Category: Authors-en

Geopoetics

Posted on 9 de July, 2022 | By caparicio

Starting from the etymology of the word geopoetics, we notice that its formation incorporates the Greek composition prefix, which means “relationship with the earth”, and the word of Greek origin poiesis which later derived from the Latin word poesis, referring to the idea of creation. Adding this dual and integrative nature to its erratic experiences “to the research of the missing space”¹, Kenneth White (1936-2023)², in 1979, began to outline the contours of geopoetics, as his words attest: “It is therefore based on my own experiences, but also from a reading of the story and on an examination of these ‘erratic’ trajectories that I have just mentioned, that I have already begun to draw the contours of the large field geopoetics” (White, 2008, 25).³

Questioning himself about the possibility of reconciling two entities apparently so distant from each other and paradoxical, White added poetry and geography to a superior unit yet to be revealed, clarifying: “Poetry, geography – and a higher unity: geopoetics…” (White, 1992, 174) – a big unit that interacts, simultaneously, with a cosmic perspective, but living on earth, stating: “Living on the earth, with a cosmic sense, but living on the earth. (…). I don’t think we know yet. I think if we evolved a little more, we would know better, we would love better. It is this evolution that interests me. Toward a more refined terrestrial life” (White, 1992, 167).

Establishing itself as a great unit that brings together poetry and geography (from the Greek “writing of the land” or “description of the land”), White faced linguistic issues to contemplate what he identifies as “(…) the self-conditioned to the open system, ex-static existence (…)” (White, 1992, 169). In his trajectory, White sought to find “(…) living words with which to proclaim ‘the integrity of existence’ is not easy either. (…) We are faced with language problems all the time. Practically everything, in ‘our’ time, is against the possibility of a clear and powerful language, capable of saying a presence and a transparency” (White, 1992, 169-170). Although White starts from the interaction between poetry and geography, geopoetics does not return to just the same encounter, stating: Geopoetics is therefore not a sympathetic encounter between literature and science in a humanist framework. It is no more a twinning of disciplines, like, for example, the alliance, the blend between geography and hydrology which gives rise to marine hydrodynamics. It is even less a Hegelian dialectical synthesis. Developing a thought, a vision, an expression concerning the relationship between human beings and the earth, geopoetics and sui generis. (White, 2008, 16)⁴

Through the erratic context referred to by White, the idea of “super intellectual nomads” (White, 1992, 175) is implicit, which, in turn, establishes links with the idea of spatial and intellectual movement. Present in the human and social sciences, the idea of spatial movement proposes to reconsider the theoretical and practical implementation of spatial problems, where space is no longer conceived as absolute, but rather as relative. Spatial relativization gives a new element to the idea of geopoetics, which presents itself as a practical transdisciplinary theory applicable to all domains of life and research, providing the restoration and enrichment of the Man-Earth relationship that has been interrupted for a long time, causing serious consequences to on an ecological, psychological, and intellectual level. In this sense, geopoetics allows the development of new existential perspectives in a redeployed world where the open space for experimentation allows breaking with masterful understandings of knowledge and contradicting a univocal and universal narrative of the world. On the other hand, geopoetics also allows thought to be established in a direct relationship with the Earth and the territory, instead of being represented by a mediated relationship between the subject (knowing) and the object (known), producing itself, simultaneously, the shift from an epistemological paradigm to a geo-poetic paradigm. Undertaking physical journeys and through the territories of thought, White builds a long itinerary where the crossing of cultures provides new ways of thinking and saying in an attempt to find and express a direct and immediate relationship with the Earth, as he states: “After many years now, I try to bring together the elements of a strong and fertile, open and founding poetics. By trying to identify sources of energy throughout cultural history, by drawing everywhere from the “poetics of the world” and by traveling in the field, from territory to territory” (White, 1994, 26).⁵ The purpose of his pilgrimages is to be able to express, in a direct way, the idea of sensation-thought born of the reconciliation with the great natural rhythms. Moving from place to place and experiencing new cultures, White aims to achieve a model where thought and Earth meet in completeness. This double journey leads to a poetic thought that, under the name of geopoetics, transcends the bi-millenary rupture between thought and the outside world, since “(…) beyond all concepts it is about the world, an effort to renew our vision, outside of established interpretations” (White, 1982, 19).⁶

Inducing a plurality of voices in the exploration of different theories coming from diferente geographical, disciplinary and cultural places, and the valorization of the man-Earth relationship in nonabsolute spaces fertilized, in turn, by the idea of wandering and intellectual nomadism, geopoetics accommodates and establishes the principle that Kenneth White advocates: “Let us say, with a cosmic smile, that the third millennium will be nomadic and geopoetic, or it will not be” (Editor’s Presentation, 2014, s/p.) .⁷

^[1]“À la Recherche de L´espace Perdu”. Le Nouveau Territoire. L´Exploration Géopoétique de L´espace. 2008, 11-27.
2 Scottish poet and essayist, holder of the chair of the course Poetics of the 20th century at the Paris-Sorbonne University, he founded, in 1989, the International Institute of Geopoetics, which he presided until 2013.

^[3] Translated from French: “C´est donc dans la base de mes propres expériences, mais aussi à partir d´une lecture de l´histoire et sur un examen de ces trajectoires ‘erratiques’ que je viens d´évoquer, que j´ai commencé à dessiner les contours du grand champ géopoétique” (White, 2008, 25).

^[4] Translated from French: “La géopoétique n´est donc pas une rencontre sympathique entre littérature et science dans un cadre humaniste. Ce n´est pas plus un jumelage de disciplines, à l´instar, par exemple, de l´alliance, de l´alliage entre la géographie et l´hydrologie qui donne l´hydrodynamique marine. C´est encore moins une synthèse dialectique hégélienne. Élaborant une pensée, une vision, une expression concernant le rapport entre l´être humain et la terre, la géopoétique et sui generis” (White, 2008, 16).

^[5]Translated from French: “Depuis de longues années maintenant, j’essaie de réunir les éléments d’une poétique forte et fertile, ouverte et fondatrice. En essayant de repérer des foyers d’énergie tout au long de l’histoire culturelle, en puisant partout dans la ‘poétique du monde’ et en voyageant sur le terrain, de territoire en territoire” (White, 1994, 26).

^[6] Translated from French: “(…) au-delà de tous les concepts il s´agit du monde, d´un effort pour renouveler notre vision, en dehors des interprétations établis” (White, 1982, 19).

^[7] Translated from French: “Disons, avec un rire cosmique, que le troisième millénaire sera nomade et geopoétique ou ne sera pas” (Apresentação do Editor, 2014, s/p.).

Susana L. M. Antunes

Bouvet, Rachel; White, Kenneth. “À la Recherche de L´espace Perdu”. Le nouveau territoire :
l´exploration géopoétique de l´espace. Collection «Figura», nº 18. Université du Québec: Montréal, 2008, 11-27.
Hashas, Mohammed. Intercultural geopoetics in Kenneth White’s open world. Newcastle upon Tyne, England: Cambridge Scholars Publishing, 2017.
Craig, Cairns, ed. Underground to Otherground. Vol. 1. Edinburg: University Press, 2021.
______________. The Collected Works of Kenneth White. Mappings: Landscape, Mindscape,
Wordscape. Vol. 2. Edinburg : University Press, 2021.
Institut International de Géopoétique: https://www.institut-geopoetique.org/fr/
White, Kenneth. La Figure du Dehors. Grasset: Paris, 1982.
____________. “Elements of geopoetics”. Edinburg Review 88. 1992, 163-181.
____________. Le Plateau de l’Albatros. Grasset: Paris, 1994.
____________. Investigations dans l´espace nomade. Notes sur l´art et la pensée nomades. Isolato: Paris,
2014.

Islands and the Anthropocene

Posted on 9 de July, 2022 | By caparicio

Today, it is increasingly argued, humans have changed the planet to such an extent that we have moved from the past 11,700 years of the Holocene to the new geological epoch of the Anthropocene. ‘Anthropos’, the human, has become such a significantly active force that it has transformed a wide range of planetary conditions; from global and local weather patterns, to the chemical constituency of the earth and the oceans. Here, islands are not only the most high-profile markers of the Anthropocene; of rising seas, global warming, the fallouts of mainland consumerism, continued colonialisms, nuclear testing and fallout, ecological degradation, and many other negative forces associated with the legacies of modernity. More proactively, work with islands, island cultures and conceptually thinking with ‘islandness’, is today broadly understood as highly generative for the development of distinct alternatives to the modern, ‘mainland’ reasoning which is widely said to have caused the Anthropocene. In particular, contemporary work with islands is seen as important for the stimulation of alternative ways of thinking about being (ontology) and knowing (epistemology) which challenge the very foundations of modern reasoning – those modern human/nature, mind/body, subject/object divides which enabled humans to rise above, command and control ‘nature’, with terrible consequences. Central to this rise in the power of island work is how, across Western academic disciplines and in popular culture, islands have long been understood as key alternative sites for thinking through the complex relational entanglements between humans and nature. From the paradigm shifting work of Charles Darwin, to the defining anthropology of Margaret Mead and Marilyn Strathern, to highly influential work on colonialism by Édouard Glissant and Epeli Hau‘ofa, islands have long been considered as central places for the development of alternatives to modern reasoning. For Darwin, islands show us, or amplify, how all life differentiates and is adaptive to its environment, as in his famous branching trees, not in the way of modern linear progress. For Mead and Strathern, many island cultures do not split the world into ‘humans’ and ‘nature’, but rather have a more relationally entangled and attuned understanding of being. For Glissant and Hau‘ofa, islands demonstrate how there is no ‘past’ or ‘away’, as in the linear telos, fixed grids of space and time, of modernity. Rather, island life and cultures powerfully register and hold the ongoing legacies of mainland modernity and colonialism. Thus, today, as ‘relational entanglement’ emerges as the key trope or problematic of the Anthropocene, it would be inevitable that certain geographical forms, like islands, would rise to the surface of consciousness for the development of alternative, ‘relational’, ways of thinking about being and knowing which both register and challenge those of modernity. The development of new modes of thinking and approaches associated with the Anthropocene does not emerge in the abstract, existing only in people’s heads, but by engaging the world, turning to particular geographies and geographical forms, such as islands, which are widely held to enable us to think problems through more effectively. This is why islands have risen to the surface in the development of contemporary Anthropocene thinking which seeks to move against the legacies of modern reasoning across mainstream policymaking, the arts, activism, sciences, social sciences and humanities. From the emergence of the highly influential ‘resilience’ paradigm which draws heavily upon a Darwinian understanding of (island) life as inherently adaptive; to island ecologies and cultures as emblematic ‘sensors’ for the rest of the world to learn from, the ‘canaries in the coal mine’ of transforming planetary conditions; to prevalent developments across critical and colonial theory, art and activism which foreground island and islander life as powerfully disrupting the neat boundaries, top-down command and control of modernity’s human/nature divide, islands are at the fore of Anthropocene thinking. In this sense, the contemporary turn to islands in Anthropocene research, policy, practice and activism was always in some way overdetermined. Today, as the problematics of relational sensitivities, relational ways of being and knowing, come to the fore in debates about the Anthropocene, so do geographical forms like islands, long held to be productive sites for thinking these problematics through. This is the generative power and lure of working with islands for Anthropocene thinking.

Jonathan Pugh

References

Barad, Karen. “After the End of the World: Entangled Nuclear Colonialisms, Matters of Force, and the Material Force of Justice.” Theory & Event 22.3 (2019): 524–550.

Chandler, David, and Jonathan Pugh. “Islands and the Rise of Correlational Epistemology in the Anthropocene: Rethinking the Trope of the ‘Canary in the Coalmine.’” Island Studies Journal (2021). [doi:10.24043/isj.119]

DeLoughrey, Elizabeth M. Allegories of the Anthropocene. Durham, NC: Duke University Press, 2019. [ISBN: 9781478005582]

Jetñil-Kijiner, Kathy. “*Bulldozed Reefs and Blasted Sands: Rituals for Artificial Islands[https://www.kathyjetnilkijiner.com/bulldozed-reefs-and-blasted-sands-rituals-for-artificial-islands/]*.” Kathy Jetñil-Kijiner (blog), 2 July 2019.

Kanngieser, Anja. *Listening to Ecocide[https://www.youtube.com/watch?v=dh1Cs4G7mxk]*. Sonic Acts 2020.

Morton, Timothy. “Molten Entities.” In New Geographies 08: Island. Edited by Daniel Daou and Pablo Pérez-Ramos, 72–76. Cambridge, MA: Universal Wilde, 2016. [ISBN: 9781934510452]

Perez, Craig Santos. Habitat Threshold. Oakland, CA: Omidawn, 2020. [ISBN: 9781632430809]

Pugh, Jonathan. “Relationality and Island Studies in the Anthropocene.” Island Studies Journal 13.1 (2018): 93–110.

Pugh, Jonathan, and David Chandler. Anthropocene Islands: Entangled Worlds. London: Westminster University Press, 2021. [doi:10.16997/book52] Download complete book for free here https://www.uwestminsterpress.co.uk/site/books/m/10.16997/book52/

Sheller, Mimi. Island Futures: Caribbean Survival in the Anthropocene. Durham, NC: Duke University Press, 2020. [ISBN: 9781478010128]

Spahr, Julianna. This Connection of Everyone with Lungs: Poems. Berkeley: University of California Press, 2005. [ISBN: 9780520242906]

Watts, Laura. Energy at the End of the World: An Orkney Islands Saga. Cambridge, MA: MIT Press, 2018. [ISBN: 9780262038898]

José Tolentino Mendonça

Posted on 4 de May, 2022 | By caparicio

The poet-island who combines insular childhood, insular vicissitudes, the maturity of a thought that questions human existence with this sacred place, the physical island in the middle of the Atlantic, presents himself in Os dias contados: “No princípio era a ilha/embora se diga/o Espírito de Deus/abraçava as águas” (Mendonça, 1990: 9).

Born in Machico, Madeira (December 15, 1965), with a period of childhood spent in Angola, José Tolentino Mendonça has come to stand out in literature and ecclesiastical life. Of his training, the studies in Biblical Sciences (Rome) and the doctorate in Theology at Universidade Católica Portuguesa, where he held the position of vice-rector and directed the Centro de Investigação em Teologia e Estudos de Religião, deserve to be highlighted.

His thinking has come to assert itself on the international scene, having been recognized by the Vatican as a consultant to the Pontifical Council for Culture. In the exhibition “Lo splendore della verità, la bellezza della carità” (“The Splendor of Truth, the Beauty of Love”), commemoration of the 60th anniversary of the ordination of Benedict XVI, in 2011, Tolentino Mendonça presented the Bishop of Rome with the poem “O Mistério está todo na infância”.

In 2018, Pope Francis appointed the Madeiran priest to direct the Lenten spiritual retreat, organizing the reflection “O elogio da sede”, which would give rise to the homonymous work O elogio da sede. In that year, he was appointed Archivist and Librarian of the Holy Roman Church and ordained bishop.

On October 5, 2019, Pope Francis presided over the Consistory that appointed 10 new cardinals, in line with the Church’s missionary vocation. Among them, Tolentino Mendonça. Already a cardinal, in 2021, he was appointed by the Supreme Pontiff as a member of the Congregation for the Evangelization of Peoples, which accompanies the life of Catholic communities in so-called mission countries.

José Tolentino Mendonça’s written production is divided into that of the essayist, linked to his vocation as a theologian and thinker on themes and texts of religious tradition – and not only – and that of the poet, in which his connection memory, childhood, the island and the interrogation of the being before the contemplated world, becomes unavoidable.

Within the profile of the essayist thinker, as a translator, proofreader and text commentator, José Tolentino Mendonça participates in the Bíblia Ilustrada project (Assírio & Alvim). The perspective of the thinker is very explicit in the introduction to the Portuguese translation of Cântico dos Cânticos, with illustrations by Ilda David’ (1997, 1st edition). In the introduction, José Tolentino Mendonça warns us about the full intellectual and ontic humility of his thought: “E, porque não se teme enunciar o sentido das palavras, é que nos podemos abrir à revelação escatológica do silêncio guardado entre elas. O silêncio de Deus” (Mendonça, 1999: 14).

As a poet, José Tolentino Mendonça is, according to critics, one of the most original voices in current Portuguese literature. Ana Margarida Falcão Seixas argues that Tolentino Mendonça gives the reader a mystical aura in which “o sujeito mantém um estatuto de elemento intermédio entre o divino e o mundo, mas quase sempre perspectivado através de uma voz que se eleva numa pergunta, numa procura” (Seixas, 2003: 418). His poetics is completed around ontic issues, the reason for which may “ter origem tanto na evocação de uma personagem ou episódio bíblico como no contar das recordações da pureza perdida da infância quase imaculada como, ainda, na interrogação acerca dos episódios da vida quotidiana” (Seixas, 2003: 418-9), to which is added the insular aspect, where his poetic feeling spreads. Provided by memory, the memory of the island’s places harbors, in the subtle memory of the island, the contemplation of a place that edifies intellectual and ontic humility: “A intertextualidade da sua poesia com os escritos sagrados não secundariza a presença da sensualidade mística e da reflexão sobre o quotidiano, muitas vezes subtilmente evocadoras da nostalgia da terra natal” (Falcão, 2011: 112).

The meeting between essayistic, poetic thought and the human pulse is materialized in the following stanza of “O mistério está todo na infância”: “O mistério está todo na infância [the physical and spiritual island, the Atlantic island, whose representation is the subject]:/é preciso que o homem siga/o que há de mais luminoso/à maneira da criança futura”[1].

From the bibliography, among essays and poetic titles, we highlight: Um Deus que dança, Rezar de olhos abertos, O que é amar um país, A construção de Jesus, A mística do instante, Histórias escolhidas da Bíblia, Os Dias Contados, Longe não sabia, Estrada branca, Estação central or A papoila e o monge.

José Tolentino Mendonça’s distinction is also evidenced by the national and international awards: Cidade de Lisboa de Poesia (1998), PEN Clube de Ensaio (2005), Res Magnae, for essay (2015), Grande Prémio de Poesia Teixeira de Pascoaes APE (2015), Grande Prémio APE de Crónica (2016) and the prestigious Capri-San Michele (2017).

[1] In “O mistério está todo na infância”: poema de José Tolentino Mendonça para Bento XVI. In Secretariado Nacional da Pastoral da Cultura. Digital access: https://www.snpcultura.org/o_misterio_esta_todo_na_infancia_poema_jose_tolentino_mendonca_bento_xvi.html.

Paulo César Vieira Figueira

References

Falcão, Ana Margarida (2011). O Funchal na poesia insular do séc. XV ao séc. XX. In Funchal (d)escrito: ensaios sobre representações literárias da cidade. Vila Nova de Gaia: 7 Dias 6 Noites, 77-113.
Figueira, Paulo (2020). José Agostinho Baptista, “le sentiment de soi”. In TRANSLOCAL. Culturas Contemporâneas Locais e Urbanas, nº 5. Funchal: UMa-CIERL/CMF/IA. Digital access: https://translocal.cm-funchal.pt/wp-content/uploads/2019/05/JoseAgostinhoBaptista-le-sentiment-de-soit5.pdf. Consulted on 21-12-2021.
Figueira, Paulo (2008). Percursos da subjetividade pós-modernista: um contributo para a análise das poéticas de José Agostinho Baptista e Eduardo White [Masters dissertation]. Funchal: Universidade da Madeira.
Magalhães, Joaquim Manuel (1989). Um pouco da morte. Lisboa: Presença.
Mendonça, José Tolentino (2000). Um sopro, uma leve pancada no coração. In A Phala – José Agostinho Baptista, nº 81. Digital access: https://joseagostinhobaptista.com/a-phala.html. Consulted on 21-12-2021.
Seixas, Ana Margarida Falcão (2003). Os Novos Shâmanes. Um Contributo para o Estudo da Narratividade na Poesia Portuguesa mais recente [Phd thesis]. Funchal: Universidade da Madeira.

João dos Reis Gomes

Posted on 4 de May, 2022 | By caparicio

Born in Funchal, on January 5, 1869, where he died, on January 21, 1950, he became known as Major João dos Reis Gomes (as if the patent was associated with his own name) and recognized as a professor, writer and essayist, member of several academies, such as Academia de Ciências de Lisboa, and founder of the delegation of Sociedade Histórica da Independência de Portugal, in Funchal. He almost always opted for an action in the field of intellectuality and not so much in terms of political exposure. Directed two periodicals, Heraldo da Madeira e Diário da Madeira, who advocated a regionalist, autonomous and conservative vision, although imbued with a patriotic spirit.

Personality inserted in a generation that fights for a better autonomy for Madeira, at the beginning of the 20th century, the insular aspect, either by resorting to themes dear to Madeiran folklore or to History, Reis Gomes was one of those responsible for building an Madeiran identity.

His action, linked to a perspective of insularity based on autonomy and regionalism, lead him to debates on issues about Madeira with the creation of the “Cenáculo” gathering, participation in Comissão de Estudo para as Bases da Autonomia da Madeira and the celebration of the 500 years of Madeira, between December 1922 and January 1923.

As a multifaceted man in the field of writing, we are mainly interested in the playwright and novelist, although he has also published books of short stories. We believe it is mainly in A filha de Tristão das Damas, O anel do imperador, O cavaleiro de Santa Catarina and Guiomar Teixeira, that we can glimpse the connection of his writing to the island and the concern with the Madeiran identity.

One of the good examples of this insular connection that guided the literary writing of João dos Reis Gomes is the historical drama Guiomar Teixeira, adapted from the historical novel A filha de Tristão das Damas, and which brings together the attributes of an insular identification and an identity cry. This play is known for being believed to be the first, in the world, to merge, in its representation, the theatrical art with the cinematographic art, being attributed the merit to Major[1].

In the drama, as in the historical novel, the center of the action is the Madeiran aid, provided by the donee Simão da Câmara to the capture of Safim, during the reign of D. Manuel I. In a subtle allegory with the situation experienced in Madeira at the time of autonomy administration of 1901, Reis Gomes points to the example of the conquest of the Moroccan square as a way of exposing that better autonomy would result in a better region and, consequently, a better country.In order to understand the Madeiran identity intentions and protest against the political situation of the archipelago, the Quincentenário commission chose the play Guiomar Teixeira for representation, which seems to us a clear allusion to the dissemination of the insular territory. The main actors were Sofia de Figueiredo, in the role of Guiomar Teixeira, and João dos Reis Gomes, in the role of Cristóvão Colombo.

Due to his role, we can consider João dos Reis Gomes as one of the builders of Madeira’s cultural memory, in the sense that the author’s literary production “estabelece entre o ontem e o hoje, modelando e atualizando de forma contínua as experiências e as imagens de um passado no presente, como recordação geradora de um horizonte de esperanças e de continuidade” (Antunes, 2019: 204). Merged with the concept of cultural memory, we find the “madeirensidade”, in the sense that “A literatura, por exemplo, contribui para a construção da Madeirensidade, mas ao mesmo tempo é também o devir desta que promove a emergência, a afirmação e o desenvolvimento daquilo que podemos designar como literatura madeirense” (Rodrigues, 2015: 167).

At the end of the diary on the Madeiran pilgrimage of 1926, in the original Através da França, Suíça e Itália – Diário de Viagem, Major João dos Reis Gomes expressed the feeling of nostalgia in relation to Madeira, “Estou nostálgico […]. Por momentos, ante a visão da pequenina terra [Madeira Island], apaga-se-me da memória a lembrança dessa existência de tão grande e variada beleza que eu acabo, febrilmente, de viver” (Reis Gomes, 2020: 223), which seems to us a declaration of geographical and cultural belonging dear to many Madeirans.

From the work of João dos Reis Gomes we highlight: O Theatro e o Actor (1ª ed., 1905, 2ª ed., 1916), Histórias Simples (1907), A Filha de Tristão das Damas (1ª ed., 1909, 2ª ed., 1946, 3ª ed., 1962), Guiomar Teixeira (1ª ed., 1914)[2], A Música e o Teatro (1919), Forças Psíquicas (1925), O Belo Natural e Artístico (1928), Figuras de Teatro (1928), Através da França, Suíça e Itália – Diário de Viagem (1929), Três Capitais de Espanha: Burgos, Toledo, Sevilha (1931), O Anel do Imperador (1934), Natais (1935), O Vinho da Madeira (1937), Casas Madeirenses (1937), O Cavaleiro de Santa Catarina (1941), De Bom Humor… (1942), A Lenda de Loreley – Contada por um Latino (1948), Através da Alemanha – Notas de Viagem (1949) and Viagens (2020)[3].

Paulo César Vieira Figueira

References

Antunes, Luísa Marinho (2019). A construção da memória cultural por meio da literatura: alguns aspectos. In Pro-Posições Culturais. São Paulo, 189-211.

Figueira, Paulo (2021). João dos Reis Gomes: contributo literário para a divulgação da História da Madeira [Phd thesis]. Funchal: Universidade da Madeira.

Gouveia, Horácio Bento de (1969). O académico e escritor João dos Reis Gomes. In Panorama, nº 29. Lisboa, 6-9.

Marino, Luís (s.d.). Panorama Literário do Arquipélago da Madeira [unpublished text]. Arquivo Regional da Madeira/Arquivo Luís Marino.

Reis Gomes, João dos (2020). Viagens (Ed. Literária Ana Isabel Moniz). Funchal: Imprensa Académica.

Rodrigues, Paulo (2015). Da Madeirensidade: Contributo para uma reflexão necessária. In Nelson Veríssimo e Thierry Proença dos Santos (orgs.). Universidade da Madeira: 25 anos. Funchal: Universidade da Madeira, 165-190.

[1] The drama was translated into Italian by Virgilio Biondi, La Figlia del Vice-Ré, and was performed by the Italian company Vitaliani-Duse, in 1914, at the Teatro Municipal do Funchal.

[2] Guiomar Teixeira, in addition to the Italian version, it had three editions.

[3] According to Luís Marino, in Panorama Literário do Arquipélago da Madeira, p. 67, we must add to this list No Laboratório, Psychologia e Pathologia Cerebral (1899), written by João dos Reis Gomes, under the pseudonym J. Règinard.

João de Melo

Posted on 4 de May, 2022 | By caparicio

Born in the parish of Achadinha, municipality of Nordeste, in São Miguel, Azores, on February 4, 1949, João Manuel de Melo Pacheco is a distinguished representative of the Azorean insularity.

At the age of 11, he settled on the Portuguese mainland, where he continued his studies at Seminário dos Domenicanos in Fátima. He was expelled for religious and political reasons. However, he settled in Lisbon, where he began to publish short stories in Diário Popular and Diário de Lisboa. During this time he also collaborated with the group “Geraçã Glacial”, namesake of the literary supplement, Glacial – União das Letras e das Artes, of the newspaper A União, based in Angra do Heroísmo, Terceira.

The Guerra Colonial (Colonial War) was one of the remarkable stages of his biography, having provided military service (furriel and nurse) in Angola. In addition to his childhood, the Guerra do Ultramar (Overseas War) marks João de Melo’s narrative, with emphasis on, for example, Autópsia de um mar de ruínas (1984).

After the 25th of April, João de Melo graduated in Romance Philology at Faculdade de Letras da Universidade de Lisboa, a period he considers decisive in his training as a writer: “Após ter frequentado a Faculdade de Letras, aconteceu uma revolução literária na minha cabeça, no meu espírito. Mudei de linguagem. É nessa fase que me encontro: tento harmonizar o máximo pendor narrativo com a expressão poética da narrativa” (Besse, 2019: 155).

According to the insular aspect of some texts by João de Melo, we cannot neglect “Açorianidade”. Onésimo Teotónio Almeida refers to this concept, “insistindo em que a açorianidade é a açorianidade de cada um. Embora existam elementos comuns à maioria dos açorianos […] em diferentes graus de intensidade” (Almeida, 2007: 26). The different feeling of the islands does not prevent the “Açorianidade” from allying itself with an islander feeling that assumes a set of elements that crystallize the Azorean feeling.

If we are based on the examples of A Divina Miséria and Gente Feliz com Lágrimas, there is an exploration of a particular feeling in relation to Terceira and São Miguel, respectively, but which combine in a superior concept involving the archipelago: “Eu vi a minha ilha despovoar-se de gente que todos os dias partia para a América. […]. Essa é a história da minha própria família” (Besse, 2019: 155).

João de Melo points out in his writing the distinction between the insular aspect and the regionalist aspect, considering that his narratives should not be considered regionalist in the narrow sense of the concept, despite the Azores being the center of the human universality present in his work: “De modo que a minha escrita não pode ser considerada expressivamente ‘regionalista’. […]. Fiz dos Açores o meu lugar de todo o mundo: esse mundo real e simbólico a que ouso chamar universalidade da condição humana” (Besse, 2019: 154). We can therefore consider that João de Melo’s writing “é sobretudo um registo ficcional não só de uma geração, mas a de todos que durante um século viveram a sua tragédia e tentaram recuperar o que lhes restava da sua humanidade face a forças […] deste e do outro mundo” (Freitas, 1998: 119), according to “uma errância e reencontros, de mitologias e de símbolos bíblicos e históricos” (Freitas, 1998: 119).

João de Melo is the author of several reference novels. Perhaps Gente Feliz com Lágrimas is the best known, being adapted for theater and television. We think that this novel shows the main provocations of the author’s work as a whole, insularity, childhood, emigration, memory, in addition to war, because “Uma ferida ou uma simples dor no olhar, eis o que bem pode definir tudo o que resta de um homem, do seu mundo perdido e de um tempo presente que ainda falta inventar. Só por isso, já lhe tinha valido a pena vir àquela casa dos Açores” (Melo, 1988: 479).

We believe that the opinion of Vamberto Freitas applies to João de Melo, as the author who transports us through the different stages of human pilgrimages, in which we see ourselves, as readers, from the individual and collective point of view: “só através da errância dos seus narradores poderia vir até nós esta incomparável visão globalizante das tribulações do homem moderno” (Freitas, 1998: 121). A wandering defined by João de Melo in the awareness of the island/sea formula: “foi na minha infância, perante o mar dos Açores, que sempre fez algum sentido a oposição ilha/Mundo. Mas nela teve lugar uma definitiva evidência: as ilhas são pequenos continentes; os continentes não são mais do que ilhas muito grandes” (Melo, 2001: 119).

From his bibliography we highlight: A divina miséria, Gente feliz com lágrimas, Autópsia de um mar em ruínas, O meu mundo não é deste reino, O mar de Madrid, As coisas da alma, Os anos da guerra, Dicionário das paixões, Bem-aventuranças.

Recognition of his work took the form of prizes such as: Grande Prémio da Associação Portuguesa de Escritores, Prémio Eça de Queiroz/Cidade de Lisboa, Prémio Cristóvão Colombo (Capitais ibero-americanas), Prémio Fernando Namora/Casino do Estoril, Prémio Antena 1, Prémio “A Balada” and Prémio Dinis da Luz. In 2021, he won the Tavares Rodrigues Urban Literary Prize, with Livro das vozes e das sombras. The Portuguese Government also recognized João de Melo’s intellectual relevance by inviting him to be cultural attaché at the embassy in Madrid and with the Medalha de Mérito Cultural.

Paulo César Vieira Figueira

References

Almeida, Onésimo Teotónio (2007). Sobre o peso da geografia no imaginário literário açoriano. In Jane Tutikian e Luiz Antonio de Assis Brasil (Orgs.). Mar Horizonte: Literaturas Insulares Lusófonas. Porto Alegre: EDIPUCRS, 23-32.

Besse, Maria Graciete (2019). João de Melo: entre a memória e a perda. Lajes do Pico: Companhia das ilhas.

Freitas, Vamberto (1998). Mar cavado: da literatura açoriana e de outras narrativas. Lisboa: Edições Salamandra.

Melo, João de (1988). Gente feliz com lágrimas. Lisboa: Círculo de Leitores.

Melo, João de (2001). O mare nostrum ou o mar em nós. In Alberto Vieira (org.). Livro de comunicações do colóquio “Caminhos do mar”. Funchal: Câmara Municipal do Funchal, 118-120. Sousa, Luís Francisco. Açorianidade: conversa com Cláudia Cardoso e Luiz Fagundes Duarte. Digital access: https://www.bruapodcasts.com/sapiens/2019/8/31/sapiens-aorianidade-com-cludia-cardoso-e-luiz-fagundes-duarte. Consulted on 10-12-2021.

Germano Almeida

Posted on 4 de May, 2022 | By caparicio

Germano Almeida was born in 1945, on the island of Boavista, in Cape Verde. With a scholarship from Fundação Calouste Gulbenkian, he graduated in Law at Universidade de Lisboa. Returning to Cape Verde, he practices law in the city of Mindelo, on the island of São Vicente, where he settled in 1979.

He was one of the founders of Ponto & Vírgula, which intended to give writers from the Cape Verde islands an opportunity to publish. The magazine, without an editorial line committed to politics and ideologies, “nós [Germano Almeida, Leão Lopes and Rui Figueiredo] sempre dissemos que a revista é para os amigos, inimigos, criticadores, os críticos e todo o mundo que queira escrever para ela” (Laban, 1992: 625), augured to bring to light the writings of the Cape Verdean intellectuals, which, in the words of Germano Almeida, proved to be fruitless: “[the magazine] poderá, daqui a uns tempos, afirmar que serviu para desmistificar, de certo modo, aquilo que quase toda a gente pensa: em Cabo Verde, produz-se muito e não há meios de publicação” (Laban, 1992: 621).

This magazine reveals one of the ideas that have accompanied the thinking of Germano Almeida, taking Cape Verdean literature to a level of maturity that moves away from description and focuses on reflection: “uma literatura que nos levasse à análise do homem cabo-verdiano – da própria posição do homem cabo-verdiano na sociedade, para mim, sobretudo depois da Independência, até agora não houve nada acerca disso” (Laban, 1992: 631).

The reflexive stage of Cape Verdean literature would be the main point of affirmation of Cape Verde as an island nation, the Cape Verdean islander that is geographically close to Africa but reveals greater complicity with the European social, political and cultural panorama: “eu [Germano Almeida] penso que é necessário continuar a ter coragem de nos afirmarmos como cabo-verdianos ligados, politicamente, digamos, a uma raiz africana, também a uma raiz europeia, que deu essas duas culturas ligadas, dando a impressão que era uma coisa nova” (Laban, 1992: 676).

The point of view defended by Germano Almeida becomes central in the author’s following statement: “Nós [Cape Verdeans and Portuguese] temos muitos pontos comuns, obviamente, sobretudo Cabo Verde, que é um país feito pelos portugueses. Mas as ilhas – não só a sua orografia, mas sobretudo a ausência de meios de vida, a falta de chuva, sobretudo – fizeram de nós pessoas diferentes”[1]. Regarding Lusophony, for the Cape Verdean islander, the Portuguese language appears as an instrument of graphic expression. Germano Almeida considers himself a Lusographer and not a Lusophone: “não gosto muito da expressão lusofonia. Somos escritores de diversos países que usam a língua portuguesa como língua de contacto, como língua de expressão, mas não é uma cultura lusófona”[2].

The literary generation of Germano Almeida is concerned with the reflection of themes that go beyond the simple personal description of the differences existing in the islands (drought, emigration, and the post-independence political situation), in the sense of thinking about the condition of the Cape Verdean man and his condition as an islander. Thus, Germano Almeida reflects the cult of islands and the value of insularity in the people of the Cape Verdean archipelago, assuming this condition of ontic questioning and discovery of a mature path for Cape Verdean literature.

The book for which he became known is O testamento do sr. Napumoceno da Silva Araújo, which was adapted to the cinema. Napumoceno’s life is a set of adventures that focus on Cape Verdean identity and subtly on the reflection of its island matrix. Amid humor and irony, Germano Almeida seeks in Napumoceno to reflect on the life of a poor man from S. Nicolau who becomes a respected merchant from Mindelo, but who asks the reader about the life of the islands, independence and non-union with Guinea-Bissau, “Proclamavam ser necessário criar-se uma força capaz de se opor àqueles que vinham da Guiné” (Almeida, 1997: 44), poverty, the diaspora, “Não deixo porém de pensar ser uma pena que a distante América teime em roubar-nos excelentes esposas e futuras mães” (Almeida, 1997: 63), his connections to Portugal and Europe, and his condition as an islander, “A verdade, porém, é que preferia fechar-se em casa a redigir o testamento da sua vida porque já não se reconhecia naquela intolerância tão contrária ao modo de ser do ilhéu” (Almeida, 1997: 45). When Napumoceno died, “pensei que ele estivesse ainda a dormir e só quando abri a janela é que vi que ele dormia o sono dos anjos” (Almeida, 1997: 167), he left a will that, on the “150.ª página” (Almeida, 1997: 7), is now read by Américo Fonseca, as it seemed that the deceased “escrevera antes um livro de memórias” (Almeida, 1997: 7).

The author has published the following titles: O testamento do sr. Napumoceno da Silva Araújo (1989), O dia das calças roladas (1992), O meu poeta (1990), A Ilha Fantástica (1994), Os dois irmãos (1995), Estórias de dentro de casa (1996), A morte do meu poeta (1998), A família Trago (1998), Estórias contadas (1998), Dona Pura e os camaradas de Abril (1999), As memórias de um espírito (2001), Cabo Verde – Viagem pela história das ilhas (2003), O mar na Lajinha (2004), Eva (2006), A morte do ouvidor (2010), De Monte Cara vê-se o mundo (2014), O Fiel Defunto (2018), O último mugido (2020) and A confissão e a culpa (2021).

In 2018, Germano Almeida received the most distinguished literary award for Portuguese-speaking authors, the Prémio Camões.

Paulo César Vieira Figueira

References

Almeida, Germano (1997). O testamento do sr. Napumoceno da Silva Araújo. Lisboa: Caminho.

“Escritor cabo-verdiano Germano Almeida não gosta da expressão ‘lusofonia’”. Digital Access: https://observador.pt/2021/10/27/escritor-cabo-verdiano-germano-almeida-nao-gosta-da-expressao-lusofonia/. Consulted on 03-01-2022.

Gândara, Paula (2008). Construindo Germano Almeida: a consciência da desconstrução. Lisboa: Vega.

Laban, Michel (1992). Cabo Verde: encontro com escritores. Vol. II. Porto: Fundação Engenheiro António de Almeida.

Laranjeira, Pires (1987). Formação e desenvolvimento das literaturas africanas de língua portuguesa. In Literaturas africanas de língua portuguesa. Lisboa: Fundação Calouste Gulbenkian, 15-24.

Mariano, Gabriel (1991). Cultura caboverdeana – ensaios. Lisboa: Vega.

[1] In “Escritor cabo-verdiano Germano Almeida não gosta da expressão ‘lusofonia’”. Digital access: https://observador.pt/2021/10/27/escritor-cabo-verdiano-germano-almeida-nao-gosta-da-expressao-lusofonia/.

[2] In “Escritor cabo-verdiano Germano Almeida não gosta da expressão ‘lusofonia’”. Digital access: https://observador.pt/2021/10/27/escritor-cabo-verdiano-germano-almeida-nao-gosta-da-expressao-lusofonia/.

Henrique Teixeira de Sousa

Posted on 4 de May, 2022 | By caparicio

Henrique Teixeira de Sousa was born in Cape Verde, Island of Fogo, in the parish of São Lourenço, on September 6, 1919. He died, aged 87, in Algés, on March 3, 2006, after being hit by a car. He lived in Oeiras, Portugal, since the seventies of the 20th century.

He completed his medical course at Universidade de Lisbos, in 1945. In addition to writing, medicine deserved great dedication on the part of Teixeira de Sousa, attending courses in Tropical Medicine and Nutrition, having even served in East-Timor and Cape Verde (Fogo and São Vicente), before returning to Portugal.

As a result of his inter-island experience and around the world, Henrique Teixeira de Sousa became a symbol of the Cape Verdean feeling and the exposure of the feeling of the islands, which, according to Ondina Ferreira, catalogs him as “arquipelágico” because “Os seus textos ensaísticos [and not only] saem desse âmbito mais restrito e pertencem igualmente a todas as ilhas de Cabo Verde”[1].

From Cape Verde, and from the author’s early formative years, his longevity allowed him to participate in cultural movements that came to underline the Cape Verdean identity. From claridosos, associated with the magazine Claridade (1936), to the generation of Certeza, identified with the magazine Certeza (1944), Henrique Teixeira de Sousa remained close to the literary evolution of Cape Verde in an attitude that edified Cape Verdean culture and identity.

Coming from a time when the focus was the struggle for the liberation of Guinea-Bissau and Cape Verde, under the banner of the PAIGC (African Party for the Independence of Guinea and Cape Verde), some of his reference works reflect that period of uncertain for the future of the archipelago which, thanks to its population, diaspora and respective history, was not exactly a brother of Guinea-Bissau and found itself in an intermediate position between Africa and Europe: “Em Caboverde julgo poder afirmar que o processo de aculturativo desabrochou no florescimento de expressões novas de cultura, mestiças […]; que no arquipélago puderam o negro e o mulato apropriar-se de elementos da civilização europeia e senti-los como próprios” (Mariano, 1991: 47).

Both the historical-political vision and the more attentive sensitivity towards Cape Verdean social problems (hunger, emigration) made Henrique Teixeira de Sousa “um profundo e fino analista social” [2]. The reformulation of these themes made Cape Verdean literature assert itself because it was necessary “ultrapassar a fase folclórica ou regionalista para não continuarmos espartilhados dentro dum círculo restrito de temas mais que esgotados” (Laban, 1992: 207).

It is difficult to discern about his masterpiece. Among the short stories and novels, we highlight two, in particular, Contra mar e vento, his first book of short stories, and Entre Duas Bandeiras, a historical novel, because we believe that they represent Cape Verde as a geographical, political and cultural entity.

In Entre Duas Bandeiras, as it is close to “la memoria politica” (Turano, 1997: 1555), the debate launched on the insular identity of Cape Verde is evident, which does not welcome or identify itself with the Guinean union. The author points out elements of a civilizational nature that justify the discussion regarding the independence of the archipelago: “Con questo volume lo scrittore apre il dibattito su una questione delicata, quella del passaggio dei poteri dal vecchio regime coloniale al nuovo stato indipendente. Con la presa del potere del P.A.I.C.G. riemergono, attraverso la ‘finzione’ romanzesca, questione politiche che, forse, sarebbe interessante dibattere” (Turano, 1997: 155). As readers, we conclude a greater affinity with the idea of an independence of Cape Verde outside the sphere of Guinea-Bissau, which results in an island country with its own identity between two continents that build its feeling. This point of view is openly assumed by Henrique Teixeira de Sousa himself: “Ora, eu não via que essa unidade [Cape Verde/Guinea-Bissau] fizesse o mínimo sentido dada a disparidade dos valores culturais entre os dois países. Combati-a veementemente. E a História veio-me dar razão” (Laban, 1992: 202).

Of the works by Henrique Teixeira de Sousa, it is worth mentioning Contra mar e vento (1972), Ilhéu de contenda (1978), Capitão de Mar e Terra (1984), Xaguate (1987), Djunga (1990), Na Ribeira de Deus (1992), Entre duas Bandeiras (1994), Oh Mar das Túrbidas Vagas (2005). Ilhéu de contenda, Xaguate e Na Ribeira de Deus constitute a trilogy.

Paulo César Vieira Figueira

References

Chabal, Patrick et al. (1996). The postcolonial literature of lusophone Africa. Londres: Hurst & Company.

“Entrevista a Ondina Ferreira – H. Teixeira de Sousa é uma referência incontornável da nossa história cultural”. Digital access: https://terranova.cv/index.php/entrevista/6895-h-teixeira-de-sousa-e-uma-referencia-incontornavel-da-nossa-historia-cultural-ondina-ferreira. Consulted on 13-12-2021.

Figueira, Paulo (2012). Entre Duas Bandeiras, de Henrique Teixeira de Sousa: traços para a identidade cabo-verdiana. In Navegações, 194-202.

Laban, Michel (1992). Cabo Verde: encontro com escritores. Vol. I. Porto: Fundação Engenheiro António de Almeida.

Mariano, Gabriel (1991). Cultura caboverdeana – ensaios. Lisboa: Vega.

Trigo, Salvato (1987). Literatura colonial/Literaturas africanas. In Literaturas africanas de língua portuguesa. Lisboa: Fundação Calouste Gulbenkian, 139-158.

Turano, Maria Rosaria (1997). Diaspora Capoverdiana a Lisbona: Memoria Letteraria e Memoria Rituale – Appunti da una Ricerca. In Africana Miscellanea di Studi Extraeuropei. Pisa: Edizioni ETS, 149-159.

[1] In “Entrevista a Ondina Ferreira – H. Teixeira de Sousa é uma referência incontornável da nossa história cultural”. Digital Access: https://terranova.cv/index.php/entrevista/6895-h-teixeira-de-sousa-e-uma-referencia-incontornavel-da-nossa-historia-cultural-ondina-ferreira.

[2] In “Entrevista a Ondina Ferreira – H. Teixeira de Sousa é uma referência incontornável da nossa história cultural”. Digital access: https://terranova.cv/index.php/entrevista/6895-h-teixeira-de-sousa-e-uma-referencia-incontornavel-da-nossa-historia-cultural-ondina-ferreira.

Romances históricos de João dos Reis Gomes

Posted on 4 de May, 2022 | By caparicio

João dos Reis Gomes was a Madeiran military man who stood out, in the society of his time, as an author in areas such as journalism, theater, history, romance, philosophy, music and cinema. His intellectual training will draw from the transition period between the 19th century and the beginning of the 20th century, marked by the wave of events that took place on the Mainland and Madeira.
Born in Funchal, on January 5, 1869, where he died, on January 21, 1950, he became known as Major João dos Reis Gomes (as if the patent was associated with his own name) and recognized as a professor, writer and essayist, member of several academies, such as Academia de Ciências de Lisboa, and founder of the delegation of Sociedade Histórica da Independência de Portugal, in Funchal. He almost always opted for an action in the field of intellectuality and not so much in terms of political exposure. Directed two periodicals, Heraldo da Madeira e Diário da Madeira, who advocated a regionalist, autonomous and conservative vision, although imbued with a patriotic spirit.
Personality inserted in a generation that fights for a better autonomy for Madeira, at the beginning of the 20th century, the insular aspect, either by resorting to themes dear to Madeiran folklore or to History, Reis Gomes was one of those responsible for building an Madeiran identity.
His action, linked to a perspective of insularity based on autonomy and regionalism, lead him to debates on issues about Madeira with the creation of the “Cenáculo” gathering, participation in Comissão de Estudo para as Bases da Autonomia da Madeira and the celebration of the 500 years of Madeira, between December 1922 and January 1923.
As a multifaceted man in the field of writing, we are mainly interested in the playwright and novelist, although he has also published books of short stories. We believe it is mainly in A filha de Tristão das Damas, O anel do imperador, O cavaleiro de Santa Catarina and Guiomar Teixeira, that we can glimpse the connection of his writing to the island and the concern with the Madeiran identity.
One of the good examples of this insular connection that guided the literary writing of João dos Reis Gomes is the historical drama Guiomar Teixeira, adapted from the historical novel A filha de Tristão das Damas, and which brings together the attributes of an insular identification and an identity cry. This play is known for being believed to be the first, in the world, to merge, in its representation, the theatrical art with the cinematographic art, being attributed the merit to Major .
In the drama, as in the historical novel, the center of the action is the Madeiran aid, provided by the donee Simão da Câmara to the capture of Safim, during the reign of D. Manuel I. In a subtle allegory with the situation experienced in Madeira at the time of autonomy administration of 1901, Reis Gomes points to the example of the conquest of the Moroccan square as a way of exposing that better autonomy would result in a better region and, consequently, a better country.In order to understand the Madeiran identity intentions and protest against the political situation of the archipelago, the Quincentenário commission chose the play Guiomar Teixeira for representation, which seems to us a clear allusion to the dissemination of the insular territory. The main actors were Sofia de Figueiredo, in the role of Guiomar Teixeira, and João dos Reis Gomes, in the role of Cristóvão Colombo.
Due to his role, we can consider João dos Reis Gomes as one of the builders of Madeira’s cultural memory, in the sense that the author’s literary production “estabelece entre o ontem e o hoje, modelando e atualizando de forma contínua as experiências e as imagens de um passado no presente, como recordação geradora de um horizonte de esperanças e de continuidade” (Antunes, 2019: 204). Merged with the concept of cultural memory, we find the “madeirensidade”, in the sense that “A literatura, por exemplo, contribui para a construção da Madeirensidade, mas ao mesmo tempo é também o devir desta que promove a emergência, a afirmação e o desenvolvimento daquilo que podemos designar como literatura madeirense” (Rodrigues, 2015: 167).
At the end of the diary on the Madeiran pilgrimage of 1926, in the original Através da França, Suíça e Itália – Diário de Viagem, Major João dos Reis Gomes expressed the feeling of nostalgia in relation to Madeira, “Estou nostálgico […]. Por momentos, ante a visão da pequenina terra [Madeira Island], apaga-se-me da memória a lembrança dessa existência de tão grande e variada beleza que eu acabo, febrilmente, de viver” (Reis Gomes, 2020: 223), which seems to us a declaration of geographical and cultural belonging dear to many Madeirans.
From the work of João dos Reis Gomes we highlight: O Theatro e o Actor (1ª ed., 1905, 2ª ed., 1916), Histórias Simples (1907), A Filha de Tristão das Damas (1ª ed., 1909, 2ª ed., 1946, 3ª ed., 1962), Guiomar Teixeira (1ª ed., 1914) , A Música e o Teatro (1919), Forças Psíquicas (1925), O Belo Natural e Artístico (1928), Figuras de Teatro (1928), Através da França, Suíça e Itália – Diário de Viagem (1929), Três Capitais de Espanha: Burgos, Toledo, Sevilha (1931), O Anel do Imperador (1934), Natais (1935), O Vinho da Madeira (1937), Casas Madeirenses (1937), O Cavaleiro de Santa Catarina (1941), De Bom Humor… (1942), A Lenda de Loreley – Contada por um Latino (1948), Através da Alemanha – Notas de Viagem (1949) and Viagens (2020) .

Paulo César Vieira Figueira

References

Antunes, Luísa Marinho (2019). A construção da memória cultural por meio da literatura: alguns aspectos. In Pro-Posições Culturais. São Paulo, 189-211.
Figueira, Paulo (2021). João dos Reis Gomes: contributo literário para a divulgação da História da Madeira [Phd thesis]. Funchal: Universidade da Madeira.
Gouveia, Horácio Bento de (1969). O académico e escritor João dos Reis Gomes. In Panorama, nº 29. Lisboa, 6-9.
Marino, Luís (s.d.). Panorama Literário do Arquipélago da Madeira [unpublished text]. Arquivo Regional da Madeira/Arquivo Luís Marino.
Reis Gomes, João dos (2020). Viagens (Ed. Literária Ana Isabel Moniz). Funchal: Imprensa Académica.
Rodrigues, Paulo (2015). Da Madeirensidade: Contributo para uma reflexão necessária. In Nelson Veríssimo e Thierry Proença dos Santos (orgs.). Universidade da Madeira: 25 anos. Funchal: Universidade da Madeira, 165-190.

ISSN 2975-9331

Category: Authors-en

[1] In “Escritor cabo-verdiano Germano Almeida não gosta da expressão ‘lusofonia’”. Digital access: https://observador.pt/2021/10/27/escritor-cabo-verdiano-germano-almeida-nao-gosta-da-expressao-lusofonia/.