{"title":"The Portuguese Empire and the Lusophone Postcolony as Diasporas","authors":"Anna M. Klobucka","doi":"10.3138/DIASPORA.20.1.001","DOIUrl":null,"url":null,"abstract":"Abstract:The Portuguese-Speaking Diaspora is an ambitious repository for a selective yet extraordinarily wide-ranging assembly of cultural artifacts drawn from the entire history of the Portuguese empire and Lusophone postcolony. Within the chronological expanse ranging from 1415 to (roughly) 2015, the book stages a storytelling enterprise of encyclopedic breadth and scope, skillfully intertwining historical accounts with brief vignettes and longer analyses of a wide array of artistic objects, from literary works to maps, paintings, decorative arts, sculpture, and cinema. Given the study’s broad definition of diasporic experience (which encompasses a variety of often nonpermanent or short-term dislocations) and its guiding focus on “imperially produced hybridity that is characteristic of lusophone culture” (72), the book is best read as a lively history of hybrid cultural processes and legacies of the Portuguese empire rather than as a sustained reflection on the diasporic condition as such.","PeriodicalId":119873,"journal":{"name":"Diaspora: A Journal of Transnational Studies","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2018-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Diaspora: A Journal of Transnational Studies","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3138/DIASPORA.20.1.001","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract:The Portuguese-Speaking Diaspora is an ambitious repository for a selective yet extraordinarily wide-ranging assembly of cultural artifacts drawn from the entire history of the Portuguese empire and Lusophone postcolony. Within the chronological expanse ranging from 1415 to (roughly) 2015, the book stages a storytelling enterprise of encyclopedic breadth and scope, skillfully intertwining historical accounts with brief vignettes and longer analyses of a wide array of artistic objects, from literary works to maps, paintings, decorative arts, sculpture, and cinema. Given the study’s broad definition of diasporic experience (which encompasses a variety of often nonpermanent or short-term dislocations) and its guiding focus on “imperially produced hybridity that is characteristic of lusophone culture” (72), the book is best read as a lively history of hybrid cultural processes and legacies of the Portuguese empire rather than as a sustained reflection on the diasporic condition as such.