Allegories ofNation?A ReadingofJoséCardoso Pires's NovelO Delfini ANTONIO SOUSA RIBEIRO Thedefinition ofnationas an 'imagined community'1 andtherecognition thatnationalculturesconstitute 'a discursive devicewhichrepresents difference as unity oridentity' havebecomeinrecent years a widely shared presupposition of criticaldiscourse,indeeda vital componentof the present common senseincultural studies.2 Formulations suchas thesehelp todrawourattention tothesimple factthatnationalidentity isnotjusta matter ofcontent, butalso,decisively, a matter ofform - notso mucha question oftradition, butoftranslation andofinvention. Notsurprisingly, the conceptof the borderor the boundaryis becomingincreasingly prominent incultural studies, as itpermits one to graspthestrategies of distinction andofarticulation thatspecifically constitute a given culture theproduction ofitsownborders beinganessential component oftheselfdefinition ofanyculture. The dramatically increasing pressures ofglobalization havelenta new centrality tothenotion ofnational culture andofcultural identity, whileat thesametimerendering themproblematic. In fact, ina globalizedworld system, culturalidentity becomesinstrumental forthenegotiation of a nationalstate'sposition within thatsystem. The consequences ofsuchan instrumentalization are obvious:witness, forinstance, how thepositive connotations of multiculturalism are being increasingly eroded by a reinterpretation ofthisnotionas a signofinsurmountable difference orof essential incompatibility, or,worsestill, bya foundation ofthe'originality' and 'authenticity' ofa givenculture on ethnicterms. As another case in point,SamuelHuntington's modelofthe'clashofcivilizations'3 is inthe endbutoneversion ofan 'insanity ofidentity' intent on investing cultural difference withsomeessentialist meaning.4 Atthesametime, however, thecontext ofa globalized world,involving 'interactions ofa neworderandintensity', destabilizes thevery notionof localidentity.5 Itbecomesapparent thata definition ofthelocalcan only 1Benedict Anderson, Imagined Communities.Reflectionson the Origin and Spread of Nationalism,revisededn (London/NewYork:Verso,1991). StuartHall, 'The QuestionofCulturalidentity', inModernity and ItsFutures, ed. bySt Hall etal. (London:Polity,1992),d. 297. Samuel P. Huntington, The Clash of Civilizationsand theRemakingof WorldOrder (New York:Simon& Schuster, 1996). Thomas Meyer, Identitäts-Wahn. Die Politisierungdes kulturellenUnterschieds(Berlin: Aufbau,1997). 5 ArjunÄppadurai,Modernityat Large. CulturalDimensionsof Globalization (Minneapolis/ London:University ofMinnesotaPress,1996),p. 27. 164 ANTONIO SOUSA RIBEIRO beachieved through a reflection onitsrelation totheglobal,without which the conceptitselfis unthinkable. Indeed, both conceptsare strictly interdependent: thedefinition ofcertain cultural formations as localisthe waya dominant cultural discourse can claima globalstatusforitself thusconcealing thefactthattheglobalisinturn nothing elsethana local formation that hassucceeded inachieving hegemony andintheprocess has gainedpossession ofthepowerto define, thatis to provideitsown code with themark ofuniversality. Under thislight, theillusion ofhomogeneity conveyed bythepanorama ofcontemporary culture can be uncovered as whatit reallyis: a fiction through whichhegemonic globalizationconcealsthosedifferences and unequalpowerrelations whichitisthetaskofa counter-hegemonic logic toexpose.Asa matter offact, globalization isthecodewordfora process whichis not uniform but highlyheterogeneous. As ArjunAppadurai reminds us,'thenewglobalcultural economy hastobeseenas a complex, overlapping, disjunctive order'.6In thiscontext, it has in turnbecome easierto discardanyessentialist assumptions from thenotionofcultural identity and to recognizeit as a contestedterrain, preyto internal contradictions andtheobjectofa permanent negotiation between different and oftenconflicting positions.Identity turnsout to be some kindof floating signifier, requiring careful contextualization anda specific integrationina dynamic, relational framework. Within sucha framework, itisclearthata notionofagency cannotbe dispensed with.Itiscrucialtoaskabouttheinstances ofmediation andit cannot, therefore, comeas a surprise thatthewholediscussion aboutthe changing contemporary conditions ofcultural production, accommodated undertherather awkwardlabelofpostmodernism, has brought abouta renewedinterest in the questionof intellectuals - rangingfromthe straightforward proclamationof theirfinaldemise,as in Lyotard's obituary, to the variouspositionsfavouring the hypothesis that the proclaimed deadareafter allaliveandwell.7 I hopethesefewremarks willhavehelpedto setthestageforthebrief discussion ofsomecentral problems connected withthequestionofthe literary representation ofthenationI proposetoengagewithhere.Indeed, onecannotaddress thisquestion without acknowledging thatthe'imagining 'ofthenationhaslongbeentaking placeina context over-determined bythetensions between thelocalandtheglobalI roughly outlined above. It is againstthisbackground thattheadequacyofcompeting modelsof interpretation has to be tested.That is whyI shall startwithsome 6 Appadurai,p. 32. 7 Jean-François Lyotard,Tombeau de l'intellectuel', inJ.-F.Lyotard,Tombeaude l'intellectuel etautrespapiers(Paris:Galilée,1984),pp. 9-22. ALLEGORIES OF NATION? 165 comments on theargument presented byFredric Jamesonin his article ThirdWorld Literature intheEraofMultinational Capitalism', published in1986inthejournalSocialText,before proceeding toa reflection onthe Portuguese case,centred ona rereading ofa keytextofmodern Portuguese literature, thenovelO Delfim byJoséCardosoPires. Jameson's textrestson assumptions thatareofvitalimportance fora discussion ofcultural identity, starting withhisinsistence on theneedfor comparative cultural studies basedon a relational wayofthinking world culture and on thesignificance ofperipheral cultures and non-canonical texts forsuchstudies. The courseofhisargument leadshim,however, to highly problematic conclusions thatseemto meextremely instructive in regard tothecentral questions I amaddressing. The mainaxis ofJameson's argument restson thenotionofnational allegory as thedistinctive feature of'third worldliterature': Third-world texts[. . .] necessarily projecta politicaldimension intheform ofnational allegory:the storyof the privateindividualdestinyis always an allegoryof the embattled situationofthepublicthird-world culture and society} And again, towards the end of the essay, in a central passage that has to be quoted at some length: The viewfromthetop is epistemologically crippling...