Modern Humanities Research Association Research Articles

Introduction

Portuguese Studies vol. 37 no. 2 (2021), 149–52© Modern Humanities Research Association 2021 Introduction Ana Mafalda Leite, Elena Brugioni and Jessica Falconi The present volume results from the scholarly work conducted by members of the research project NILUS — Narratives of the Indian Ocean in the Lusophone Space.1 The main purpose of the project consisted in establishing a theoretical and disciplinary connection between Lusophone Literary, Visual and Cultural Studies and the transdisciplinary field of Indian Ocean Studies. The project focused on the written and visual narratives hailing from, or related to, the territories formerly colonized by Portugal along the Indian Ocean, specifically Mozambique, Goa, and East Timor.2 This volume, therefore, constitutes an attempt to bridge a significant critical and disciplinary gap, motivated by an almost total lack of dialogue among the above-mentioned fields of study.3 This lack of dialogue becomes ever more apparent if we bear in mind the increasingly central role played by historical, anthropological, literary, and cultural studies of the Atlantic Ocean in addressing colonial and postcolonial cultural and identity-related outputs and relations from the territories that came out of Portuguese colonial rule. Consider, for instance, the influence of the notion of Brown Atlantic (Atlântico Pardo), developed by the anthropologist Miguel Vale de Almeida as a counterpoint to Paul Gilroy’s Black Atlantic, or the use of the Portugal-Brazil-Angola triangulation in comparative and transnationaloriented literary and cultural studies.4 While developing this disciplinary and critical dialogue to understand how the Indian Ocean and the former Portuguese colonies interact, illuminating each other in colonial and post-colonial cultural and literary outputs, we have encountered several challenges. Mainly, such challenges stem from the need to give voice to the historical and cultural specificities of the spaces under consideration, conveyed and mediated by the featured narratives; and to integrate these narratives into wider categories, approaching them from angles 1 The NILUS project (PTDC/CPC-ELT/4868/2014) was funded by the Portuguese Foundation for Science and Technology and coordinated by Ana Mafalda Leite at CEsA — Center for African and Development Studies of the Lisbon School of Economics and Management, University of Lisbon. 2 Further details concerning the aims, methods and results of the Project can be found here: [accessed on 14 October 2021]. 3 In this respect, see the anthologies of theoretical texts published by project NILUS: Ana Mafalda Leite, Elena Brugioni and Jessica Falconi (eds), Estudos sobre o Oceano Índico: antologia de textos teóricos (excertos) (Lisbon: CESA-ISEG, 2020), eBook: ; and Ana Mafalda Leite, Elena Brugioni and Jessica Falconi (eds), Estudos sobre o Oceano Índico: antologia de textos teóricos (Lisbon: Colibri, 2019). 4 On this topic, see: Ana Mafalda Leite, Jessica Falconi and Elena Brugioni (eds), ‘Espaços transnacionais: narrativas do Oceano Índico’, Remate de males, 38.1 (2018), E-ISSN 2316–5758. Ana Mafalda Leite, Elena Brugioni & Jessica Falconi 150 that emphasize the undeniable presence of this ocean, as a reference and as a multifaceted archive — historical, cultural, material, and aesthetic. Thus, the NILUS project aimed not only at identifying and applying concepts and tools from the field of Indian Ocean Studies to the analysis of these narratives — which did prove productive — but also at investigating peculiar and minor declensions5 of those aspects thought to characterize the political, economic, and cultural system of the Indian Ocean, such as circulation, migration, diaspora, material culture, among others. So far, these declensions have remained largely unexplored by ‘Lusophone’ literary studies and by the literary strand of Indian Ocean Studies. In the latter context, the literary productions from the territories focused on by the NILUS project suffer from the inequalities of the global literary system, according to what Paulo de Medeiros, referring to postcolonial literatures in Portuguese, defines as ‘redoubled forms of invisibility’.6 Which perspectives and voices can be observed and deciphered through the lens of Indian Ocean Studies? How can this field of study, in connection with Lusophone regional and national contexts, offer critical and analytical possibilities that would otherwise remain untapped? These were some of the questions that project NILUS attempted to answer — albeit partially — and that this volume endeavours to present. We believe that the articles gathered in this...

Introduction

Portuguese Studies vol. 37 no. 2 (2021), 149–52© Modern Humanities Research Association 2021 Introduction Ana Mafalda Leite, Elena Brugioni and Jessica Falconi The present volume results from the scholarly work conducted by members of the research project NILUS — Narratives of the Indian Ocean in the Lusophone Space.1 The main purpose of the project consisted in establishing a theoretical and disciplinary connection between Lusophone Literary, Visual and Cultural Studies and the transdisciplinary field of Indian Ocean Studies. The project focused on the written and visual narratives hailing from, or related to, the territories formerly colonized by Portugal along the Indian Ocean, specifically Mozambique, Goa, and East Timor.2 This volume, therefore, constitutes an attempt to bridge a significant critical and disciplinary gap, motivated by an almost total lack of dialogue among the above-mentioned fields of study.3 This lack of dialogue becomes ever more apparent if we bear in mind the increasingly central role played by historical, anthropological, literary, and cultural studies of the Atlantic Ocean in addressing colonial and postcolonial cultural and identity-related outputs and relations from the territories that came out of Portuguese colonial rule. Consider, for instance, the influence of the notion of Brown Atlantic (Atlântico Pardo), developed by the anthropologist Miguel Vale de Almeida as a counterpoint to Paul Gilroy’s Black Atlantic, or the use of the Portugal-Brazil-Angola triangulation in comparative and transnationaloriented literary and cultural studies.4 While developing this disciplinary and critical dialogue to understand how the Indian Ocean and the former Portuguese colonies interact, illuminating each other in colonial and post-colonial cultural and literary outputs, we have encountered several challenges. Mainly, such challenges stem from the need to give voice to the historical and cultural specificities of the spaces under consideration, conveyed and mediated by the featured narratives; and to integrate these narratives into wider categories, approaching them from angles 1 The NILUS project (PTDC/CPC-ELT/4868/2014) was funded by the Portuguese Foundation for Science and Technology and coordinated by Ana Mafalda Leite at CEsA — Center for African and Development Studies of the Lisbon School of Economics and Management, University of Lisbon. 2 Further details concerning the aims, methods and results of the Project can be found here: [accessed on 14 October 2021]. 3 In this respect, see the anthologies of theoretical texts published by project NILUS: Ana Mafalda Leite, Elena Brugioni and Jessica Falconi (eds), Estudos sobre o Oceano Índico: antologia de textos teóricos (excertos) (Lisbon: CESA-ISEG, 2020), eBook: ; and Ana Mafalda Leite, Elena Brugioni and Jessica Falconi (eds), Estudos sobre o Oceano Índico: antologia de textos teóricos (Lisbon: Colibri, 2019). 4 On this topic, see: Ana Mafalda Leite, Jessica Falconi and Elena Brugioni (eds), ‘Espaços transnacionais: narrativas do Oceano Índico’, Remate de males, 38.1 (2018), E-ISSN 2316–5758. Ana Mafalda Leite, Elena Brugioni & Jessica Falconi 150 that emphasize the undeniable presence of this ocean, as a reference and as a multifaceted archive — historical, cultural, material, and aesthetic. Thus, the NILUS project aimed not only at identifying and applying concepts and tools from the field of Indian Ocean Studies to the analysis of these narratives — which did prove productive — but also at investigating peculiar and minor declensions5 of those aspects thought to characterize the political, economic, and cultural system of the Indian Ocean, such as circulation, migration, diaspora, material culture, among others. So far, these declensions have remained largely unexplored by ‘Lusophone’ literary studies and by the literary strand of Indian Ocean Studies. In the latter context, the literary productions from the territories focused on by the NILUS project suffer from the inequalities of the global literary system, according to what Paulo de Medeiros, referring to postcolonial literatures in Portuguese, defines as ‘redoubled forms of invisibility’.6 Which perspectives and voices can be observed and deciphered through the lens of Indian Ocean Studies? How can this field of study, in connection with Lusophone regional and national contexts, offer critical and analytical possibilities that would otherwise remain untapped? These were some of the questions that project NILUS attempted to answer — albeit partially — and that this volume endeavours to present. We believe that the articles gathered in this...

Rilkes Musikalität by Thomas Martinec

Austrian Studies 29 (2021), 166–207© Modern Humanities Research Association 2021 Reviews Rilkes Musikalität. Edited by Thomas Martinec. Palaestra: Untersuchungen zur europäischen Literatur, 348. Göttingen: V&R unipress, 2019. 174 pp. €35. ISBN 978–3-8471–1032–3. ‘Rilke’s musicality’ may seem an unpromising topic for a conference and subsequent edited collection, for Rilke was, as several of the contributors to this volume point out, notably unmusical in the everyday sense of the word: in a letter to the pianist Magda von Hattingberg he describes his inability to recall a tune, even one that had moved him, as ‘die dichteste Unfähigkeit selber’ [the most profound incapacity, p. 47]. Music was of a more conceptual than technical interest, whether in the notes of 1900 on Nietzsche’s Geburt der Tragödie (pp. 7, 39, 56), or the later poem ‘An die Musik’ (1918): ‘Du Sprache wo Sprachen | enden’ [You language where languages | end]; ‘Du uns entwachsener| Herzraum’ [You, grown out of us | heartspace, p. 133]. In letters to Sidonie Nádherný von Borutin he described music as ‘ein Jenseits’, ‘viel zu viel’ (p. 83), as an experience exceeding the senses, a threat and a temptation. This was, then, a productive kind of ‘Unfähigkeit’, as Thomas Martinec suggests in his contribution to this volume. Many of the — varied but cohesive — contributions are structured around ambivalence or paradox, whether Rüdiger Görner’s opening essay, which begins, ‘Musik eignet etwas beglückend Verstörendes: Preis ihres Erklingens ist ihr Verklingen’ [Music possesses something pleasingly unsettling: the price of its sounding out is its dying away, p. 15], or Robert Vilain’s discussion of Rilke’s many references to Beethoven which are characterized by ideas of simultaneous sterility and possibility — Rilke’s emphasis on his deafness, for instance, and particularly the passage in Die Aufzeichnungen des Malte Laurids Brigge where the composer is imagined in the early Christian desert. Jacob-Ivan Eidt discusses Rilke’s ambivalence towards music within an intellectual-historical constellation (Goethe and Nietzsche), and Antonia Egel, making the case for music being of greater importance in the Neue Gedichte than is usually acknowledged in the collection’s tension between form and flowing force, addresses an ambivalence towards music in Rilke criticism. Lothar van Laak similarly presents music as a poetic principle, using the interplay between sound and silence in Malte as a case study for a definition of musicality in literature. In the final essay, Eva-Tabea Meineke looks at music in the reception of Rilke among the Surrealists (Aragon and Savinio) — writers far less afraid of the danger of an art form beyond all senses — using Rilke’s interactions with the composer and writer Ferruccio Busoni as a fulcrum. This follows a pair of essays on Rilke’s late poems, rather different examples of a ‘grenzüberschreitende Ästhetik’ [boundary-crossing aesthetic, Meineke, p. 171] to that of the Surrealists: Winfried Eckel’s on the Reviews 167 Quatrains Valaisans and the landscape as ‘soundscape’ between art and nature, and Charlie Louth’s on the metrical form of the bilingual ‘Gong’ poems, where the lyric, in dealing with that which lies beyond the reach of the senses, almost becomes it. As this brief summary shows, there is variety here in what music is given to mean and understood to include. This could be said too of Rilke’s own use of the term, and a number of contributors draw on Egel’s distinction, from her monograph, ‘Musik ist Schöpfung’: Rilkes musikalische Poetik (2014), between ‘MUSIK’, Rilke’s theoretical conception of music as the origin of all art, superordinate to individual art forms, and ‘musik’ as an art form made of sound. Martinec argues that it is precisely Rilke’s lack of technical skill in and connoisseurship of the second of these that allowed for the development of the former. But it is also the tendency to see music in such abstract terms that fuelled his wariness towards it, and he exaggerated this abstraction, for instance in an often-quoted letter to Lou Andreas-Salomé on Rodin, where music is opposed to art as a ‘Nicht-Ver-dichten’ [non-concentration], a ‘Versuchung zum Ausfließen’ [temptation to...

Portuguese Decolonization in the Indian Ocean World: History and Ethnography by Pamila Gupta

Portuguese Studies vol. 37 no. 2 (2021), 256–68© Modern Humanities Research Association 2021 Reviews Pamila Gupta, Portuguese Decolonization in the Indian Ocean World: History and Ethnography (London: Bloomsbury, 2019). 225 pages. Print and ebook. Reviewed by Paul Melo e Castro (University of Glasgow) A recent growth area in postcolonial studies has involved what one might loosely describe as ‘oceanic perspectives’. The attractions are obvious, in that such perspectives effectively provincialize Europe as one point in a network of exchanges and allow for a renovation of existing topics by recovering interconnections between former colonial spaces that a more national(ist) focus might occlude. Given that the bulk of Portuguese speakers are located around the South Atlantic and that a significant number, if not the majority, are of at least partial African descent, it is no surprise that Paul Gilroy’s Black Atlantic paradigm of a ‘counterculture of modernity’ emerging in the wake of the middle passage has provided the main inspiration within Lusophone Studies. Lately however, as attested by such works as Fernando Rosa’s The Portuguese in the Creole Indian Ocean (2015), among various articles and research projects, interest has also grown in how Isabel Hofmeyr’s countervailing Indian Ocean paradigm — in which processes of exchange long predate colonial modernity, even if increased and then informed by it — might bring about studies of the peripheral, less integrated, even residual eastern territories of the former Portuguese empire, stretching from Mozambique to India and onwards to Timor Leste. It to this emergent debate that Pamela Gupta’s Portuguese Decolonization in the Indian Ocean World contributes, asking some searching questions of an original variety of ethnographic materials and historical junctures yet equally showing the risks that working across such a broad scope may entail. GuptahasdoneasignificantamounttointroducetheIndianOceanparadigm, being inter alia one of the editors of Eyes across the Water: Navigating the Indian Ocean (2010). The present work collects a series of articles written subsequently and linking Angola, South Africa, Mozambique and Goa through the lens of decolonization, which the author pegs to two dates: 1961, when Goa was annexed by India, and 1975, when Angola and Mozambique achieved independence after the Carnation Revolution in Portugal. While 1975 is uncontroversial, whether 1961 represented decolonialization or recolonialization is a tricky subject, as the various debates put forward by Goa’s Al-Zulaij Collective show. One of this book’s main points of interest is the wide variety of subjects it traverses, taking in references to the work of Ryszard Kapuściński, Mia Couto and Ricardo Rangel alongside the life stories of the Goan fishing community of Catembe and White Portuguese Africans who left Angola and Mozambique Reviews 257 for South Africa. Decolonization becomes a way of discussing the messiness of lives that continued through traumatic breaks in the historical timeline. The section on ‘retornados’ (if I can bend the meaning of this word so much, though many of the ‘retornados’ to Portugal were hardly returning there either) in South Africa is fascinating, the most interesting in the book for me. We see how this exodus, which has been given less attention than the high-profile flux of Whites to Portugal, was driven by a complex mix of self-identification as white Africans and the desire to preserve the prestige that colonial status brought. The fine-grained discussion of these lives is neatly complemented by the inclusion of photographs by Ricardo Rangel detailing the 1975 settler exodus from Lourenço Marques, adding a contrasting viewpoint to the memories of the interviewees. The section on Goans in Mozambique is equally interesting, the interviewees’ recollection of their ambivalent entanglements with whiteness and blackness exemplifying what Cristiana Bastos, quoted, calls their ‘floating position’. When problems arise, it is often in point of detail and partly through the cursory treatment given some issues. Here for brevity I focus on two subjects I know something of. Can we simply discuss Ricardo Rangel’s photographs as ‘visual metaphors’? Does the analysis of such documentary photography not have to engage with its claims on reality as trace or metonymy? What proof is there that many of Rangel’s colonial-era photographs were destroyed by the Portuguese colonial state, rather than their publication simply...

Introduction

Portuguese Studies vol. 27 no. 1 (2011), 5–7© Modern Humanities Research Association 2011 Introduction Maria Lúcia Pallares-Burke The Brazilian Ambassador in London, His Excellency Carlos Augusto SantosNeves , had the excellent idea of holding a ‘Gilberto Freyre week’ in November 2009, along the lines of an earlier ‘Guimarães Rosa week’. The event took place partly in the Embassy and partly in the Department of Portuguese and Brazilian Studies at King’s College London. It is scarcely necessary to remind readers of this journal of the central importance of Gilberto Freyre (1900–87) in twentieth-century Brazilian culture. He has a good claim to be regarded not only as a leading social thinker and historian but also as the most famous intellectual of twentieth-century Brazil. He was active as a sociologist, a historian, a journalist, a cultural critic, a deputy in the Brazilian Assembly, a novelist, poet and artist. Like Lewis Mumford, whose work he admired, he was a ‘generalist’ rather than a specialist. Freyre’scareer,whichwasrichincomplexityandcontroversies,canbedescribed as oscillating over the decades between ‘canonization’ and ‘excommunication’. His achievements have been assessed in very different ways, including praises and criticisms that often tend to simplify and ignore his many paradoxes and ambiguities. Freyre is best known as the author of Casa-grande e senzala (1933), a study of the patriarchal family in the colonial period, especially on the sugar plantations of the Northeast. This highly original contribution to social history helped Brazilians to define their identity by emphasizing the importance of both miscegenation and cultural mixing in their past. Casa-grande also enjoyed a popular success that few history books can match. Besides more than forty editions in Portuguese and translations into nine other languages, this study has been ‘translated’ into a comic book and a television mini-series, while two directors (one of them Roberto Rossellini) planned to turn it into a film. Freyre’s many books — two of which will be discussed in some detail below — include a pioneering study of environmental history (Nordeste, 1937); an unorthodox textbook of sociology (Sociologia, 1945), in which he suggested that the most important contributions to the subject had been produced by great novelists such as Proust; and a history of late nineteenth-century Brazil (Ordem e Progresso, 1959), based in part on the replies to a questionnaire he sent to a thousand Brazilians born between 1850 and 1900. Freyre’s contributions to social theory include the idea of ‘Lusotropicalism’ (discussed by Bethencourt below), arguing that the sixteenth-century Portuguese were unusually well fitted for the task of colonization, whether in Africa, Asia or Brazil, thanks to their unusual adaptability to different climates and cultures. Maria Lúcia Pallares-Burke 6 More relevant to today’s problems, however, are his ideas about miscegenation and hybridity. Whether or not we support quotas for ‘blacks’ in Brazilian universities, whether or not we think that ‘mixed-race’ should be or become an official category, Freyre remains a reference point in the debate. Looking beyond Brazil, in an age of racist revival and racist violence, it appears that the world still has something to learn from Gilberto Freyre’s ‘mixophilia’ and his encouragement of harmony and fraternity. The programme for the Gilberto Freyre week, appropriately enough in the case of homage to a ‘generalist’, drew on scholars from three different disciplines: history, literature and anthropology. It included three lectures, by Professor Jeffrey Needell, University of Florida; Professor Ricardo Benzaquen, Universidade Federal de Rio de Janeiro: and Dr Maria Lúcia Pallares-Burke, Centre for Latin American Studies, University of Cambridge. Needell’s general survey of Freyre’s life and work, which serves as an introduction to the collection, stresses what he calls the ‘profoundly reactionary’ side of Freyre. By contrast, Pallares-Burke, focusing on a single book by Freyre, the important if neglected study Ingleses no Brasil, emphasizes its innovative features, while Benzaquen draws attention to Freyre’s literary art in an analysis of his collection of ghost stories, Assombrações do Recife Velho. In order to consider Freyre’s continuing relevance in the twenty-first century, a round table was devoted to the subject of cultural hybridity, a theme close to Freyre...

Depicting the Divine: Mikhail Bulgakov and Thomas Mann. By Olga G. Voronina. Studies in Comparative Literature, Vol 47. Cambridge, Eng.: Legenda, an imprint of the Modern Humanities Research Association, 2019. xi, 135 pp. Notes. Bibliography. Index. $99.00, hard bound.

Depicting the Divine: Mikhail Bulgakov and Thomas Mann. By Olga G. Voronina. Studies in Comparative Literature, Vol 47. Cambridge, Eng.: Legenda, an imprint of the Modern Humanities Research Association, 2019. xi, 135 pp. Notes. Bibliography. Index. $99.00, hard bound. - Volume 80 Issue 4

Filomena SerraFernando LemosThe more I desire / Quanto mais desejo, series Ph, vol. 4: Fernando Lemos

Portuguese Studies vol. 37 no. 1 (2021), 120–34© Modern Humanities Research Association 2021 Reviews Filomena Serra (text) and Fernando Lemos (photographs), The more I desire / Quanto mais desejo, series Ph, vol. 4: Fernando Lemos (Lisbon: Imprensa Nacional–Casa da Moeda, 2019). 136 pages. Print. Bilingual text, English and Portuguese. Reviewed by Bernardo Pinto de Almeida (Faculdade de Belas Artes da Universidade do Porto) Few Portuguese artists have experienced a personal and geographic destiny as particular and erratic as that of Fernando Lemos (1926–2019), even if others, who came later, were also travellers discovering the world. Born in Lisbon, Lemos left Portugal for Brazil in 1952, having already published his first book of poems, Teclado Universal [Universal Keyboard]. Frustrated by Salazarism and its misery, he built a new career in this Lusophone country, where he would later be naturalized. He is part of the cultural history of both lands, not only because of his strong attachment to them, but also because of certain acts and various kinds of recognition. As he himself once stated, ‘I am yet another Portuguese looking for something better’. This intelligent, cultured and self-made man started in Portugal as a kind of jack-of-all-trades (locksmith and upholsterer; lithograph and graphic printer) that helped sustain him, and his restless talent that could not earn him a living at the time. This was before he committed himself to photography and moved towards the surrealists — the few still active — and later, in Brazil, tried his hand as a museum director, journalist, curator, competition judge and teacher, besides being an artist. He found some recognition both as a fair and set designer, as well as a photographer and even a painter. This adventurous life made Lemos an exemplary Portuguese: an adventurer never satisfied with his lot. It also made him a daring man who adapted, wisely and good naturedly, to every circumstance, without making it a major problem or drama. Involved in so many activities and with so many desires arousing his curiosity, Lemos was able, once in Brazil, to meet other illustrious Portuguese who saw his multi-moded talent early on, and opened doors for him knowing he would never disappoint. That was how, six years after arriving there, the eminent historian Jaime Cortesão, who was preparing the Fourth Centenary Commemorations of the Foundation of São Paulo, invited him to participate and enabled Lemos to establish himself as a painter. Photography, however, had already gained him recognition in Portugal from the artistic and critical milieu. His lifelong friend, the critic and, later, historian José-Augusto França, for instance, had supported him from an early age. In Brazil, it would again Reviews 121 bring him some attention; in particular, from the poet Manuel Bandeira, who was immediately surprised by ‘the intense atmosphere of mystery, with its, one would say, fluorescent contours’. It was also in Brazil, in the ’50s, that Lemos met the poet Hilda Hilst, who was linked to the Brazilian avant-garde. Their intense year-long romance inspired one of his most beautiful series of photographs, which drew praise from René Girard and other critics and intellectuals, forming a bond between Lemos and the Brazilian intellectual milieu that lasted until the end of his days. This adventurous life, always shared between art and photography, in addition to the diverse other crafts that helped him survive, now with renewed dignity on a par with his culture and intelligence, would occupy the artist throughout the many years in which poetry continued to call him. His art was diversified into a multiplicity that suited his temperament, restless until the end, and always coherent, with a sense of experimentation (and remarkable humour) in its daring creativity. Recognition, however, came late in Portugal, where he remained forever remembered, and deservedly so, for his significant role in the brief shining moment of the Portuguese surrealist movement, in which his career had begun with particular originality.1 These images today are part of the history of this short but intensely lived movement, which was original despite arriving late on the scene; and in which Lemos had a prominent place. And so, after participating, in 1979, in an important...

‘La Belle Dame qui eust mercy’ and ‘Le Dialogue d’amoureux et de sa dame’: A Critical Edition and English Translation of Two Anonymous Late-Medieval French Amorous Debate Poems ed. and tr. by Joan Grenier-Winther

 Reviews (especially France’s government), and into her recommendations for a well-run society . e Cité itself is an engaged and erudite rebuke both to the historical method Christine knew and to the specific historical narratives of her time, which both justified and structured the assumptions, institutions, and political practices of the generations for whom they were written. Some recent studies by French researchers could have lent additional support to Bourgault and Kingston’s thesis. ese include Françoise Autrand, Christine de Pizan : une femme en politique (Paris: Fayard, ); Claire Le Ninan, Le Sage Roi et la clergesse: l’écriture du politique dans l’œuvre de Christine de Pizan (Paris: Champion, ); and Anne Paupert, ‘“Te donrai preuve par exemples”: statut et fonction des exemples dans Le Livre de la Cité des Dames de Christine de Pizan’, Elseneur,  (), –. Works by Christine translated or mentioned in this volume are unfortunately given by their English titles only; the Ditié de Jehanne d’Arc is a curious exception but one misses any reference to the authoritative edition and translation of the poem by Angus J. Kennedy and Kenneth Varty (Medium Ævum Monographs,   (Oxford: Society for the Study of Mediaeval Languages and Literature, )). is City is the third expert English translation of the work published in the last four decades. Hardy comments very briefly on how her translation differs from earlier ones by Earl Jeffrey Richards (New York: Persea, , ) and Rosalind Brown-Grant (London: Penguin, ), but some indication from the editors about the need for a new translation would have been helpful. Bourgault and Kingston correctly note that medieval writers, including Christine, depended on patronage; it should be noted, however, that men, by virtue of the formal education they could obtain (as women could not), generally enjoyed clerical or other appointments that gave them a living. As a woman, Christine was doubly victimized: shut out from the steady income an educated man might expect, then le without financial support when her husband died, she herself was evidence of the structural negligence and disdain of women she wrote about. As such, she depended far more than others on commissions and other individual acts of patronage, and her success in the teeth of such demands is all the more remarkable. F U T F ‘La Belle Dame qui eust mercy’ and ‘Le Dialogue d’amoureux et de sa dame’: A Critical Edition and English Translation of Two Anonymous Late-Medieval French Amorous Debate Poems. Ed. and trans. by J G-W. (Critical Texts, ) Cambridge: Modern Humanities Research Association. . lxxi+  pp. £.. ISBN ––––. is new edition and translation of two of the poems that participate in the Quarrel of the Belle dame sans mercy is particularly interesting because of its coupling of two poems unique in their structure. Joan Grenier-Winther does an exhaustive job of examining the narrative, structure , and provenance of the two poems. She catalogues the twenty extant copies of MLR, .,   La Belle dame qui eust mercy and the four copies of Le Dialogue d’un amoureux et de sa dame and considers the early printed copies as well. e narrative of each poem is summarized and assessed within the context of the competitive and collaborative poetic communities (to borrow phrases from Emma Cayley and Adrian Armstrong) prevalent in mid to late fieenth-century France. Poetic structure is analysed with a focus on the details of versification; language, stylistics, and rhetorical elements are also examined. Grenier-Winther gives particular attention to the poems’ curious stanzaic form: eighteen stanzas of eight (La Belle Dame qui eust mercy) or ten (Le Dialogue d’amoureux et de sa dame) lines followed by eighteen of thirteen lines. ese poetic technicalities are meticulously considered for good reason. GrenierWinther uses her results to consider who might have composed the two poems. She concludes ultimately that Oton de Grandson was the author (p. xxiii), as had Arthur Piaget in a study published in Romania,  (before he seemingly retracted it later). If this attribution is correct, it means that the poems, or at least the first part of each, were written before Chartier’s Belle dame sans mercy, in contrast to the common assumption that they were written...

Introduction

Introduction Paul Poplawski e ‘hilarious depression’ of the 1920s Oen referred to as the ‘roaring twenties’ or the ‘gay twenties’, the popular image of the 920s, as I have suggested elsewhere, is of ‘a carefree, frivolous, even anarchic’ age.1 is is an image strongly coloured by the American experience of that decade, but it applies to Britain too, not least because this was precisely the decade when American influences started to become widespread in Britain, especially within popular culture. Part of this common view of the era is that it was also, apparently, a ‘golden’ age for a whole host of things: motoring, air travel, wireless broadcasting, jazz, movies, musicals, revues, detective fiction — all things which seem to testify to a certain degree of post-war economic recovery and growth,2 to the continuing survival of a class of the affluent elite (from whom were drawn most of the ‘Bright Young ings’ of post-Waugh fame),3 and to a gradual spreading of a broadly middle-class lifestyle. But this was also, famously, a boom-and-bust decade and, in Britain, even before the Wall Street Crash of 929, there were severe swings in the economy throughout the 920s. Whatever relative prosperity might have existed for the population seen as a whole, this was always unevenly spread geographically, and some regions of the country continued to suffer extremes of poverty and hardship. High levels of unemployment and a pitiful lack of decent housing were persistent blights across the land and were compounded in the immediate post-war years by the return of huge numbers of war-wounded who were oen given no significant support or help in finding homes and employment. us, although the 920s saw ‘a period of psychological release aer the war and there was something of a hedonistic mood of “living for the moment” — among the middle and leisured classes at least’, Paul Poplawski, ‘e Twentieth Century, 90–939’, in English Literature in Context, ed. by 1 Paul Poplawski, 2nd edn (Cambridge: Cambridge University Press, 207), pp. 470–540 (p. 492). And, speaking of things golden, in 925 Britain confidently restored the gold standard, which 2 had been suspended since 94. Unfortunately, the consequent overvaluation of the pound seems to have exacerbated the economic slump later in the decade — and the gold standard was abandoned again in 93. is was the phrase popularized in the period’s tabloid press, which is satirized in Evelyn 3 Waugh’s novel Vile Bodies (930) (Harmondsworth: Penguin Books, 938; repr. 965). Waugh’s own phrase in the novel is actually ‘Bright Young People’ (pp. 59, 92). Yearbook of English Studies, 50 (2020), –2© Modern Humanities Research Association 2020 these years clearly had their grimmer side too, with a major economic depression, mass unemployment, constant industrial unrest and an underlying sense of wartrauma . Virginia Woolf’s Mrs Dalloway (925) is in this sense a brilliant analysis of the divided nature of the 920s, where, on a glorious June morning in London, an upper-class woman exults in ordering beautiful flowers for her carefully planned dinner party while, in the park over the way, a former soldier relives the horrors of the trenches as he begins his chaotic slide into a suicidal nervous breakdown.4 As this suggests, the war hung very heavily over the decade and tropes reflecting variously on the war’s derangement of civilization are not hard to find in the literature of the period. Indeed, Vera Brittain’s blunt summation of the war in her classic memoir, Testament of Youth (933), could stand as a convenient motto over the entrance into the 920s too: ‘e world was mad and we were all victims.’5 On the one hand, then, we have images of a war-wearied decade of depression, despair and disenchantment;6 on the other, images of general well-being and high spirits, of a burgeoning of popular pastimes and entertainments for the masses and of positively riotous partying among the idle rich and their hangerson : Masked parties, Savage parties, Victorian parties, Greek parties, Wild West parties, Russian parties, Circus parties, parties where one had to dress as somebody else...

PersonaMetamorfoses. Edição do Centenário de Jorge de Sena by Gilda Santos

Portuguese Studies vol. 36 no. 2 (2020), 283–301© Modern Humanities Research Association 2020 Reviews Persona. Facsimile edition. 12 volumes in 11 + 1 (Lisbon: Tinta-da-china & Casa Fernando Pessoa, 2019). Print. Metamorfoses. Edição do Centenário de Jorge de Sena, ed. by Gilda Santos (Rio de Janeiro and Belo Horizonte: Cátedra Jorge de Sena para Estudos Literários Luso-Afro-Brasileiros, UFRJ, & Editora Moinhos, 2019). 252 pages + images. Print. Reviewed by Paulo de Medeiros (University of Warwick) In her introduction to this number of Metamorfoses, celebrating the centenary of the birth of Jorge de Sena, Luci Ruas, its general editor, announces it as a doubly special issue, as it both fulfils the original purpose for which it was started, as the official publication of the Chair of Luso-Afro-Brazilian Studies named after Sena at the Universidade Federal do Rio de Janeiro in 1999, and also represents a unique achievement, managing to include just over a hundred short articles on Jorge de Sena and his works from most distinguished scholars and critics who work in Portuguese Studies, as well as a large number of younger ones, demonstrating not only the sheer vibrancy of the discipline but also myriad connections through the generations. Sena, of course, as controversial as some of his work will always be, not only is indisputably one of the major authors of the twentieth century, but his erudition, sharp critical acumen, and enormous scholarly production make him a key figure to represent the discipline transnationally, as he liked to see himself as at once a Portuguese author, a Brazilian (naturalized) citizen, and a US academic, having held chairs both in Brazil and later in the United States, after he went into self-exile. In her own introductory piece, ‘Jorge de Sena entre nós’ [Jorge de Sena among us], Gilda Santos, the organizer of this special issue, focuses at once on Sena’s period in Brazil and on the way he remains among all who read him now and into the future. It is a Sena both permanently displaced and yet always belonging, always creating possibilities for belonging across national divides, that Santos offers us in this special issue that itself transcends the normal boundaries of a scholarly journal in the multitude of perspectives offered and in the variety of modes of writing it includes, from the analytical to the fictional, from the theoretical to a more traditional close reading, and never forgetting the poetical. Special as the Sena issue of Metamorfoses is, the facsimile edition of the legendary journal of Pessoa studies, Persona, under the general editorship of Jerónimo Pizarro, in collaboration with the original editor, Arnaldo Saraiva, is nothing short of a milestone. The first striking feature of this edition is its overall Reviews 284 high quality, from the paper stock to the high definition images, the sober yet striking use of Pessoa’s effigy throughout, down to the detail of the half-cassette that holds the slim volumes together. But the possibility of once again having access to the articles and documents first published in Persona from 1977 to 1985 would have been sufficient cause for rejoicing. Not only are many of those essays pioneering in the study of Fernando Pessoa, but the publication across eight years serves as privileged window on the development of the field, and in particular as the Livro do Desassossego [Book of Disquiet], arguably Pessoa’s masterpiece, was published for the first time in 1982 in what would begin an editing and publication saga almost as plural as the poet himself. Jorge de Sena, of course, was one of the central figures involved in the development of Pessoa studies and one of the first to recognize the importance and complexity of that most posthumous of all posthumous works, that has caused Alain Badiou to reflect that we might still not have learned to be contemporaries of Pessoa. The sheer number of senior scholars and highly regarded poets signing individual small articles in Metamorfoses cuts across a number of divides. To name just a few, in order of inclusion, we have: Nuno Júdice, Rosa Martelo, Maria Alzira Seixo, Eugénio Lisboa, Ida Alves, Helder Macedo, Fernando...

Introduction

Portuguese Studies vol. 36 no. 2 (2020), 129–31© Modern Humanities Research Association 2020 Introduction Rosa Maria Martelo and Paulo de Medeiros ‘Is poetry important?’ asks Bernard O’Donoghue right at the beginning of his recentPoetry:AVeryShortIntroduction.1 Thisquestioning,andself-questioning, of poetry is so common as to probably qualify as one of poetry’s hallmarks. Suspicions of poetry, as well as grand claims about it, abound. From Plato’s (in)famous banishment of the poets from the ideal city, to Shelley’s equally wellknown and often cited assertion that ‘[p]oets are the unacknowledged legislators of the World’,2 poetry, it seems, can stand for anything. Adrienne Rich has often questioned what the role and function of poetry is, and, more to our point now, what poetry’s standing in the world is. In a short essay printed in The Guardian, Adrienne Rich took this in her incomparable way, and commented ironically on the ‘free market view’ of poetry that would render it redundant: ‘There’s actually an odd correlation between these ideas: poetry is either inadequate, even immoral, in the face of human suffering, or it’s unprofitable, hence useless. Either way, poets are advised to hang our heads or fold our tents. Yet in fact, throughout the world, transfusions of poetic language can and do quite literally keep bodies and souls together — and more’.3 The imbrications of poetry in society as well as poetry’s aesthetic claims, as Rich points out, do not constitute a paradox at all, and certainly are not mutually exclusive: ‘we can also define the “aesthetic”, not as a privileged and sequestered rendering of human suffering, but as news of an awareness, a resistance, which totalising systems want to quell: art reaching into us for what’s still passionate, still unintimidated, still unquenched’. This is also, in a sense, what Emily Dickinson expressed so well, as O’Donoghue reminds us: ‘I dwell in Possibility — | A fairer House than Prose — | More numerous of Windows — | Superior — for Doors –’.4 Without claiming any universality for poetry, and mindful of the historical specificities that always inform any cultural expression, we would like to affirm much the same qualities, the same degree of introspection and critical self-reflection, of engagement with society in all of its variants, and the same exalted claims on 1 Bernard O’Donoghue, Poetry: A Very Short Introduction (Oxford: Oxford University Press, 2019), p. 1. 2 Percy Bysshe Shelley, ‘A Defence of Poetry’ [1821; 1840], in The Major Works (Oxford: Oxford University Press, 2009), p. 701. 3 Adrienne Rich, ‘Legislators of the World’, Guardian, 18 November 2006, [accessed 29 February 2020]. 4 Emily Dickinson, ‘I dwell in Possibility’, in The Complete Poems of Emily Dickinson, ed. by Thomas H. Johnson (Boston, New York, and London: Little, Brown and Co., 1961), p, 327; here as quoted by O’Donoghue, p. 47. Rosa Maria Martelo and Paulo de Medeiros 130 the aesthetic and the emphasis on form, from within the very multiplicity of voices and shapes, as marking contemporary Portuguese poetry. The present special issue of Portuguese Studies wants to focus on this poetry, from the latter part of the twentieth century to our actual present. This poetry figures here in various ways, most directly with the section containing a brief anthology of texts from some of contemporary Portuguese poetry’s most significant authors. And of course the collection of critical essays that engage with the various issues and problematics that have marked this poetry, including a continuous experimentation in terms of form, media, and intermediality. Added to this we also have six reviews of recent books and journals that allow for yet another view of our subject’s vibrancy. As organizers we refused any illusions or aspirations to exhaustive coverage, which would in any case always be impossible, even if we had more than the space of any one volume. Nonetheless we think that the current special issue, in both its critical and anthological components, allows for a productive reflection concerning the main lines that have been structuring contemporary Portuguese poetry, without dismissing in any way its modernist foundations. Indeed, it is not haphazardly that the critical essays, when read in sequence, make abundantly...

Introduction: Literary Imaginings and Cultural Constructions of the Habsburg Empire

Austrian Studies 28 (2020), 1–18© Modern Humanities Research Association 2020 Introduction: Literary Imaginings and Cultural Constructions of the Habsburg Empire DEBORAH HOLMES AND CLEMENS PECK University of Salzburg I In March 1898, Mark Twain published an article in Harper’s New Monthly Magazine under the title ‘Stirring Times in Austria’. His daughter, Clara, was taking music lessons in Vienna and the family had spent over a year there; Twain was even granted an audience with the emperor.1 Before renting a house in the Vienna Woods, the Twains spent autumn 1897 in the luxurious Viennese Hotel Metropole on Franz-Josephs-Kai.2 The American writer was therefore able to witness first-hand how national conflicts within the Habsburg empire expressed themselves in the imperial capital, tensions that reached new heights during the Badeni crisis of 1897. However, ‘Stirring Times’ is not structured using climax or hyperbole, as one might expect, but rather through the figure of paradox. As distressing and irreconcilable as the differences within the empire may seem, Twain notes, Habsburg political theology nevertheless gives an unshakeable impression of tranquillity, as though it were situated outside history: Things have happened here recently which would set any country but Austria on fire from end to end and upset the government to a certainty; but no one feels confident that such results will follow here. Here, apparently, one must wait and see what will happen.3 Twain thus pre-empts the topos of Fortwursteln [muddling through] that was later to become a central category in Claudio Magris’s influential work on the ‘Habsburg myth’;4 approaching this phenomenon in the vein of cultural anthropology, he takes on the pose of wonderment that characterizes his 1 Anonymous, ‘Kleine Chronik’, Neue Freie Presse, 26 May 1899, p. 5. 2 Mark Twain, Notebook, prepared for Publication with Comments by Albert Bigelow Paine (New York and London: Harper, 1935), p. 339. The hotel was later to become the Gestapo headquarters and the setting of Dr B.’s solitary confinement in Stefan Zweig’s Schachnovelle [Chess Novella, 1942]. 3 Mark Twain, ‘Stirring Times in Austria’, Harper’s New Monthly Magazine for March, 96 (1898), 530–40 (p. 530). 4 Claudio Magris, Der habsburgische Mythos in der modernen österreichischen Literatur (Vienna: Zsolnay, 2000 [1966]), p. 29. Deborah Holmes and Clemens Peck 2 satirical (travel) writing. Austrian public life seems to be entirely made up of unexpected — if not impossible — combinations: it is an ‘unintelligible arrangement of things’, ‘a confusion of unrelated and irreconcilable elements’, ‘a condition of incurable disunion’.5 With the help of Forrest Morgan’s report on Austria in the Travelers Record, an often-used reference work of the time for staff and customers of the USA’s biggest travel insurance companies, Twain attempts to bring some order to bear on these phenomena. He frames them using a series of metaphors that characterize an overall Habsburg scheme, all the while strengthening the figure of paradox: The Austro-Hungarian Monarchy is the patchwork quilt, the Midway Plaisance, the national chain-gang of Europe; a state that is not a nation but a collection of nations, some with national memories and aspirations and others without, some occupying distinct provinces almost purely their own, and others mixed with alien races, but each with a different language, and each mostly holding the others foreigners as much as if the link of a common government did not exist. [. . .] [E]ach has remained for ages as unchanged in isolation, however mingled together in locality, as globules of oil in water. There is nothing else in the modern world that is nearly like it, though there have been plenty in past ages [. . .] it violates all our feeling as to what a country should be in order to have a right to exist [. . .]. 6 The centrepiece of Twain’s article are the tumultuous scenes that took place in the Reichstag [imperial parliament] in late autumn 1897, depicted as highprofile but nevertheless representative illustrations of this general Habsburg scheme. The ‘unrelated and irreconcilable elements’ collide forcibly, producing moments of high drama but also comedy, reminiscent at times of improvised Hanswurst performances from the Baroque. Since March 1897, Minister President Kasimir von Badeni had...

Lusophone Studies: A Cumulative Area Bibliography, 2017–19

Portuguese Studies vol. 36 no. 1 (2020), 67–95© Modern Humanities Research Association 2020 Lusophone Studies: A Cumulative Area Bibliography, 2017–19 Emilce Rees King’s College, London The following pages list publications and doctoral theses relating to the Portuguese-speaking world which were published from late 2017 to mid-2019 in English. Some MA theses have been included and some 2016 publications. Online academic databases have been used, namely the Copac(r) library catalogue, WorldCat(r), the ProQuest Dissertations and Theses Database and the British Library EThOS for theses produced by UK Higher Education. The Copac(r) library catalogue contains the merged online catalogues of major University, Specialist, and National Libraries in the UK and Ireland, including the British Library. ABIL (Association of Portuguese and Irish Lusitanists) list members are also thanked for their contribution. WorldCat(r) is a global catalogue with over 2 billion items available from libraries around the world. I. Publications 1.1 Anthropology, Ethnography and Folklore 1.2 Arts, Architecture and Music 1.3 Bibliographies, Directories and Guides 1.4 Environment 1.5 History, Politics and Social Science 1.6 Language 1.7 Literature 1.8 Religion II. Theses 2.1 African Topics 2.2 Asian Topics 2.3 Brazilian Topics 2.4 Portuguese Topics Bibliography 68 I. Publications 1.1 Anthropology, Ethnography and Folklore ANDERSON, Warwick, Ricardo ROQUE & Ricardo VENTURA SANTOS (eds), Luso-Tropicalism and its Discontents: The Making and Unmaking of Racial Exceptionalism (New York: Berghahn Books, 2019), 346 pages. BALL, Christopher Gordon, Exchanging Words: Language, Ritual, and Relationality in Brazil’s Xingu Indigenous Park (Albuquerque: University of New Mexico Press/SAR Press, 2018), xiii, 274 pages. BEACH, Dennis, Carl BAGLEY & Sofia MARQUES DA SILVA, The Wiley Handbook of Ethnography of Education (Hoboken, NJ: John Wiley & Sons, 2018), xvii, 574 pages. COSTA, Luiz, The Owners of Kinship: Asymmetrical Relations in Indigenous Amazonia (Chicago, IL: HAU Books, 2017), 304 pages. COSTA VARGAS, João Helion, The Denial of Antiblackness: Multiracial Redemption and Black Suffering (Minneapolis: University of Minnesota Press, 2018), 352 pages. DA-GLORIA, Pedro, Walter A. NEVES & Mark HUBBE (eds), Archaeological and Paleontological Research in Lagoa Santa: The Quest for the First Americans (Cham, Switzerland: Springer, 2017), xvi, 401 pages. DE LA TORRE, Oscar, The People of the River: Nature and Identity in Black Amazonia, 1835–1945 (Chapel Hill: University of North Carolina Press, 2018), 242 pages. GONZÁLEZ VARELA, Sérgio Armando, Capoeira, Mobility, and Tourism: Preserving an Afro-Brazilian Tradition in a Globalized World (Lanham, MD: Lexington Books, 2019), 184 pages. KUTESKO, Elizabeth, Fashioning Brazil: Globalization and the Representation of Brazilian Dress in ‘National Geographic’ (London: Bloomsbury Visual Arts, 2019), xv, 197 pages. MITCHELL, Gladys L., The Politics of Blackness: Racial Identity and Political Behavior in Contemporary Brazil (Cambridge: Cambridge University Press, 2018), xvi, 266 pages. MURPHY, Timothy Eugene, Queerly Cosmopolitan: Bohemia and Belonging in a Brazilian Middle-of-Nowhere City (Cham, Switzerland: Palgrave Macmillan, 2019), xiv, 157 pages. OLIVEIRA-MONTE, Emanuelle K. F., Barack Obama is Brazilian: (Re)Signifying Race Relations in Contemporary Brazil (Basingstoke: Palgrave Macmillan, 2018), 226 pages. PASCHEL, Tianna S., Becoming Black Political Subjects: Movements and EthnoRacial Rights in Colombia and Brazil (Princeton, NJ: Princeton University Press, 2018), 328 pages. SHULIST, Sarah, Transforming Indigeneity: Urbanization and Language Revitalization in the Brazilian Amazon (Toronto: University of Toronto Press, 2018), xiv, 241 pages. VARELA, Sérgio González, Power in Practice: The Pragmatic Anthropology of Afro-Brazilian Capoeira (New York: Berghahn Books, 2017), 182 pages. Bibliography 69 1.2 Arts, Architecture and Music ALLEN, Alice Louisa, Shifting Horizons: Urban Space and Social Difference in Contemporary Brazilian Documentary and Photography (Chichester: Wiley Blackwell, 2017), 284 pages. ANTUNES, Joana, Maria de Lurdes CRAVEIRO & Carla Alexandra GONÇALVES, The Centre as Margin: Eccentric Perspectives on Art (Wilmington, DE: Vernon Press, 2019), xxxii, 330 pages. BABAIE, Sussan & Melanie GIBSON, The Mercantile Effect: Art and Exchange in the Islamicate World during the 17th and 18th Centuries (London: Gingko Library, 2017), 143 pages. BAMFORD, Heather, Cultures of the Fragment: Uses of the Iberian Manuscript, 1100–1600 (Toronto: University of Toronto Press, 2018), xi, 257 pages. BAYMAN, Louis & Natália PINAZZA, Journeys on Screen: Theory, Ethics, Aesthetics (Edinburgh: Edinburgh University Press, 2019), xii, 304 pages. BENNETT, Andy & Paula GUERRA, DIY Cultures and...

Introduction

Portuguese Studies vol. 36 no. 2 (2020), 129–31© Modern Humanities Research Association 2020 Introduction Rosa Maria Martelo and Paulo de Medeiros ‘Is poetry important?’ asks Bernard O’Donoghue right at the beginning of his recentPoetry:AVeryShortIntroduction.1 Thisquestioning,andself-questioning, of poetry is so common as to probably qualify as one of poetry’s hallmarks. Suspicions of poetry, as well as grand claims about it, abound. From Plato’s (in)famous banishment of the poets from the ideal city, to Shelley’s equally wellknown and often cited assertion that ‘[p]oets are the unacknowledged legislators of the World’,2 poetry, it seems, can stand for anything. Adrienne Rich has often questioned what the role and function of poetry is, and, more to our point now, what poetry’s standing in the world is. In a short essay printed in The Guardian, Adrienne Rich took this in her incomparable way, and commented ironically on the ‘free market view’ of poetry that would render it redundant: ‘There’s actually an odd correlation between these ideas: poetry is either inadequate, even immoral, in the face of human suffering, or it’s unprofitable, hence useless. Either way, poets are advised to hang our heads or fold our tents. Yet in fact, throughout the world, transfusions of poetic language can and do quite literally keep bodies and souls together — and more’.3 The imbrications of poetry in society as well as poetry’s aesthetic claims, as Rich points out, do not constitute a paradox at all, and certainly are not mutually exclusive: ‘we can also define the “aesthetic”, not as a privileged and sequestered rendering of human suffering, but as news of an awareness, a resistance, which totalising systems want to quell: art reaching into us for what’s still passionate, still unintimidated, still unquenched’. This is also, in a sense, what Emily Dickinson expressed so well, as O’Donoghue reminds us: ‘I dwell in Possibility — | A fairer House than Prose — | More numerous of Windows — | Superior — for Doors –’.4 Without claiming any universality for poetry, and mindful of the historical specificities that always inform any cultural expression, we would like to affirm much the same qualities, the same degree of introspection and critical self-reflection, of engagement with society in all of its variants, and the same exalted claims on 1 Bernard O’Donoghue, Poetry: A Very Short Introduction (Oxford: Oxford University Press, 2019), p. 1. 2 Percy Bysshe Shelley, ‘A Defence of Poetry’ [1821; 1840], in The Major Works (Oxford: Oxford University Press, 2009), p. 701. 3 Adrienne Rich, ‘Legislators of the World’, Guardian, 18 November 2006, [accessed 29 February 2020]. 4 Emily Dickinson, ‘I dwell in Possibility’, in The Complete Poems of Emily Dickinson, ed. by Thomas H. Johnson (Boston, New York, and London: Little, Brown and Co., 1961), p, 327; here as quoted by O’Donoghue, p. 47. Rosa Maria Martelo and Paulo de Medeiros 130 the aesthetic and the emphasis on form, from within the very multiplicity of voices and shapes, as marking contemporary Portuguese poetry. The present special issue of Portuguese Studies wants to focus on this poetry, from the latter part of the twentieth century to our actual present. This poetry figures here in various ways, most directly with the section containing a brief anthology of texts from some of contemporary Portuguese poetry’s most significant authors. And of course the collection of critical essays that engage with the various issues and problematics that have marked this poetry, including a continuous experimentation in terms of form, media, and intermediality. Added to this we also have six reviews of recent books and journals that allow for yet another view of our subject’s vibrancy. As organizers we refused any illusions or aspirations to exhaustive coverage, which would in any case always be impossible, even if we had more than the space of any one volume. Nonetheless we think that the current special issue, in both its critical and anthological components, allows for a productive reflection concerning the main lines that have been structuring contemporary Portuguese poetry, without dismissing in any way its modernist foundations. Indeed, it is not haphazardly that the critical essays, when read in sequence, make abundantly...

Introduction

Introduction Paul Poplawski e ‘hilarious depression’ of the 1920s Oen referred to as the ‘roaring twenties’ or the ‘gay twenties’, the popular image of the 920s, as I have suggested elsewhere, is of ‘a carefree, frivolous, even anarchic’ age.1 is is an image strongly coloured by the American experience of that decade, but it applies to Britain too, not least because this was precisely the decade when American influences started to become widespread in Britain, especially within popular culture. Part of this common view of the era is that it was also, apparently, a ‘golden’ age for a whole host of things: motoring, air travel, wireless broadcasting, jazz, movies, musicals, revues, detective fiction — all things which seem to testify to a certain degree of post-war economic recovery and growth,2 to the continuing survival of a class of the affluent elite (from whom were drawn most of the ‘Bright Young ings’ of post-Waugh fame),3 and to a gradual spreading of a broadly middle-class lifestyle. But this was also, famously, a boom-and-bust decade and, in Britain, even before the Wall Street Crash of 929, there were severe swings in the economy throughout the 920s. Whatever relative prosperity might have existed for the population seen as a whole, this was always unevenly spread geographically, and some regions of the country continued to suffer extremes of poverty and hardship. High levels of unemployment and a pitiful lack of decent housing were persistent blights across the land and were compounded in the immediate post-war years by the return of huge numbers of war-wounded who were oen given no significant support or help in finding homes and employment. us, although the 920s saw ‘a period of psychological release aer the war and there was something of a hedonistic mood of “living for the moment” — among the middle and leisured classes at least’, Paul Poplawski, ‘e Twentieth Century, 90–939’, in English Literature in Context, ed. by 1 Paul Poplawski, 2nd edn (Cambridge: Cambridge University Press, 207), pp. 470–540 (p. 492). And, speaking of things golden, in 925 Britain confidently restored the gold standard, which 2 had been suspended since 94. Unfortunately, the consequent overvaluation of the pound seems to have exacerbated the economic slump later in the decade — and the gold standard was abandoned again in 93. is was the phrase popularized in the period’s tabloid press, which is satirized in Evelyn 3 Waugh’s novel Vile Bodies (930) (Harmondsworth: Penguin Books, 938; repr. 965). Waugh’s own phrase in the novel is actually ‘Bright Young People’ (pp. 59, 92). Yearbook of English Studies, 50 (2020), –2© Modern Humanities Research Association 2020 these years clearly had their grimmer side too, with a major economic depression, mass unemployment, constant industrial unrest and an underlying sense of wartrauma . Virginia Woolf’s Mrs Dalloway (925) is in this sense a brilliant analysis of the divided nature of the 920s, where, on a glorious June morning in London, an upper-class woman exults in ordering beautiful flowers for her carefully planned dinner party while, in the park over the way, a former soldier relives the horrors of the trenches as he begins his chaotic slide into a suicidal nervous breakdown.4 As this suggests, the war hung very heavily over the decade and tropes reflecting variously on the war’s derangement of civilization are not hard to find in the literature of the period. Indeed, Vera Brittain’s blunt summation of the war in her classic memoir, Testament of Youth (933), could stand as a convenient motto over the entrance into the 920s too: ‘e world was mad and we were all victims.’5 On the one hand, then, we have images of a war-wearied decade of depression, despair and disenchantment;6 on the other, images of general well-being and high spirits, of a burgeoning of popular pastimes and entertainments for the masses and of positively riotous partying among the idle rich and their hangerson : Masked parties, Savage parties, Victorian parties, Greek parties, Wild West parties, Russian parties, Circus parties, parties where one had to dress as somebody else...

Berthavon Suttner. Lay Down Your Arms. Edited by Barbara Burns. Translated by Timothy Holmes. Cambridge, UK: Modern Humanities Research Association, 2019.

Peace & ChangeVolume 44, Issue 3 p. 431-432 Book Review Bertha von Suttner. Lay Down Your Arms. Edited by Barbara Burns. Translated by Timothy Holmes. Cambridge, UK: Modern Humanities Research Association, 2019. Peter van den Dungen, Peter van den Dungen Bertha von Suttner Peace Institute (The Hague)Search for more papers by this author Peter van den Dungen, Peter van den Dungen Bertha von Suttner Peace Institute (The Hague)Search for more papers by this author First published: 07 May 2019 https://doi.org/10.1111/pech.12357Read the full textAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume44, Issue3July 2019Pages 431-432 RelatedInformation

The Multilingual Muse: Transcultural Poetics in the Burgundian Netherlands. Ed. by Adrian Armstrong and Elsa Strietman

Journal Article The Multilingual Muse: Transcultural Poetics in the Burgundian Netherlands. Ed. by Adrian Armstrong and Elsa Strietman Get access The Multilingual Muse: Transcultural Poetics in the Burgundian Netherlands. Ed. by Adrian Armstrong and Elsa Strietman. Cambridge: Legenda, Modern Humanities Research Association, 2017. 204 pp. £75.00 / $99.00 / €85.00. ISBN 978–1–781885–49–9. Forum for Modern Language Studies, Volume 55, Issue 2, April 2019, Pages 247–248, https://doi.org/10.1093/fmls/cqy083 Published: 15 April 2019

The Poetics of Early Russian Crime Fiction 1860–1917: Deciphering Stories of Detection. By Claire Whitehead. Cambridge, Eng.: Legenda, Modern Humanities Research Association, 2018. xii, 266 pp. Bibliography. Index. $99.00, hard bound.

The Poetics of Early Russian Crime Fiction 1860–1917: Deciphering Stories of Detection. By Claire Whitehead. Cambridge, Eng.: Legenda, Modern Humanities Research Association, 2018. xii, 266 pp. Bibliography. Index. $99.00, hard bound. - Volume 78 Issue 4

Luana Giurgevich Henrique de Sousa LeitãoClavis Bibliothecarum: catálogos e inventários de livrarias de instituições religiosas em Portugal até 1834

Portuguese Studies vol. 35 no. 1 (2019), 105–18© Modern Humanities Research Association 2019 Reviews Luana Giurgevich and Henrique de Sousa Leitão, Clavis Bibliothecarum: catálogos e inventários de livrarias de instituições religiosas em Portugal até 1834, Fontes para o Estudo dos Bens Culturais da Igreja, 1 (Moscavide: Secretariado Nacional para os Bens Culturais da Igreja, 2016). 944 pages. Print. Reviewed by Jeremy Roe (Faculdade de Ciências Sociais e Humanas — Universidade Nova de Lisboa — Centro de Humanidades) Elaborating on the title of this work, the authors declare it to be ‘uma chave para entrar no mundo imenso das antigas bibliotecas de mosteiros, conventos e instituções religiosas de Portugal’ [a key to enter the vast world of the former libraries of Portuguese monasteries, convents and religious institutions]. It might be still better referred to as an immense bunch of keys to Portugal’s diverse ecclesiastical libraries prior to the suppression of their respective religious institutions in 1834. The bulk of this book is a detailed catalogue of two corpora of archival documents relating to some 400 religious institutions. The first concerns 901 library catalogues and book inventories; the second 348 documents relating to these libraries. All these documents are methodically catalogued according to the diverse religious and military orders, as well as other devotional entities, to which they belonged, and their geographical locations. The meticulous structure of the book as a whole, as well the clarity of the individual entries, ensures its potential to fulfil the authors’ aim to provide ‘um instrumento’ [an instrument] to develop ‘a pesquisa a novas áreas e a horizontes explorados’ [research in new areas and already explored horizons]. As might be expected, the majority of the documents from the first corpus of documents date from the eighteenth and nineteenth centuries, and above all circa 1834. Nonetheless, there are earlier documents to be traced. The lack of a chronological index of the documents catalogued in this book is felt at times, although the uncertain date of a number of the documents might have limited its value. The second corpus of documents contains a higher number of preeighteenth -century documents, such as Frei António de Araújo’s catalogue of the library of the Mosteiro de Alcobaça, which also included a description of its decoration. This was later partially recorded in a drawing included in the 1701 manuscript catalogue Aurea Clavis..., illustrated in this book. A valuable collection of documents is listed for this royal library and illuminates its development and use. However, setting aside my own interests in Baroque cultural history, it must be underscored that this book provides a tool for a range of approaches to the history of libraries and books across the early modern and modern periods, as well as other related facets of ecclesiastical, cultural and Reviews 106 intellectual history. Besides the catalogues of major libraries, such as the Alcobaça collection or Lisbon’s Convent of Nossa Senhora de Jesus, which is today conserved in the Academia das Ciências de Lisboa, this book documents inventories of many more modest libraries, as well as individuals’ personal collections in conjunction with diverse legal documents and correspondence that offer valuable perspectives on the histories of book collecting and reading in ecclesiastical libraries. Toorientatethereader’sexplorationofthismonumentalcatalogueGiurgevich and Leitão provide a succinct introduction, which addresses the range and dimensions of ecclesiastical libraries over the course of their history up until 1834. They then focus on key facets of these libraries elucidated by the documents they catalogue, such as the control exerted over reading and the circulation of books. In addition to this a digital dimension to this book should also be highlighted. The book reviewed here is an independent and valuable resource in its own right, but the Biblioteca Nacional de Portugal also hosts a complementary website that provides access to digital editions of some of the documents catalogued: http://clavisbibliothecarum.bn.pt/index.php. While this site is still a work in progress, it provides readers with a valuable opportunity to begin exploring some of the many libraries to which Clavis Bibliothecarum offers a key. Graciliano Ramos and the Making of Modern Brazil: Memories, Politics and Identities, ed...

Introduction

Introduction REBECCA N. MItCHELL In 1907, a committee was formed to oversee the design and installation of a monument in honour of Margaret Oliphant (1828–1897) in St. Giles Cathedral, Edinburgh. e Spectator, along with many leading periodicals, carried the appeal: ‘ten years have passed since the death of Mrs. Oliphant’, it began, ‘and if this test of time is needed to prove the strength of literary reputation, it seems in this case to have been successfully withstood’.1 e committee emphasized Oliphant’s literary merits, declaring her ‘among the writers of the Victorian era as probably the most distinguished Scotswoman of letters the country has produced’, even as it allowed that the demands outside of her literary life were equally relevant to her reputation: ‘In her private life she was essentially one of the “great ladies”, great in her example, great alike in her joys and her sorrows’.2 Of the list of supporters, several names were nearly always mentioned in the many news stories announcing the venture, including David Masson, J. M. Barrie and George Meredith. Masson, eminent Professor of Rhetoric and English Literature at Edinburgh University, cited Oliphant’s Life of Irving in his own writing on Carlyle’s years in Edinburgh, and Oliphant had glossed his work favourably in her Victorian Age of English Literature.3 Fellow Scotsman Barrie’s affection for Oliphant’s work was documented: in his biography of his mother, Margaret Ogilvy (1896), he wrote of her evening reading habits that ‘if the book be a story by George Eliot or Mrs. Oliphant, her favourite (and mine) among women novelists […] she will read, entranced, for hours’.4 As for Meredith, Oliphant does not figure at all in his letters or his published work; if he held an opinion about her, it is not a part of the scholarly or archival record. Yet his name alone, prominently listed among the supporters of the fundraising effort, leverages his standing in the literary community to honour Oliphant’s memory. J. H. Millar, ‘Memorial to Mrs. Oliphant in St. Giles’, Edinburgh’, e Spectator, 27 July 1907, 1 p. 126. Ibid. 2 David Masson, ‘Carlyle’s Edinburgh Life’, Macmillan’s, 45.266 (December 1881), 145–63, and 3 45.267 (January 1882), 234–56; reprinted in Edinburgh Sketches & Memories (London: Adam and Charles Black, 1892), pp. 302, 306. J. M. Barrie, Margaret Ogilvy (New York: Scribners, 1896), p. 97. Margaret Oliphant, e 4 Victorian Age of English Literature, 3 vols (London: Percival and Co., 1892), ii, 279. Yearbook of English Studies, 49 (2019), 1–10© Modern Humanities Research Association 2019 is kind of momentary connection, an affiliation recorded by the press as evidence of their shared literary standing in the public imagination, is typical of the pair of authors. Meredith and Oliphant shared a birth year, and each experienced a long and varied career that included mastery of an extraordinary range of genres, but they had little if any direct interaction. e contours of their biographies reveal parallel turns: the two were jobbing authors, dependent on their creative powers not simply to motivate a life well lived, but to sustain it practically. Oliphant’s financial tribulations are well known, documented as they are in her forthright Autobiography, published posthumously in 1899. Meredith, more circumspect about his class background or struggles, was also a single parent following the death of his estranged wife in 1861. Both engaged deeply with Continental culture: Oliphant’s many journeys were reflected in her nonfiction and travel writing, and Meredith’s formative years in Germany informed his prose and verse. Both were publishers’ readers, wielding considerable influence over the fates of authors who sought a venue for their work. And both contributed — albeit to varying degrees — to progressive women’s causes. For all of these possible points of intersection or overlap, their most obvious connections occur in the pages of the newspapers and magazines that document their literary output. Across the second half of the nineteenth century, their names regularly share the same column inches in publication announcements or advertisements: Meredith’s Emilia in England and Oliphant’s Agnes are touted in January 1864;5 his Beauchamp’s Career stands beside...