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Psychoanalysis On and Off the Couch

Faz parte. Make do. Se vira. Tanto faz. Terms of endearment Palavras de carinho Brazilians are a touchy-feely bunch. An easy way to do that is by using diminutives, which are generally formed by adding the suffixes -inhoand -inhato nouns, adjectives and names. Augmentatives can also express intimacy, but an indication of respect is thrown in the mix. Have we met before?

You look really pretty tonight. Can I buy you a drink? Quer beber alguma coisa? Wanna dance? We danced together at the party all night long! Can I kiss you? Do you wanna go out with me? Quer ficar comigo? Where to? Onde a gente vai? I want to spend the night with you tonight. I went on a date with him last night. Vai acontecer. You in? Wanna go? Use the present tense of the verb instead. Of course! Claro que sim! Count me in! Next time. So, is that a yes? I already said yes. Pode ser. Let me think about it. Deixa eu ver. But have fun!

Mas divirta-se! Are you coming? Are you gonna show up to my birthday party? Vou dar uma chegada. Come over! Chega aqui! Get over here! Hurry up! Move it! Oi linda. Do you come here often? You want to hook up? I think he has a crush on me. Stop trying to get with me! Para de me azarar! A festa acabou, bro. Vamos pra casa.

Entre homens

Go away! Vai embora! Get out of here! Sai daqui! Sai fora! Get lost! Cai fora! Did you have fun? I had a blast. Me diverti muito. It was great. It was cool. Foi legal. Foi maneiro. RJ Foi bacana. SP Foi massa. BA It was awesome. Foi show de bola. Of course, some places are more exciting than others. Invite everyone. Chama geral. Vamos dar um mergulho. Can you put some sunscreen on my back?

Passa protetor na minhas costas? Take it easy on the rays—your skin looks like beef jerky. That Speedo makes your balls look huge. Essa sunga deixa suas bolas enormes. Nice tan line! This is not sarcastic. In Brazil, the bigger and darker the tan line, the better. A sarong will do just fine. If you do actually want to make a purchase, here are some good phrases to know. How much is this? How much does this cost? Quanto custa? How much is it for a dozen bananas?

Can I have it for less? Pode fazer mais barato? Eu sou daqui. BA How much will you give it to me for? Pode fazer mais barato pra mim? A piece of shit like this? Uma porra dessa? Vai se fuder, vai morrer burro. Carnival Carnaval Carnaval is the biggest, baddest party on the planet. To experience it is to know what it means to be Brazilian: happy, fun, uninhibited, smoking hot and sexy. Brazil has many types of Carnaval with regional differences in music, dance and food. In our opinion, the top three party-central choices are Rio, Recife and Salvador.

But there are also free street parties, with their own samba music, everywhere. Nesse Carnaval vou assistir tudo da arquibancada. I want to go to a Carnaval party. Quero ir a um baile de Carnaval. Baile de carnavalis a pre-Carnaval party at a club. Where is the samba school rehearsal? Onde tem ensaio de escola de samba? There are about a dozen Rio samba schools that labor year round to create floats and costumes, compose music and lyrics, and choreograph really amazing dance performances for Carnaval. Each school has an hour to parade down the street with their music.

Where can I buy parade tickets? Onde compro os ingressos para o desfile? Did you think it was free to watch? What are the lyrics to this samba enredo? I loved the Front Commission of this samba school. Or not. What costume are you gonna wear? Qual vai ser a sua fantasia?

What time does Rooster of the Morning start? Galo da madrugadais the biggest Recife bloco, a group of people who are associated with a particular float in the parade. Quem vai tocar nesse palco hoje? I want to learn how to dance frevo. People pay to walk and dance along with the float, and everyone wears a T-shirt representing what bloco group they are in. It was awesome! Foi massa!

Onde compro a camiseta do bloco da Daniela Mercury? It is blocked off from the rest of the people by a big rope. Be careful here because there are a lot of thefts and fights that occur. Vamos tomar um uma birita. RJ … uma. SP …copo. Yeah right! Danilo diz que detesta as boates porque tem barulho demais. You wanna come? A gente vai pra um barzinho bem legal.

And when Brazil wins the World Cup, the next day is automatically a holiday. Now, why are you living in America? In some northeast states, the parties last for an entire month. This is the day when the last Portuguese left Brazil. The day that Emperor Don Pedro I declared Brazil an independent country although there were still some Portuguese occupying certain states, hence the July 2 festivities when the last damn Portuguese actually left.

December Natal Christmas. One more! Mais uma! Realization 2: There is never just one kind of drunk. Like the saying goes: in vino veritas. Brews are ordered by the bottle garrafa and drunk from mini glass cups copinhos , except at the beach or in the street, where you can buy it by the can. So, down the hatch! I want… Eu quero Cocktail made of vodka, sugar, fruit of choice strawberries, limes, kiwi… and ice. You can get red tinto or white branco , but try to go for the Argentinean or Chilean brands because the Brazilian wine is as sweet as Manischewitz.

Can I get an ice-cold beer? Me traz uma cerveja bem gelada? Eu vou pegar uma cerva estupidamente gelada. Consider yourself warned. I feel awful. I feel like shit. I have the spins. Vou desmair. I puked on your couch. Weed Maconha Weed is probably the most popular drug in Brazil. You can buy it almost anywhere, though you might need to search a little to find the good stuff. Possession is illegal, so be cautious of where you choose to light up.

Posso fumar aqui? Do you want to buy some herb? Do you know where can I score an ounce? Or try Maria. Ou pergunta pra Maria. You gotta go to a drug corner. Marcelo likes to snort snow. Nunca fumei crack. It would be wise not to provoke them. Just saying Watch out for the cops! Keep your eyes open! Fica de olho! Pay attention! Se liga! Stay frosty! Fica esperto! Here comes the po again.

Group of cops Patamo RJ Psst, there is a pig over there. That MP was super intimidating. Aquele PM foi muito intimidador. The better you look, the easier your life will be. You take care of your body and dress well because other people notice and will judge. But not you, of course. No, you would never judge. Can also be used for someone who is ugly but dresses well. RJ …corpo massa. Adoro homens sarados. This girl is a fine piece of meat. Parece que ele toma bomba.

RJ Pitelis a girl who is fine, smells good and dresses well. Ela tem um corpo maneiro. Your beefy lips would make Angelina Jolie jealous. Sua boca carnuda faria Angelina Jolie ficar com inveja. Her butt is so perky I could sit on it. Are those fake boobs? Can I touch them? Posso pegar? Queria lavar minhas calcinhas nesse tanquinho. Ele se acha o tal. BA cross-eyed. Dude, your cousin is heinous. She looks like Olive Oyl. Ela parece a Olivia Palito. O que aconteceu?

I was born with a double chin and it never went away. Nasci com essa papada enorme e nunca saiu. Check out that bug-eyed midget. This is also a term for someone who wants everything you have. Dumbo ears. Nicknames Apelidos Brazilians like to give people nicknames. More likely than not, your Brazilian friend will zero in on the one thing you spent years in therapy for Or will your arms snap in two?

No way! Nem pensar! Fatty Bola sete What do you want, fatty?

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I need to… Preciso… urinate. Can I go pee here? Posso fazer xixi aqui? I have to piss like a fucking racehorse. My dick is full of piss. I laughed so hard I wet myself. Me mijei de rir. Your boxers are nasty man, they always have skid marks. Estou com gases. I can burp the alphabet, you wanna hear? We farted at the same time, that must mean something! Peidamos ao mesmo tempo, deve ser um sinal! Uhhh, you ripped one! Who cut the cheese? Quem soltou uma bufa? That waiter spat in your juice. Is that snot on your cheek? Does your dog have fleas? Seu cachorro tem pulgas?

Your breath is worse everyday, fool! French people never shower. They always have the worst B. Os franceses nunca tomam banho. Guys can call girls out on PMS, and girls tell guys about how heavy their flow is. Yeah right. She must be riding the crimson tide. I have cramps. Are you PMSing? Can you pick up some pads at the store before you go out with the guys? I feel like crap.

My ass is sore. Man, I have a killer headache! I have It sounds like you have a cold. Do you have tea for nausea? Tea for Look for it under the brand name Dorflex. BA have a quickie. Do you wanna hook up? Forgot your edible panties or condoms? Ours have blood stains. Should we do it in the shower? Vamos transar no chuveiro? How much is it per hour?

Does the medieval suite come with chain-mail armor? Some motels have themed rooms: Egyptian, Japanese, Western—you get the idea. What happened? BA wang. Queria cair de boca nisso! So here are some ways for you to make the ass your biggest ass-et. RJ peito duro. Slide your tongue between my nuts.

I like to feel your ball sack hitting my ass. Gosto de sentir seu saco batendo na minha bunda. Why does your scrotum have so much skin on it? You could make a tambourine out of it. Por que tem tanta pele no seu escroto? Eww, your jewels are shriveled. I want you all to myself tonight. You turn me on. When you kiss me like that it gives me a hard-on. Tell me how you like it. Get undressed and lay down. Tira a sua roupa e deita. Sumatra is an example see X. In consequence Camoes may comment: O what an influence of signs and stars!

And all without lying, plain truth V. Expression involves intensification and in poetry intensification becomes transfiguration. Poetic expression changes the status of things. Adventure and discovery are themselves poetic , not a sum of facts: there is no experientialism here, it is only for a small part, and the less interesting, that Camoes refers to reality and to the concepts that subsume reality.

The hairs of his beard and the hair Falling from his head to his shoulders Were all one mass of mud, and visibly Had never been touched by a comb; Each dangling dreadlock was a cluster Of gleaming, blue-black mussels. On his head, by way of coronet, he wore The biggest lobster-shell you ever saw. They are truer than perception because they convey the mythical truth of The Lusiads. Simple, matter of fact perception conceals prodigies. The famous water- spout is an instance of this intensification and transfiguration of reality. Something that is seen distinctly V.

Fascinium becomes tremendum. A little vapour. It appears to the sailors as a purple leech Then it disintegrates — and, sated and replete , it returned to the water the water it took 22 , as if the waterspout had in fact become a leech, and water blood. In the same hallucinatory vein, the Island of Love displaces itself parallel to the fleet.

Macedo pointed out that it remains invisible until the fleet sees it: it is at this moment that Venus immobilizes the Island. A complex and ambiguous relation links Adamastor to the Island of Love. And Adamastor became a rock owing to an hallucination of his own V. Love is lived as hallucinated reality, in a literal sense. Semantics of Foundation The action of Voyage on Foundation has no formal counter-effects. Except for two or three exceptions, Voyage is never told in the perfect, in the past, or in the third person.

The primacy of Foundation is semantical. Camoes aims at insufflating poetic expres- sivity into history and at giving a political-religious significance to seafaring and discovery. History would thereby acquire the self-evidence of poetry — and poetry would be validated. The semantics of Voyage resists the will to power of the Portuguese. The set community-identity-necessity' Catholicism re-elaborates the set expedition-difference-possibility and contin- gency-paganism.

A new expression of the Voyage would obtain. In this light, i the navigators represent the whole Portuguese commu- nity, the expedition functions as its delegation, ii The identity of the com- munity is preserved within difference which is a category belonging to Voyage : identity takes the form of continuity. Vagrancy is redeemed by the constancy of a project. They will be expanded, thanks to complete discovery of the East, and of Brazil to the West. Even if the series is not yet finished see V. Anticipation of action supervenes in the person who will enforce it. Necessity submits contingency in two manners, at least, iv Foundation transmits to Voyage its inaugural character.

It is always for the first time that things happen, be it the contemplation of southern heavens, the revelation of new seas, the discovery of stupendous prodigies.

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In other words, discoveries are presented as an invention of reality. Vasco must found the New Kingdom 1. Mars, god of war, is on the side of the Portuguese 1. Since the beginning of the poem the reader knows that Jove ordered their victory 1. Success of the expedition is but the first stage of the defeat of the Moslems and of pagan gods. Unlike the semantics of Voyage, the semantics of Foundation is not a nat- ural one.

Expression The semantics of Foundation is un-natural. This means that the providential mission of Gama and of the Portuguese is unable to attain a mode of expres- sion equivalent, in one way or another, to the self-evidence of Voyage. Everything the Voyage presents, as it progresses, is undeniable truth, it belongs to the daily experience of the navigators. That is to say, the syntax of Voyage assembles four independent factors of self-evidence: each one con- tributes to the self-evidence of subjective experience.

The same applies to the episodes, which form the narrative structure. As remarked above, the unfold- ing of a scene is the counterpart of syntactical self-evidence. Thus, both semantics the wonders of discovery and form morphology and narration appear to be an adequate expression of Voyage. Semantics and form cohere too, they require each other. Therefore, the formal structures lead to , and fit , the semantics of Voyage. En passant , voyage is an apt metaphor for life because they both have the same linguistic basis.

On the contrary, Foundation does not conduce to self-evidence of any kind — neither that of experience, nor that of form. The identity and the communality of a country, and its necessary, imperial and Catholic destiny, do not correspond to any natural given. In con- sequence, only the Portuguese, and not all of them remember the departure from Lisbon , will recognize themselves in it. But this is also a hallmark of failure.

Conciliation of Foundation to Voyage does not achieve satisfactory expression. The syntax of Voyage acts upon Foundation. Its effect of re-actualization is limited, though: it does not correspond to the status of the past irrecover- able loss and it contradicts its semantics. Vagrancy does not mix well with imperial destiny. As for narration , the resurrection of history remains for a large part artificial: the syntactical operation is not entirely accomplished.

The re-actualization effect only succeeds well — exceedingly well — as regards lyrical episodes , for instance the story of Pedro and Ines — and as regards every- thing that concerns human existence in general. Semantical operations are less felicitous still.

The taking over of Voyage by Foundation is conceptual , it does not follow from procedures similar to the effects Voyage attempts to induce on Foundation. It consists in an applica- tion of Catholic and imperial values from outside, so to say — resulting in mere overload of meaning. Taking over does not embody human expecta- tions, therefore it cannot generate transfigurations.

Fiowever, this does not happen in The Lusiads. It is not required by the epic code, either. Conciliation does not manage to find its form , the need for expres- sion and the need for form do not co-adapt, ideology does not become poetry. Camoes the narrator does not express himself more gracefully for instance, VII. They relate to the opposition between paganism and Catholicism, between poetry and power. To put it in a nutshell.

Jove and Venus protect the Portuguese of whom Bacchus is the enemy. Intrigues in Olympus run parallel to action, all along Gamas journey. But Portugal has celebrated a covenant with the Christian God, not with Jove. How to reconcile polytheism with monotheism? Paganism would only be a poetical operator.

However, this way out is far from satisfactory. If the goal of Voyage is to restore Portugal to his divine mission, and if Voyage is under the aegis of Olympus, then the Portuguese God requires pagan gods, poetically as much as politically. Furthermore, Bacchus is definitely legitimized insofar as the Moor does not submit to the Portuguese. Vasco does all he can to form an alliance with the Samorin VII. As a consequence, Bacchus ceases to be a fiction. He cannot be a bare stylistic device because the Moor, not entitled to exist de iure , resists de facto.

And, through Bacchus, it is the whole pagan pantheon that The Lusiads rehabilitates. Concepts such as ostension, the progressive, the indicative, etc. My study is analysed on pp. This is an answer to a question put by Professor Helen Vendler. Alves Abstract. A post-imperial approach to Camoes cannot ignore the figure of Bacchus. Given that context, one ought to denounce the politics of criticism apparently sustained by reliable philological practice and show how they silence or put aside a presence that, also through philology, cannot but dominate the meaning of Os Lusiadas.

Baco [ Bowras classic study, From Virgil to Milton. However, by choosing to work on the Adamastor episode as an axis that makes other themes in the poem converge towards it the Veloso anecdote, the sea-storm, the sea-nymphs etc. It is, therefore, the East itself, the oriental shores visited by Vasco da Gama and others in Africa and Asia, that is characteristically vain, cunning and chaotic, while the West, of which the Portuguese are the first imperial representatives, will speak for the opposite virtues.

In other words, Western imperialism is equated with harmony, order, civilization, all-embracing Good. Hernani Cidade, writing in — three years after the Exposigao do Mundo Portugues which represented the apex of the Portuguese brand of fas- cism in terms of cultural policy and artistic achievement — declares in his A Literatura Portuguesa e a Expansao Ultramarina that Bacchus is a personifica- tion of hostile Nature and of local and private economic and political inter- ests The keyword here is ecumenismo : according to Cidade, Camoes is the voice of the union between Church and State in the expansion of civilization among all domains and races.

The latter is exactly the view propounded explicitly by historian Jorge Borges de Macedo in an essay published in for the fourth centenary of the publication of Os Lusiadas. In this context, Camoes would have chosen that god as enemy of the Portuguese, because he had been the one the Arabs had adored. This is, of course, typical of Ideology leading the way for its handmaiden Philology. Nao se tem privado de o fazer e continuara.

Escamotear esta evidencia e absurdo. Um vento de Liberdade nao poh'tica, como nos a entendemos , mas cultural, sensfvel, trans- gressiva, lambe as paginas do Canto [ Sublimated erotic love, with a reminder of its supposedly transgressive con- tent, is fostered as the anchor whereby Os Lusiadas can still be a great poem for the political left. Unsurprisingly, Bacchus has no room of his own in the scheme of things proposed by these critics.

At the most, he represents the degradation of such love, 10 a degradation that somehow goes so far as to turn him into a child-devouring ogre. Now, Saraiva tried to demonstrate that the epic has nothing to do with the intimate thoughts of its author, that the politics of the poem is not the politics purported by Camoes the person.

In his opinion, the Portuguese epic follows a deliberate authorial aesthetic effort at objective timelessness , an effort that, though not completely successful because the historical, empirical, Camoes emerges once in a while , allows it to remain ever impervious to the concerns of its and our times. The militant rhetoric the epic exposes in favour of war against Islam, for instance, is considered part of the objectivity supposedly inherent to the genre as Camoes understood it: Quanto a cruzada, quer Camoes estivesse de acordo com ela, quer nao, era o este- reotipo por excelencia e nao podia faltar [ Bacchus is a good instance of this.

In the end, as in the imperialist conservative position , the marginalization or absence of Bacchus has become convenient to the liberal opposition. Besides, Bacchus has clearly been much underrated as a character and symbol in Os Lusiadas. It is far from enough to notice how the god is the moving force behind the story-line, although a lot of the critical work I have mentioned so far seems reluctant to arrive even at this obvious point. Some attention to what Camoes effectively wrote and to the intertexts with which he, in all likelihood, involved himself, should be able to afford a post-imperial, if not postcolonial, perspective on his epic, an approach philologically engaged in understanding and confronting the unde- niably central political motivations of such a text as Os Lusiadas.

It is certain that Camoes found in Os Lusiadas echoes of other titles, namely of the Iliad and the Aeneid, proper to the suggestion of the classic epic genre. However, this fine-wrought word, as it repeats a humanist Latin neologism identifying the Portuguese, enters fully and deliberately within the dyonisiac realm. What is perhaps most relevant, though, is that this fact places Camoes in an extremely unorthodox position as author of epic poetry: as far as I know, there was no epic precedent in having the heroes being thouroughly antagonized in the main narrative by their own father.

By comparison, other interesting readings of the title made so far, including those based especially on its Lufs Franco manuscript form Elusiadas , seem merely speculative. In the power tactics the poet applies to the relationship between Bacchus and the heroes, deceit is contextualized posi- tively as an indispensable and unavoidable resource of every good leader struggling, as is the case, against all odds.

Finally, one should also reevaluate the virtually unchallenged present notion that Bacchus is effectively defeated in Os Lusiadas. True triumph in the epic means lead- ing the enemy to accept fate and the project of the hero. It is so in Homer and Virgil, whose avenging gods are the indubitable epic models for Bacchus. It is not so in Camoes.

Psychoanalysis On and Off the Couch

But as he does so, the god ofi freedom is also showing why the heroic pro- ject as imperially designed must end in some sort of failure. And how could it be otherwise, since the future beyond the poem, as Camoes slyly seems to be predicting, will have Acteon devoured by his dogs just before Bacchus sounds his hoarse cry of triumph? A passage on p. It could be argued, perhaps, that this paper is also a rewriting of those two essays.

In either case, the ideological dominant is obvious, although perhaps not con- sciously intentional. The passages quoted are from pages of the latter edition. This statement, from page , is a recent one, but it summarizes the authors views ever since his Camoes e a Viagem Inicidtica. Ramalho, especially Ancient sources, like Hesiod Catalogue of Women, frag.

There is even one instance of explicit denial that a strong possibility of kingly and national punishment is encoded in the reference to Acteon, in spite of the fact that both Renaissance allego resis and the Portuguese epic text do suggest that possibility: see Aguiar e Silva Camoes: Labirintos e Fasdnios. Lisbon: Cotovia, Alves, Helio J.

Bowra, C. From Virgil to Milton. London: Macmillan, Brandao, Fiama Hasse Pais. O Labirinto Camoniano e Outros Labirintos. Lisbon: Teorema, Cidade, Hernani. A Literatura Portuguesa e a Expansao Ultramarina. As ideias. Os sentimentos. As formas de arte. Luis de Camoes - O Epico. Gil, Fernando. O efeito-Lusiadas. Lourenq:o, Eduardo. Camoes, Antero, Pessoa.

Lisbon: Sa da Costa Editora, Macedo, Helder. Camoes e a Viagem Inicidtica. Lisbon: Moraes, Viagens do Olhar. Retrospeccao, Visao e Profecia no Renascimento Por tuques. Porto: Campo das Letras, Macedo, Jorge Borges de. Os Lusiadas e a Historia. Lisbon: Editorial Verbo, Madeira, Jose. Camoes contra a Expansao e o Imperio.

Lisbon: Fenda, Martins, [Joaquim Pedro de] Oliveira. Camoes, Os Lusiadas e a Renas cenga em Portugal. Lisbon: Guimaraes Editores, Merquior, Jose Guilherme. Razao do Poema. Ensaios de Critica e de Estetica. As Ideias e as Formas. Rio de Janeiro: Nova Fronteira, Pimpao, Alvaro Julio da Costa.

Luis de Camoes. Os Lusiadas. Quint, David. Epic and Empire. Politics and generic form from Virgil to Milton. Princeton: Princeton UP, Ramalho, Americo da Costa. Coimbra: Livraria Almedina, Saraiva, Antonio Jose. Ponta Delgada: Universidade dos Azores, Sinfield, Alan. Cultural Materialism and the Politics of Dissident Reading. Oxford: Clarendon Press, Alves is Assistant Professor at the Universidade de Evora. Email: halves evunix. This article advances arguments about the metaphoric presence of Africa primarily in the ideology of Os Lusiadas the episode of Adamastor and secondarily in the chronicles of Gomes Eanes de Zurara.

It proposes that Adamastor is a figure of Renaissance melancholy in both somatic and prophetic terms and, as such, represents a melding of interior and exterior forms of consciousness or knowledge. Zuraras chronicles establish Africa as a primordial space of imperialism and its attendant historiographic discourse under the sign of Saturn, planet of time and melancholics. Os Lusiadas contains at its core a terrifying eruption of monstrosity.

I invoke the episode of Adamastor as the entrance into some postulations of a more general nature about the metaphorics of Africa and its inhabitant, the Moor, in the Camonian imaginary and ideology of expansionism. Africa figures prominently in the map of Os Lusiadas , both as a geographical space in which expansionist action occurs recall that it takes Vasco da Gama and his company five cantos to leave its borders and as a temporal landscape in which the Portuguese imperial past, present, and future converge and in which the historiographic discursivity of maritime Portugal is primordially and emblematically located.

More recently, the problem of Adamastor and Africa has allowed exegesis of the text to participate in broader scholarly discussions, for instance, about Renaissance epic poetry, the politics of national identity and identity formation, the genre of shipwreck narrative, or the voice and pres- ence of Lusophone Africa in a post-imperial world.

The formal staging of an episode of anguished interiority — one which contrasts with the putatively external, militaristic, and legislated actions of discovery and conquest — fashions Adamastor as a component of what could be termed the psychomachia of expansion, an interior and interiorizing journey through time, memory, desire, and love that is as pervasive and regular in the Camonian understanding of maritime empire as any series of stratagems relating to conquista.

Love structures the poem not solely as a general, affective disposition expressed through an individualized subject the kind of love scholars typically find in the Rimas but more importantly as a relational discourse particularly suited to the power dynamics of imperi- alism and expansion.

Greene removes love or amatory discourse from the realm of the purely sentimental and establishes it as a governing conceit through which the more public actions of imperial encounter may be shaped and narrated. Adamastor boasts traits that evoke prevailing ideas in Renaissance Europe about the nature of melancholy and the melancholic.

As an earthen or telluric figure, Adamastor represents a melancholic sorrow occasioned by loss — in his case, his loss of the nymph Thetis — as symbolized in landscape. But it also establishes a continuity or similarity between Adamastor and his Portuguese interlocutors that is largely based on a reckoning with the past and the struggle to overcome a melancholic incli- nation, an inclination that, if realized, produces a stasis of spirit and hence a diminished moral rectitude. It is precisely this temporal dimension of melancholy that Camoes exploits in Adamastor, situated as he is on a nodal point of his- tory.

A estranheza, o estranho, estranhamente. Africa is a primary locus of European expansion. The Portuguese textual preoccupation with Africa is one of the founding discourses of European imperialism. The chronicles of the first half of the fifteenth century establish a series of codes of writing about the colonial other that will be renewed and expanded by figures such as Columbus and later imperialists.

The complex- ities of this body of writing have much to offer contemporary discussions and theorizations of imperialism, including the influential formulations of thinkers like Tzvetan Todorov and Edward Said. Central to this discourse is the figure of the Moor. In Camoes, and in the work of his historiographic predecessors, especially the chronicles of Gomes Eanes de Zurara, the Moor is the sign of the strange and indexes the emergence of a new culture of his- tory-writing attending the Portuguese exploration and colonization of Africa.

A Moor is the symbolic or figural representation of a process of negotiating strange and alien landscapes geographic, perceptual, discursive , of adjusting epistemo- logical systems to accommodate such landscapes, and of historicizing this process narratively.

The Portuguese expansionist Moor emerges at the investi- ture of historical awareness into the space of Africa — an awareness, of course, that is European rather than indigenous, and of an imperialist bent. It was Zurara, the chronicler appointed cronista-mor as successor to Fernao Lopes, who first fashioned Africa and the Moor as part of a teleology of expansionism in historiographic discourse.

Henrique work their way down the west coast past Cape Bojador, for centuries one of the end-points of European cartographic knowledge. This foundational myth, for Biblical wanderers the beginning of genealogical descent, is, for Zurara, also a beginning, but now one of an evolving provi- dential mandate which locates in Africa the dawn of the imperial nagao. In another chronicle, the Cronica de D. Yet Saturn is also the planet of melancholics. Zurara implicitly aligns the nature of historiography to the planet of melancholy — history- writing is a saturnine activity — in an African context.

For Zurara, Africa gives birth to chronistic discourse as it now will be practiced in the age of expansion, and does so under the sign of Saturn. Melancholy and writing merge at least notionally and construe expansionist, historiographic productivity which will include Os Lusiadas , profoundly historiographic in nature as a narrativity allowing for a consciousness of states of alterity and strangeness.

While Mbembe works in the con- temporary sphere, his comment nonetheless characterizes the discursive cul- ture of early modern Portuguese imperialism. Africa emerges in Camoes as an interiorized space in which the writing subject metaphorically constitutes and expresses itself. For a wide-ranging study of genial melancholy, see Schleiner. Loeb Classical Library Cambridge: Harvard UP, Banks, Jared. Baucom, Ian. Blackmore, Josiah. Minneapolis: U of Minnesota P, Emanuel Paulo Ramos.

Porto: Porto Editora, n. Lisboa: Imprensa Nacional-Casa da Moeda, Eduarte [i.

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Leal Conselheiro. Joseph M. Lisbon: Bertrand, Earle, T. Figueiredo, Joao R. Greene, Roland. Chicago: U of Chicago P, New York: Basic Books, Lipking, Lawrence. Lourengo, Eduardo. Portugal como Destino, seguido de Mitologia da Saudade. Lisbon: Gradiva, Lyons, Bridget Gellert. London: Routledge and Kegan Paul, Mbembe, Achille. On the Postcolony. Berkeley: U of California P, 1.

Said, Edward. New York: Vintage, Schiesari, Juliana. Ithaca: Cornell UP, Schleiner, Winfried. Melancholy, Genius, and Utopia in the Renaissance. Wiesbaden: In Kommission bei Otto Harrassowitz, Silva, Vi'tor Manuel de Aguiar e. Stewart, Susan. Durham: Duke UP, Todorov, Tzvetan.

Richard Howard. Zurara, Gomes Eanes de. Cronica de D. Pedro de Meneses. Maria Teresa Brocardo. Joao I. Francisco Maria Esteves Pereira. Lisbon: Academia das Sciencias de Lisboa, His research interests center on the history of sex- uality and gender in the Iberian Middle Ages and Renaissance, the cantigas de escarnio e mal dizer, and on the textual productivity of expansionist Portugal. He is currently writing a book on the idea of Africa in Camoes and in historiographic texts of Portuguese imperialism.

Aquela famosa ladainha de D. Esta falta de legitimidade nao era um obice para aqueles que no Oriente conheceram um outro imperio que nao precisava de legitimidade europeia para se deslumbrar com o seu esplendor precario. Precario mas ainda vivo para rivalizar la longe com outros potentados mais ricos do que nos, mas sem armas tao modernas como entao eram as nossas.

Nas mensagens de Albuquerque aos senhores da Asia, nas missivas dos nossos embaixadores em cortes do Oriente dignas de romances de cavalaria, nas falas de D. Joao de Castro, e que nos fomos esse imperio que nao tmhamos direito a ser.

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Tecnicamente, a sua opiniao tern razao de ser. Ou entao, Os Lusiadas , como o pensou em tempo Antonio Jose Saraiva, teriam ficado apenas como o exemplo do poema artificial requerido pela poetica renascentista, sem nenhuma emo- 9S0 ou transcendencia historica, em suma, sem nenhuma dimensao que entao ainda hoje como Cesares dele pudessemos chamar imperial. A parte Joao de Barros que por romance de cavalaria entreposto ja estava vocacionado para conceber como imperial a nossa gesta no Oriente ninguem como Camoes ao rnvel do imaginario, claro esta, viveu como imperial ou digna de Imperio uma historia patria que teve na India o seu centro como a mftica da Europa medieval — a de Clarimundo — o tinha tido em Constantinopla.

E era de Constantinopla, entao ja nas maos dos turcos, que a India nos compensava e compensava a Europa na Contra-Reforma. Ao menos em vida de Camoes. A esse tftulo tambem Os Lusiadas sao um paradoxal poema contra-reformista, cristao na ordem ideologica e poh'tica sob esse signo, renascentista na ordem cultural, consciente ou inconscientemente encharcado dos perfumes nao so da Arabia mas de Chipre e da sua famosa deusa. Do texto por excelencia imperial vive a cultura portuguesa e, literaria- mente, exceptuando o eclipse pseudo-iluminista de Macedo, vive muito bem.

Que qualquer coisa mais dolorosa que Alcacer-Quibir nao deixasse nao apenas diminufdos em termos de polftica, da dimensao historica com outrora, mas orfaos daquilo que gramas aos Lusiadas , mesmo ancorado ao longe, nos dava a impressao de estar para sempre no mapa do mundo, na memoria Ocidental e sobretudo na nossa como um navio que nao pode afundar-se. Em suma, que, sem Imperio ficarfamos nus como antes de o ter.

Na verdade, enquanto camoniano, enquanto memoria e texto, o Imperio nao podia ser perdido, so se perdessemos ao mesmo tempo o texto que guarda essa memoria e a renova. Depois de Abril houve um momento em que para suportar a nossa nova existencia sem dimensao imperial - mesmo factfcia ou fictfcia - muitos pensaram que se devia deixar ao tempo o que o tempo tao cruamente des- mentia. Que o nosso sonho imperial era a raiz e a causa do ultimo desastre.

E era. A nossa ultima veleidade imperial por conta de um imperio sem futuro fizera-se ainda com estrofes lembradas da historia paradigmatica do Oriente. Assim foi feito. Era mais facil ajustar contas com a nossa ma leitura de nos mesmos de que Camoes seria o maximo culpado, do que conosco mesmos como historia, vida presente, desafio futuro e do futuro.

O eclipse do discurso camoniano durou pouco e no pouco que durou so para alguns essa estrategia de desiludidos da Historia teve alguma serventia. Nem a duvidosa subtileza de substituir o texto realista e crftico da Peregrinagao ao texto onfrico e sublimado de Os Lusiadas sentiu qualquer efeito, sal fatal de continuarmos navegando nas mesmas aguas imperiais, decididamente inesgotaveis, por conta propria de aventureiros sem muita lei nem rei, em vez da heraldica Fe e Imperio. Como se nunca o tivessemos tido. Sem sequer um olhar melancolico como o do Rei Boabdil abandonando Granada.

E muito menos com remorso ou panico como as Filhas de Lot sem se voltar para o passado. Alguns de nos sabfamos que as partes do Oriente e as partes de Africa, que tao pouco melodramaticamente Helder Macedo evocaria a tftulo postumo e intemporal, continuariam no papel e no sftio onde estiveram quando elas pareciam nossas e, sobretudo, nos delas. Sao o nosso unico Quinto Imperio.

Publicou Heterodoxia 7 e Pessoa Revisitado ; o seu ultimo livro e o primeiro em ingles surgiu recentemente, Chaos and Splendor and Other Essays The doctrine of Lusotropicalism, formulated by the Brazilian sociologist and anthropologist Gilberto Freyre, was arguably the most influential of twenti- eth-century discourses buttressing and legitimizing the continuing survival of the Portuguese colonial empire.

This inherently bicul- tural and consequently xenophilic spirit of the nation would literally become flesh through the generalized and generally accepted practice of miscegena- tion, touted by Freyre as the defining aspect of Portuguese colonial expansion and the foundation of its unique historical destiny. The kinder, gentler nature of Portuguese colonialism manifested itself most symptomatically, according to Freyre, through a preponderance of allegedly reciprocal claims of love and desire over unilateral demands of domination and servitude.

Less than a decade later, the Lusotropicalist doctrine received its defini- tive form with the publication of O Luso e o Tropico , a volume whose edition was sponsored by the Portuguese government and which appeared simulta- neously in Portuguese, French and English as The Portuguese and the Tropics. It needs to be acknowledged, however, that in spite of coming from a lineage of Camoes aficionados — as he reports, both his grandfather and his father were able to recite The Lusiads from memory almost in its entirety.

Aventura e rotina In other words, Lusotropicalism begins on the Isle of Love. What matters here is that the sixteenth-century literary fiction of the Isle of Love and the twenti- eth-century pseudo-scientific doctrine of Lusotropicalism are linked by a steady stream of discourses focused on the articulation of national identity, in which the innate tendency of Portuguese men toward sexual hybris emerges as a leading factor in the construction and preservation of the empire, as well POST-IMPERIAL CAMOES as a significant moral justification of Portuguese imperial claims.

In this context, the relationship, postulated by Freyre himself, between representations of sexuality in The Lusiads and the sexual foundations of Lusotropicalism emerges as anything but arbitrary. The Isle of Love episode of The Lusiads occupies a considerable portion — altogether, stanzas — of the last two cantos of the poem.

Afterwards, there is plenty of fine wining, dining and musical entertainment, which segues into a lengthy expose of future military exploits awaiting the Portuguese in the Orient, always to be followed, for successive generations of heroic con- querors, by a restorative sojourn on the Isle of Love X, Finally, a second vision of the empire to come, framed by the Ptolemaic model of the universe, is revealed to Gama by his own mythical consort, the sea goddess Tethys. Others, such as Vftor Manuel Aguiar e Silva, castigated those referentially minded readers for their naivete, insisting on a purely or predominantly allegorical interpre- tation of the sequence.

It is only if we read The Lusiads religiously — not as a sacred text per se, but as a text that sends transcen- dent messages to the faithful — that we must struggle to accommodate or bypass, or deny the direct and literal appeal of its pornographic sequences. There is, however, an alternative way of reading this disclaimer without, at the same time, accepting what it seems to impose on the reader, a whole- sale dismissal of the pagan sexual fantasy as a mere disguise of the true pur- pose of the poem.

Furthermore, such a reading creates a context in which the rather abrupt transition from sex to marriage in stanza 84, however awkward from the point of view of composition, figures as a necessary next step — and one better taken as fast as possible — in the development of the sequence.

It is not enough for Sebastian to simply start chasing women, spurned on by the pornographic appeal of the Isle of Love, since it is only through matri- mony and the production of legitimate offspring that he can fulfill his royal mission of preserving and extending the Portuguese kingdom. As a metaphorically transfigured representation of encounter and its consequences, the Isle of Love may lack the forceful intelligibility that the Adamastor episode has acquired for postcolonial critics; but what it lacks in relative transparency, it more than makes up for in its exuberant and equiv- ocal complexity.

In the former register, nearly all exchanges, collisions and alliances occur between men, and men only with one significant exception, to which I will return. The two episodes function therefore as intimately inter- dependent facets of a foundational romance that anticipates and prefigures the centuries-long imperial marriage between the Portuguese and the tropics. As Freyre hastens to add, Nao tem deixado de haver drama, conflito, dor, angustia, sofrimento em tais encontros.

Mas raramente lhes tem faltado amor: amor de homem a mulher de cor e amor de homem a terra quente, para amortecer, dulcificar asperezas, em choques de interesses que a pura conveniencia, mesmo quando mutua, dificil- mente evita ou sequer amacia, nas relates entre grupos humanos, nisto parecidas com as relates entre indivfduos. In the fantasy of conquest staged on the Isle of Love, even the greatest loser — Leonardo — gets the girl, and with her an equal share of the spoils since the nymphs are all equally desirable, all incomparably beautiful. As a utopian alternative to Adamastor, the Isle of Love does not, however, altogether sup- press the signs of what it must exclude in order to salvage the plausibility of its scenario.

It reinforces the contrastive link- age between the two episodes and it surrounds the island with shadows of its other epic antecedents: the Homeric islands of Circe and Calypso and the island of Lemnos in Argonautica , all spaces of amorous encounter between questing navigators and island-bound women. Then there are newer, more unorthodox appropriations, such as the composition on the theme of the Isle of Love, written by Gina Martins, a Portuguese high school student from Tavira, and posted on a web site sponsored by the Universidade Nova de Lisboa.

Camoes: Labirintos e Fascinios. Where's the postbox? How long are you planning to stay here? Karma may have had its say that week when an unlucky flagstick begat a bad drop that begat a near-DQ that all added up to the four shots that separated him from the playoff won by Adam Scott. This information is not used by us for any other type of audience recording or monitoring. Ricky Ponting played an innings as good as any I have ever seen. He made , the next highest score was Ponting faced a reverse-swinging ball at 90mph but every single one hit the middle of the bat.

It was an exhibition of how to face reverse swing: play it late, allow it to swing and then play shots but always with a straight bat. Could I have an application form? The reports were based on information provided by Snowden. Brazilian petroleum regulator ANP fined Chevron for failing tofollow drilling plans, but absolved the company of negligence. How much does the job pay? The rebels know this, and are likely to push him as hard as they can. Which hardly adds up to a win for Assad.

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The blond actress poses nearly nude, save for a carefully placed piece of fabric, pink jewels and an extra-large bottle of Italian perfume. Oh, and an enormous lion. We will immediately launch aninvestigation," Dumex said in a statement passed on by a DanoneSA spokeswoman on Monday.


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Some are reporting that under Louisiana law the boy will not be charged with murder because of his age. The home side were booed by supporters of the separatist cause and lost the game. How much were you paid in your last job? Fans will boo him mercilessly in every stadium outside of Philly. Defensive players will have a few choice words for him, and perhaps a little extra vigor on their hits, too. No Surrender. Could I take your name and number, please?

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That took the death toll to but those searching know that up to other bodies are still missing.

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