The “tousled albums” in Esse Cabelo by Djaimilia Pereira de Almeida

Authors

DOI:

https://doi.org/10.14195/2182-8830_9-1_11

Keywords:

phototext, autobiographical writing, contemporary Portuguese literature, Djaimilia Pereira de Almeida

Abstract

In this article, I analyze the relationship between text and photography in Esse cabelo, by Djaimilia Pereira de Almeida, drawing on the interdependence between its hybrid literary form, the search for identity of the narrator-protagonist, and a representation procedure that resorts to photography. Autobiographical writing has been accompanied since early times by more or less material photographic references, and this genre acquires particular relevance in the context of the so-called “diasporic literature”. In the work of the Afro-Portuguese writer these three dimensions are entangled in an unpredictable way, which challenges easy categorizations and allows us to read it in the light of interart studies.

Downloads

Download data is not yet available.

References

ALMEIDA, Djaimilia Pereira de (2018). Luanda, Lisboa, Paraíso. Lisboa: Companhia das Letras.

ALMEIDA, Djaimilia Pereira de (2019). Pintado com o pé. Lisboa: Relógio d’Água.

ALMEIDA, Djaimilia Pereira de (2020). Esse cabelo. 4.ª ed. Lisboa: Relógio d’Água.

ALMEIDA, Djaimilia Pereira de (2021). “Entrevista com Djaimilia Pereira de Almeida”. Língua-Lugar: literatura, história, estudos culturais 1.2: 174-183. DOI: 10.34913/journals/lingualugar.2020.e427.

ALMEIDA, Djaimilia Pereira de, Humberto Brito (2020). Regras de isolamento. Vida ao redor do centro. Lisboa: Fundação Francisco Manuel dos Santos.

BARTHES, Roland (1980). La chambre claire. Note sur la photographie. Paris: Éditions Gallimard; Éditions du Seuil.

BENJAMIN, Walter (2003). Opere complete. Vol. 5, Scritti 1932-1933. Ed. Enrico Ganni. Torino: Einaudi.

BENJAMIN, Walter (2006). Opere complete. Vol. 7, Scritti 1938-1940. Ed. Enrico Ganni. Torino: Einaudi.

BENJAMIN, Walter (2013). Rua de mão única / Infância berlinense: 1900. Ed. e tr. João Barrento. Belo Horizonte; São Paulo: Autêntica Editora.

BLATT, Ari J. (2009). “The interphototextual dimension of Annie Ernaux and Marc Marie’s L’usage de la photo”. Word and Image 25.1: 46-55. DOI: 10.1080/02666280802047711.

BRESSANE, Ronaldo (2016). “Prosa indomável”. Revista Cult. 7 abr 2016. https://ronaldobressane.com/2016/04/07/prosa-indomavel/ [31 março 2021].

BRITTO, Milena (2018). “Narrar a si mesmo e rasurar o cânone: feminismos e literatura contemporânea”. Literatura, estética e revolução. Eds. Adriana de Fátima Barbosa Araújo, e Susana Souto Silva. Brasília: Universidade de Brasília. 41-52.

CESERANI, Remo (2011). L’occhio della Medusa. Fotografia e letteratura. Torino: Bollati Boringhieri.

FANON, Frantz (2008). Pele negra, máscaras brancas. Trad. Renato da Silveira. Salvador: EdUFBA.

FERREIRA, Patrícia Martinho (2020). Órfãos do Império. Heranças coloniais na literatura portuguesa contemporânea. Lisboa: ICS. Imprensa de Ciências Sociais.

GONÇALVES, Bianca Mafra (2019). “Existe uma literatura negra em Portugal?”. Revista Crioula 1.23: 121-140. DOI: 10.11606/issn.1981-7169.crioula.2019.155948.

KIEFER, Luísa Martins Waetge (2018). Sobre fotografia e ficção: histórias em imagens. Tese de doutoramento. Porto Alegre: Universidade Federal do Rio Grande do Sul.

KILOMBA, Grada (2019). Memórias da plantação. Episódios de racismo quotidiano. Lisboa: Orfeu Negro.

LANÇA, Marta (2015). “Djaimilia Pereira de Almeida”. Rede Angola. 7 set 2015. http://www.redeangola.info/especiais/85033-2/ [31 março 2021].

LIMA, Norma Sueli Rosa (2020). “Esse cabelo em Luanda, Lisboa, Paraíso: Djaimilia Pereira de Almeida e a experiência do desenraizamento na tentativa de integração”. Convergência Lusíada 31.43: 12-24. DOI: 10.37508/rcl.2020.n43a375.

MATA, Inocência (2018). “Uma implosiva geografia exílica”. Público. 14 dez 2018. https://www.publico.pt/2018/12/14/culturaipsilon/critica/implosiva-geografia-exilica-1854334/ [31 março 2021].

MBEMBE, Achille (2017). Critique of Black reason. Durham: Duke University Press.

MEDEIROS, Paulo de (2020). “Memórias pós-imperiais: Luuanda, de José Luandino Vieira, e Luanda, Lisboa, Paraíso, de Djaimilia Pereira de Almeida”. Língua-Lugar: literatura, história, estudos culturais 1.1: 136-149. DOI: 10.34913/journals/lingua-lugar.2020.e211.

MIRIZIO, Annalisa (2011). “Autobiography as political essay: narrative strategies in Black postmodern literature”. Afroeurope@n configurations: readings and projects. Ed. Sabrina Brancato. Newcastle upon Tyne: Cambridge Scholars Publishing. 157-168.

RAMOS, Marina Feldhues (2017). Conhecer fotolivros: (in)definições, histórias e processos de produção. Dissertação de mestrado. Recife: Universidade Federal de Pernambuco.

RIBEIRO, Margarida Calafate (2019a). “Luanda, Lisboa, Paraíso?”. Buala. 26 dez 2019. https://www.buala.org/pt/a-ler/luanda-lisboa-paraiso/ [31 março 2021].

RIBEIRO, Margarida Calafate (2019b). “Viagens na Minha Terra de ‘outros’ ocidentais”. Heranças pós-coloniais nas literaturas de língua portuguesa. Eds. Margarida Calafate Ribeiro, e Phillip Rothwell. Porto: Afrontamento. 291-308.

SONTAG, Susan (1977). On Photography. New York: Farrar, Straus & Giroux.

SOUSA, Sandra (2017). “A descoberta de uma identidade pós-colonial em Esse cabelo, de Djaimilia Pereira de Almeida”. Abril 9.18: 57-68.

TORRÃO, Nazaré (2017). “Espelho meu, diz-me quem sou e quem poderia ter sido! Uma análise de Esse Cabelo, de Djaimilia Pereira de Almeida”. Exiliance au féminin dans le monde lusophone (XXe – XXIe siècles). Eds. Maria Graciete Besse et al. Paris: Editions Hispaniques. 281-288.

Downloads

Published

2021-11-17

How to Cite

Girotto, Alice. 2021. “The ‘tousled albums’ in Esse Cabelo by Djaimilia Pereira De Almeida”. MATLIT: Materialities of Literature 9 (1):185-98. https://doi.org/10.14195/2182-8830_9-1_11.

Issue

Vol. 9 No. 1 (2021): Literary Photobooks: Theory and History

Section

Secção Temática | Thematic Section

License

Copyright (c) 2021 Alice Girotto

Creative Commons License

This work is licensed under a Creative Commons Attribution 4.0 International License.

MATLIT embraces full open access to all issues. Authors who publish with this journal agree to the following terms:

  1. Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a Creative Commons Attribution- 4.0 International (CC BY 4.0) that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal.
  2. Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.
  3. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).
  4. A CC licensing information in a machine-readable format is embedded in all articles published by MATLIT.
  1. Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use.
  2. No additional restrictions — You may not apply legal terms or technological measures that legally restrict others from doing anything the license permits.

Notices:

  1. You do not have to comply with the license for elements of the material in the public domain or where your use is permitted by an applicable exception or limitation.
  2. No warranties are given. The license may not give you all of the permissions necessary for your intended use. For example, other rights such as publicity, privacy, or moral rights may limit how you use the material.