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Advisor(s)
Abstract(s)
Propondo-se a conjugar a reconceptualização das dimensões culturais da memória com a
análise de três obras artísticas sobre a presença de refugiados em Portugal entre 1933 e 1945,
esta tese tem dois objetivos principais. Por um lado, pretende contribuir para a atual
reorientação dos estudos de memória no sentido de alargar as suas abordagens teóricas e
metodológicas. Assim, propõe uma perspetiva tradutológica que contrapõe alguns dos
pressupostos básicos das abordagens com ênfase em lugares, nações e identidades
idiossincráticas que têm caraterizado os estudos de memória no âmbito das humanidades
desde os anos 80 do século XX. Em vez de resumir memória à capacidade de corroborar a
identidade e auto-imagem específicas de uma comunidade, esta é concebida como sendo o
produto de processos de tradução que se manifestam em redes de significação complexas e
que podem corroborar ou contestar as relações de poder estabelecidas. Por outro lado,
propõe-se a desenvolver o primeiro estudo sistemático sobre como a presença dos refugiados
é (re)presentada, negociada e recordada em obras artísticas em Portugal. O papel de Portugal
como país de exílio, estação de trânsito e cidade aberta para espiões antes e durante a
Segunda Guerra Mundial tem, recentemente, dado origem não apenas a vários estudos
académicos, mas também a artigos de jornal e um número considerável de exposições, filmes
e romances. Em vez de um inventário exaustivo de obras artísticas sobre a temática, este
estudo prosseguirá um “arquivo de implicação” [archive of implication] (Rothberg, 2013,
2014) para entender como três das obras com mais divulgação e maior impacto no espaço
público implicam a memória da presença dos refugiados na confirmação ou contestação da
noção de comunalidade dominante. Através de uma análise da obra interartística Sob Céus
Estranhos (2002/2007) de Daniel Blaufuks, do romance Enquanto Salazar Dormia (2006)
de Domingos Amaral e do documentário Fantasia Lusitana (2010) de João Canijo, esta tese
pretende dar visibilidade à pluralidade e heterogeneidade das práticas e discursos
mnemónicos em Portugal. As principais questões que conduzem a investigação são,
primeiro, se e como estas obras mobilizam diferentes redes de significação heteroculturais
e, segundo, se e como desenvolvem diferentes maneiras de implicar a presença dos
refugiados no presente, contestando ou reforçando, com isso, formas tradicionais de
comunalidade e solidariedade.
This research combines a theoretical reconceptualization of the cultural dimensions of memory with the analysis of three artistic media that negotiate the refugee presence in Portugal between 1933 and 1945. The aim of this thesis is therefore twofold: on the one hand, it seeks to make a contribution to the ongoing attempt of widening the theoretical and methodological scope of memory studies. It therefore advances a translational perspective that challenges basic assumptions of the site-bound, nation-bound and identity-bound framework that has characterized most research on memory within the humanities since the 1980s. Rather than limiting memory to its potential to support a particular identity and selfimage of a community, it is conceived of as the outcome of translational processes that unfold in complex networks of signification, whose results might work in favor but also against established power relations. On the other hand, it presents the first systematic analysis of the remembrance and negotiation of the refugee presence within artistic media in Portugal. Portugal’s role as country of exile, transit station and open city for spies before and during World War II has recently been the subject not only of several academic studies, but also of newspaper articles and a number of expositions, films and novels. Rather than an exhaustive inventory of artistic media dealing with the topic, this study pursues an “archive of implication” (Rothberg, 2013, 2014) to understand how three of the most widely circulated and discussed artistic media implicate the memory of the refugee presence in reinforcing or challenging dominant notions of communality. Through a detailed close reading of Daniel Blaufuks’ interart-project Sob Céus Estranhos [Under strange skies] (2002/2007), Domingos Amaral’s novel Enquanto Salazar Dormia [While Salazar was sleeping] (2006) and João Canijo’s documentary Fantasia Lusitana [Lusitanian fantasy] (2010) this thesis seeks to give visibility to the plurality and heterogeneity of mnemonic practices and discourses in Portugal. The principal questions of this study are, first, if and how these artistic media mobilize different heterocultural networks of signification, and, second, if and how they develop different ways of implicating the refugee presence in the present and thereby challenge or reinforce established forms of communality and solidarity.
This research combines a theoretical reconceptualization of the cultural dimensions of memory with the analysis of three artistic media that negotiate the refugee presence in Portugal between 1933 and 1945. The aim of this thesis is therefore twofold: on the one hand, it seeks to make a contribution to the ongoing attempt of widening the theoretical and methodological scope of memory studies. It therefore advances a translational perspective that challenges basic assumptions of the site-bound, nation-bound and identity-bound framework that has characterized most research on memory within the humanities since the 1980s. Rather than limiting memory to its potential to support a particular identity and selfimage of a community, it is conceived of as the outcome of translational processes that unfold in complex networks of signification, whose results might work in favor but also against established power relations. On the other hand, it presents the first systematic analysis of the remembrance and negotiation of the refugee presence within artistic media in Portugal. Portugal’s role as country of exile, transit station and open city for spies before and during World War II has recently been the subject not only of several academic studies, but also of newspaper articles and a number of expositions, films and novels. Rather than an exhaustive inventory of artistic media dealing with the topic, this study pursues an “archive of implication” (Rothberg, 2013, 2014) to understand how three of the most widely circulated and discussed artistic media implicate the memory of the refugee presence in reinforcing or challenging dominant notions of communality. Through a detailed close reading of Daniel Blaufuks’ interart-project Sob Céus Estranhos [Under strange skies] (2002/2007), Domingos Amaral’s novel Enquanto Salazar Dormia [While Salazar was sleeping] (2006) and João Canijo’s documentary Fantasia Lusitana [Lusitanian fantasy] (2010) this thesis seeks to give visibility to the plurality and heterogeneity of mnemonic practices and discourses in Portugal. The principal questions of this study are, first, if and how these artistic media mobilize different heterocultural networks of signification, and, second, if and how they develop different ways of implicating the refugee presence in the present and thereby challenge or reinforce established forms of communality and solidarity.