Cape Verde, Guinea-Bissau and São Tomé e Príncipe
Edited By Ana Mafalda Leite, Hilary Owen, Ellen Sapega and Carmen Tindó Secco
This volume investigates literary and cinematographic narratives from Cape Verde, Guinea-Bissau and Sao Tome and Principe, analysing the different ways in which social and cultural experience is represented in postcolonial contexts. It continues and completes the exploration of the postcolonial imaginary and identity of Portuguese-speaking Africa presented in the earlier volume Narrating the Postcolonial Nation: Mapping Angola and Mozambique (2014).
Memory, history, migration and diaspora are core notions in the recreation and reconceptualization of the nation and its identities in Capeverdian, Guinean and Saotomean literary and cinematographic culture. Acknowledging that the idea of the postcolonial nation intersects with other social, political, cultural and historical categories, this book scrutinizes written and visual representations of the nation from a wide range of inter- and transdisciplinary perspectives, including literary and film studies, gender studies, sociology, and post-colonial and cultural studies. It makes a valuable contribution to current debates on postcolonialism, nation and identity in these former Portuguese colonies.
List of Figures
Figure 6.1. Act II, Djapuf Power, Scene 1. The meeting of the Supreme Leader Mwankeh with all the advisors who will be charged with seeking Mansata and her Prayers. Photograph by Eduardo Pinto, As Orações de Mansata – Ensaios
Figure 6.2. Act IV, Power à La Carte, Scene 2. The meeting between all the Advisors who will be charged with seeking Mansata and her Prayers, led by Amamabarka. Photograph by Augusto Baptista, As Orações de Mansata – Ensaios
Figure 6.3. Opening and Closing Scene. Photograph by Augusto Baptista As Orações de Mansata – Ensaios
Figure 6.4. Act II, Scene 3. Meeting of the Supreme Leader with the three seers, Kamala Djonko, Djinna Hara and Yewta Yawta. Photograph by Augusto Baptista As Orações de Mansata – Ensaios
Figure 12.1. Ventura and a nurse in the corridor (of a hospital or a prison?)
Figure 12.2. The widow Vitalina
Figure 12.3. The MFA soldier in the lift
Figure 12.4. Joaquim in his red shirt, disarmed←x | 1→
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