Thus, this article aims to discuss how the authors of Notebook of colonial memories (FIGUEIREDO, 2009) and the documentary Dundo, colonial memory (ANDRINGA, 2009) address the memories of their respective fathers, men who represented, in different degrees, personifications of the Portuguese colonialism in Africa. [ABSTRACT FROM AUTHOR]

José Saramago (1984), in Objeto quase, outlines in an allegorical way the themes to which he refers. The short story chosen for the analysis, "Centauro", will be approached in two aspects: first, the half-animal, half-human condition of the mythical being will serve as a symbol of the human condition itself, divided between the civilizing sphere constructed by the species and the circumscription inherent to the natural, savage world, in which the tension between the Freudian drives of life and death will be addressed, Eros and Thanatos; second, the relationship between society and the centaur, examining the issue from a metaphorical perspective, referring to the disaggregation of the human being from the natural world from myths and, subsequently, the abandonment of myths towards the primacy of rationality. [ABSTRACT FROM AUTHOR]

The purpose of this work is to examine the representation of some reader characters in the works O primo Basílio (1878) and Os Maias (1888), by the Portuguese writer Eça de Queirós, considering the literary culture and education of men and women of the time. Therefore, the intention is to conduct a brief study on the recurrence of literature in queirosian fiction, highlighting, above all, the readings consumed by the characters - both female and male - and the reflection of this literature in the construction of each reader present in the respective narratives. It is important to recognize, in this context, literature as a way of portraying the nineteenth-century cultural environment. Through literary production originating from Portugal and other countries, literary movements influenced individuals in 19th century Portuguese society and, consequently, are made explicit in Eça's fiction through exceptional characterizations of detailed and complex characters. [ABSTRACT FROM AUTHOR]

The aim of this paper is to investigate how Portuguese writer José Saramago's essayistic writing approaches the theories on the essay genre developed by philosopher Michel de Montaigne. Saramago's connection with Montaigne appears throughout Saramago's work and, for this reason, it will be necessary to take a panoramic view of his ideas, tracing a path that leads to the novel Manual de Pintura e Caligrafia (1977). The aim is to discuss the signs of the essayistic bias, that is, that type of writing which is conscious of the writer's craft and the act of writing and which reveals this consciousness in the writing itself, in a metalinguistic way, because it focuses on the construction of literary creation. Saramago builds a reflection intrinsic to his writing that makes the writer discuss, deeply and seriously, the craft and responsibility of dealing with words, rehearsing an attempt to understand the world that surrounds him and how he surrounds the world, while at the same time composing his prose fiction. [ABSTRACT FROM AUTHOR]

Sophia de Mello Breyner Andresen has established herself as a unique poetic voice in the 20th century, without, however, failing to highlight her relationship with her predecessors. In Navegações (1983), the author evokes the grandiosity of the sea, based on the experience of the voyage of discovery, marked by the astonishment of the gaze that reveals the world. In exploring this theme, Sophia establishes a frank dialog with the Portuguese literary tradition, evoking, for example, names such as Luís de Camões, Fernando Pessoa and Jorge de Sena. In the midst of this multiplicity of voices, the author revisits Portugal's epic and maritime tradition in her own way. In this sense, this work is dedicated to analyzing how the relationship between the Andresenean lyrical subject and the sea is configured in the aforementioned publication, observing the way in which literary echoes and voices permeate and/or interact with her own writing. [ABSTRACT FROM AUTHOR]

This paper reflects on the question of fictional authorship based on the case of the Libro de los grandes hechos, an apocalyptic text circulated in Spanish, Catalan, and Portuguese during the fifteenth century. All versions attribute its creation to a supposed visionary friar of the order of the "Sancti Spiritus" named Juan Unay (or similar). However, no other documents on this figure exist. To analyze this problem from both theoretical and practical perspectives, I will organize the paper in three sections. First, I will introduce two general approaches with which to address the study of authorship in the field of medieval apocalyptic literature. Secondly, I will explore the different hypotheses developed by specialists regarding the authorship of the Libro de los grandes hechos. Finally, I will propose my own interpretation of the identity of Juan Unay with the help of Umberto Eco's concept of the "model author." [ABSTRACT FROM AUTHOR]

O texto que se segue constitui a segunda seção do artigo “As novelas policiárias de Fernando Pessoa e o fair play da ficção policial”, publicado em Pessoa Plural, número 23. Argumenta-se que a leitura das novelas da série Quaresma, Decifrador, independentemente da ordem em que se a faça, constitui uma espécie de educação do leitor em relação às (novas) regras do fair play proposto por Fernando Pessoa. Trata-se de um processo que implica um conceito particular de coesão e completude que desafia a tradição do gênero policial.

This article aims to reflect on curricular reformulations in the teaching of Portuguese literature, focusing on students covered by the Racial Quotas (12.711/12 and 14.723/23). As part of the discussions related to the permanence of these students, some reading strategies are fundamental to the interpretation of the texts, as well as the dynamics of the subjects. From this perspective, legitimizing different readings, especially regarding literary tradition as a possibility for reinterpreting the colonial past, would promote the promotion of literary reading in its differences, in order to integrate the quota student. Therefore, based on specific data from the Federal University of Lavras, in Minas Gerais, related to the high number of dropouts of these students, in addition to discussions regarding the problems related to the teaching of this literature, from Basic Education, the proposed discussions intend to contribute to new guidelines, such as promoting the debate of ideas that subvert fixed curricula and belonging to visions about idealized students and, consequently, distant from the realities experienced in Universities [ABSTRACT FROM AUTHOR]

This work intends to investigate the relationship built in O regresso de Júlia Mann a Paraty, by Teolinda Gersão with regard to Literature and Psychoanalysis, especially because they are fields that dialogue with each other, however, literature is seen as the writer’s worldview and, in turn, psychoanalysis operates by deconstructing the subject’s worldviews to reveal the structures that organize it. To study the narrative in question, psychocriticism will be applied, as it is revealed in two ways: genetic and textual psychocriticism. Genetics can be subdivided into pathographies and psychobiographies. Textual or psychoanalytic criticism is justified within the scope of literary criticism because the work is more than a set of aesthetic categories; It is also the fulfillment of the author’s unconscious desire, a kind of alchemical ritual that goes through stages during life in contact with others and human nature. Thus, Freud, Thomas Mann and Julia Mann as characters in Gerse’s narrative are a representation, an extension of the subjective life, therefore, of Teolinda Gersão herself, in the act of creation. Furthermore, authors such as: Jean Bellemin-Noel (1978), Dayan-Herzbrun (1997), Miskolci (2003), among others, will be used. [ABSTRACT FROM AUTHOR]

Copyright of Classica: Revista Brasileira de Estudos Clássicos is the property of Sociedade Brasileira de Estudos Classicos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Abriu, Estudos de Textualidade do Brasil, Galicia e Portugal is the property of Abriu, Estudos de Textualidade do Brasil, Galicia e Portugal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the crime fiction, the theme is primarily the crime: accordingly, the narration is focused on the investigation and unraveling of the unknown details relevant to the specific criminal act. It should also be emphasized that most theoreticians believe that prose works of criminal fiction genre are characterized by linearreturning narrative, considering the fact that the uncovering of the crime directs the plot both towards the past (the time when the criminal act took place), but also towards the future (the time in which the criminal puzzle gets solved and in which the criminal is justly punished): with regard to the cause-and-effect sequence, the templated time perspective, it is a ring sequence: the beginning is the end and the end is the beginning. In the classic crime genre literary piece, the key characters are the criminals and, of course, the detective, even though in the works of the bestselling author of novels in general (Agatha Christie), it is possible to detect elements that go beyond the framework of the established crime genre work (or detective story): this means that attention is paid not only to the final goal - the uncovering of the crime, but to a greater extent to the process itself, and also to a kind of psychologizing when it it comes to the person who is a criminial. The paper will try to describe the model(s) of the crime fiction story of one of the most influential Portuguese authors of the 20th century in the period of modernism, Fernando Pessoa, since his literary strategies differ greatly when he is surrounded by what we have described as a classic crime text: here we primarily mean construction the story, on a regularly disappointed horizon of expectations and when it comes to the construction of the classic roles of detective and criminal, but even more so the process of investigation that Pessoa, in accordance with his unusual literary script, will raise to a completely innovative level. Contemplation, philosophical discussions, emphasizing logic and thought processes, and the very analysis and clarification of all aspects of the art of reasoning undoubtedly go beyond the scope of a detective story. The most complete explanation of this text would be that it represents a theoretical-scientific approach to the crime/detective story, actually its crucial links, with e exemplifications. The autoanalytical monologue becomes the fundamental method both for uncovering of the crime and for building the character of the investigator. The research is focused on reading Quaresma's Police stories from the collection Novelas Policiárias [Police and Other Stories] and detecting elements of the crime fiction genre, as well as elements that leave this framework and in some way have a subversive effect on the genre itself. This research is primarily focused on the analysis of Pessoa's crime stories and their comparison with the classic crime/detective story model. The differences that would appear in the process of comparative reading would represent the basis for the description of Pessoa's model of the crime story. [ABSTRACT FROM AUTHOR]

The alienation and violence so often manifested in José Cardoso Pires' narrative appear associated with an environment of suffocation, motivated by a social structure that constantly threatens freedom, dignity and, in many cases, the lives of human beings. It is true that the Portuguese are beings full of history. There have always been those who lived in the shadow of Power, among various inquisitions, whose eyes -- a thousand -- always included bureaucrats on duty, putting at risk the freedom and rights of men, in a state of exception, this "point of imbalance between public law and private fact", according to Giorgio Agamben (State of exception, 2004, p. 11), tending "increasingly to present itself as a dominant government paradigm in contemporary politics." Two books of short narratives come to the public when neorealism is in full force, at a time when the Salazarist Estado Novo exercises its power of repression and censorship -- Os Caminheiros (1949) and Histórias de Amor (1952) -- the latter taken out of circulation by censorship on August 26 of the same year of its publication. With the publication of the volume Jogos de Azar, in 1963, stories from the two books were made public. In 2008, ten years after the death of its author, the second edition of Histórias de amor would be released, including the previously censored excerpts. It is with this book that I intend to pay homage to the author of O Delfim, twenty-five years after his death. [ABSTRACT FROM AUTHOR]

The problem discussed in the article is the emergence of the autonomous literary system on the islands of São Tomé and Príncipe, a former Portuguese slave emporium, as well as coffee and cocoa producing colony. Several concurrent narrations concerning the emergence of the Santomense literary system are presented. One of them accentuates the groundbreaking role of a particular institution, Casa dos Estudantes do Império; other narrations inscribe the literature of the tiny archipelago in a larger system of Portuguese-speaking literature (Lusophony). The author of the present article postulates a radical enlargement of the chronological and cultural perspective, including the legacy of the Angolars (rebellious slaves) and their collective awareness in the genesis of the local literary tradition, in parity with such elements as the legacy of the Portuguese colonizers and free Creole social groups (Forros). It could be a way of overcoming the Eurocentric "chronopolitics" that remained valid also in the postcolonial studies, associating the decolonial processes, on the one hand, with the metropolis as a place where the decolonial thought took shape, and on the other, with the chronology, rhythms, and trends of its literary evolution. [ABSTRACT FROM AUTHOR]

This article aims to reflect on the current discussion about the terminologies that define the Afro-descendant presence and identity in the Portuguese and Brazilian literary context: literatura negra, literatura afrodescendente, literatura afro-lusitana/portuguesa/brasileira. In order to acknowledge the process of invisibilisation of Afro-descendant voices in societies marked by the legacies of European colonialism it is important to name what has been removed and marginalised, creating new identity categories. By analysing similarities, differences and influences between Brazil and Portugal, we will try to understand how these categories are assumed and discussed by authors and critics. This discussion can stimulate an Afro-Atlantic dialogue which can both foster the decolonisation and the rewriting of national literary canons in order to open up spaces for reflection on common and transnational dynamics.

Luís Carlos Patraquim's poetry often explores how bodily sensations blend with those of the natural world as they move throughout Mozambique, particularly the urban city of Maputo and the separate, rural Island of Mozambique. Rough winds breeze through both urban and rural spaces of the eastern coast of Africa, offering a fruitful area for atmospheric considerations of the poet's work. Wind is an irregular and transformative part of the natural, urban, and poetic worlds. In Tonino Griffero's conception, it is a "quasi-thing": an affect challenging to apprehend that has often been a peripheral object of desire, capture, and exploitation. Using wind to trace representations of Mozambique and Maputo in the postrevolutionary and postcolonial contexts of Patraquim's poetic oeuvre, I seek to elucidate how nature--and wind in particular--broadens sensations within the body as it moves through Patraquim's depiction of Mozambique and its cities as poetic sites of sensory appreciation and ancestral experience. [ABSTRACT FROM AUTHOR]

In this article, I contend that Ev(it)a, the protagonist of Lídia Jorge’s A costa dos murmúrios, embodies Homi Bhabha’s concept of “third space”. I argue that Ev(it)a represents the liminal space (and, therefore, hybrid, ambivalent) which lies at the intersection of the colonized and the colonizer’s discourses. As such, this character presents herself as a space that refuses both the fixity of the colonial discourse and the normativity of the phallocentric discourse, thus projecting herself as a renovating space, one that constructs new positions.

This article focuses on three contemporary Portuguese literary works that feature Roma characters and culture-specific elements within a wider selection of authors who mention or delve into past and present Romanian realities. This selection was aimed at determining which are the themes, historical events, lived or narrated memories, symbols, images, and ethnotypes that interest contemporary Portuguese authors in relation with the Romanian immigrant segment, a population fairly representative in Portugal (ninth largest minority group, with some 31,000 residents and an annual immigration rate of 2,000 new arrivals). My exploration (through several channels: library catalogues, oral sources, databases) revealed ten literary works which tackle elements related to: the Roma ethnic group and the negative ethnotype of prostitution, crime and begging; the former elite (aristocracy, intelligentsia), above all, temporally anchored in the early years of the 20th century; and the Communist regime, its apparatus (party and secret police) and its fall at the end of the eighth decade of the 20th century. In this article I shall focus on the analysis of the first group, basing this on the concept of “ethnotype”, observing how the image of a given immigrant population is constructed, and how this image affects its members in the public and private spheres.

Copyright of Etudes Romanes de Brno is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Polissema is the property of Polissema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Polissema is the property of Polissema and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of the study "Eça de Queiroz (1845-1900) and Spain: chronicles, letters and novels" is to present, on the one hand, aspects of his perception of "Frenchism" and "Iberism"; as well as his political views on the Spanish colonial question in Melilla (Spanish Morocco), the Caroline Islands (Western Pacific) and Manila (Philippines). In addition to his opinion as Consul in Havana on the crisis in Cuba (Spanish Antilles): the Ten Years' War (1868-1878), a struggle for independence, and the issue of Chinese immigrants (Chinese or coolies), employees hired for the crops, coming from Macau, which had Portuguese jurisdiction. And, on the other hand, to analyse the literary works that have themes linked to the cultural and colonial history of Spain and his people: The Capital (1875 and 1876); The Catastrophe (c. 1879); The Tragedy of Rua das Flores (1877 and 1878), The Maias (1888); The Treasury (1894); The Defunct (1895) and A Ilustre Casa de Ramires (1897). The research will be carried out from the perspective of Burke's image. [ABSTRACT FROM AUTHOR]

Neste contributo investigam-se possíveis referências do projecto pessoano póstumo intitulado “Trilogia dos Gigantes” a partir da Biblioteca Particular de Fernando Pessoa – apresentam-se títulos que se debruçam sobre a mitologia grega e os Gigantes em particular. Neste artigo, defende-se que a “Trilogia” tem como uma das fontes mais imediatas o Paradise Lost de Milton, e Charles Robert Anon, como precursor da temática dos Gigantes. O artigo inclui diversas imagens de exemplares da Biblioteca Particular e ainda, pela primeira vez, a transcrição da totalidade da marginália verbal do volume The Poetical Works of John Milton.

Na sua edição de Sodoma Divinizada, de Raul Leal, Aníbal Fernandes refere-se à passagem do escritor por Espanha, nomeadamente Madrid, Toledo e Sevilha, em 1916 e 1917. Fernandes narra um episódio insólito que lhe terá sido contado pelo próprio Leal, mas para o qual não tinha quaisquer evidências, nomeadamente a apresentação em palco de Leal como “bailarino futurista”, usando a sua “faustosa colecção de pijamas orientais”. A performance do auto-intitulado Abdali, Príncipe de la Muerte foi mal recebida e terá levado à detenção de Leal. Este ensaio comprova, documenta e contextualiza este episódio essencialmente desconhecido no âmbito da obra de Leal e da relação que este manteve com as vanguardas internacionais, nomeadamente o Futurismo. Documenta-se ainda a tentativa de suicídio do escritor na capital espanhola, que foi notícia de jornal.

Neste artigo destacamos a importância da correspondência entre os herdeiros de Fernando Pessoa e o exegeta tradutor francês Armand Guibert relativa a edições da poesia de Fernando Pessoa em França. Um conjunto de cartas que nos permite compreender as sucessivas etapas da afirmação internacional da obra de Fernando Pessoa.

Em 1960, foi publicada a primeira edição da Obra Poética, de Maria Aliete Galhoz. Este artigo apresenta alguns aspectos importantes para a compreensão da riqueza da Obra Poética e do trabalho de Galhoz enquanto editora e crítica, em torno de dois eixos: Primeiro, apresentam-se brevemente as sucessivas edições da Obra Poética, entre a segunda edição, de 1965, e a última organizada por Galhoz, de 1977. Depois, apresenta-se um acervo de cartas adquiridas pela Biblioteca Nacional de Portugal em 2017 e conservadas no Arquivo de Cultura Portuguesa Contemporânea. Trata-se da colecção da Família Nogueira Rosa Dias (N106). Introduz-se neste contributo uma transcrição comentada de um conjunto de missivas relativas à edição da Obra Poética de Galhoz pela Editora José Aguilar.

Durante a pesquisa realizada para a produção de um álbum biográfico de José Saramago, os editores, García Schnetzer e Viel, encontraram, num arquivo público da Madeira, uma imagem até então desconhecida de Fernando Pessoa.

Not many documents qualify as material evidence of 17th century holographs in Portugal. However, personal miscellanies can provide valuable insight into textual composition and transmission in the literary scene of the time. One of the examples worth exploring is a miscellaneous volume of papers collected by D. Francisco Manuel de Melo (1608-1666), which includes several manuscripts either written by the owner himself or by the hand of fellow contemporary poets. These are clean copies with few or no layers of revision, but still relevant to a certain kind of genetic criticism without drafts (GRÉSILLON, 1993), focused on the interstices of scribal activity and distributed authorship in the early modern period. The article examines littleexplored documentation from the national archive Torre do Tombo, thus broadening the scope of genetic studies into the realm of Portuguese baroque literature. [ABSTRACT FROM AUTHOR]

The article focuses on obsession with perfection human in Redenção, naturalist and hygienist utopia by Amilcar de Sousa. It mentions shipwreck story, tragic and very Portuguese version of the travelogue where, as in the utopian novel, reality and fiction come together. It also mentions land of salvation and never a land of perdition and sole purpose of discovering and appropriating the Utopian space.

bibliographic article tries to rescue the character Constança Manuel, bringing to the discussion literary texts, namely by female authors, that dialogue with the historical construction that kept her on the margins of that same history. Therefore, in order to undertake this bibliographic description, we will consider some contemporary perspectives around the feminine, without disregarding points of view established by the historiographical discourse of past centuries, since we are far from the time constituted by the history of the character for almost seven centuries. [ABSTRACT FROM AUTHOR]

Copyright of ECCOM: Educação, Cultura e Comunicação is the property of ECCOM: Educacao, Cultura e Comunicacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ECCOM: Educação, Cultura e Comunicação is the property of ECCOM: Educacao, Cultura e Comunicacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

After presenting two translations and three poems written by him, the author, a poet and memoirist, turns to Fernando Pessoa for clues to understanding the distinctly Portuguese form of identity creation as it is exhibited in Portuguese literature, as well as the immigrant/emigrant experience, finally understanding his own relationship to Azorean Portuguese identity.

De forma necessariamente subjectiva, este artigo apresenta um panorama geral do actual estado do espólio do poeta português Fernando Pessoa (1888-1935). Declarado como Tesouro Nacional em 15 de Setembro de 2009, os seus documentos encontram-se à guarda da Biblioteca Nacional de Portugal, Espólio 3, e da Casa Fernando Pessoa, em Lisboa. Mas antes desta declaração e, desde então, diversos manuscritos, livros, fotografias, assim como, outros objectos, continuam a vir a conhecimento público a partir de doações de particulares, a ser localizados em coleções particulares e a surgir em diversos leilões, nacionais e internacionais. Tendo em consideração que um certo grau de incompletude é, porventura, inerente a qualquer colecção, o presente artigo propõe inventariar os acontecimentos mais significativos dos últimos quatro anos, e sublinha a necessidade de criação de meios legais para prevenir maior dispersão dos documentos de modo a conferir ao espólio do autor a valorização há muito merecida.