Transcultural Mobilities and Memories”

International Online Conference “Transcultural Mobilities and Memories”

HTTP://CEHUM.ILCH.UMINHO.PT/MOBILITIES

15 & 16 APRIL/ABRIL 2021

ABSTRACTS AND BIO-NOTES RESUMOS E NOTAS BIOGRÁFICAS

Congresso Online Mobilidades e Memórias Transculturais Online Conference Transcultural Mobilities and Memories Site: http://cehum.ilch.uminho.pt/mobilities Resumos e Notas Biográficas / Abstracts and Bio-notes

Dia / Day 1 - Quinta-feira / Thursday - 15 de Abril / April

Keynote / Palestra plenária 1: Astrid Erll (Goethe University Frankfurt) The Transcultural Challenge: Thinking about Mobility and Memory without the ‘Lies that Bind’ In this lecture I argue that the particular link between social group, memory, and identity as it was theorized by Maurice Halbwachs and has become a building block of Memory Studies, is no longer tenable – and perhaps was never quite accurate. It is a product of the age of nationalism. But this nineteenth-century thinking is of little use in the twenty-first century, our age of heightened worldwide mobility. How can we think about the relations between people in ways that are less detrimental – and intellectually more consistent – than the ‘lies’ (sensu Appiah) we’ve told ourselves about race, ethnicity, religion, cultural history, and collective identity? And how can Memory Studies help us address questions of living-together in increasingly diverse societies? Meeting this ‘transcultural challenge’, I argue that thinking about relationality, indebtedness, and responsible inheritance may be useful ways of understanding memory in an age of mobility. No Bio-note: Astrid Erll is Professor of Anglophone Literatures and Cultures at Goethe-University Frankfurt. She has worked on German, British, South Asian, American, and South African literatures and media cultures. Her research interests include literary history (focus on 19th- 21st centuries), media history (focus on film and photography), English and comparative literature, cultural theory, media theory, narratology, transcultural studies and – last not least – memory studies.

Astrid Erll is general editor of the book series Media and Cultural Memory (with A. Nünning, De Gruyter, since 2004) and co-editor of A Companion to Cultural Memory Studies (with A. Nünning, 2010) and Mediation, Remediation, and the Dynamics of Cultural Memory (with A. Rigney, 2009). More recently, she published with Ann Rigney Audiovisual Memory and the (Re)Making of Europe (Image & Narrative, 2017) and Cultural Memory after the Transnational Turn (Memory Studies, 2018). She is author of Memory in Culture (Palgrave 2011), an introduction to memory studies which was originally published in German as Kollektives Gedächtnis und Erinnerungskulturen (2005, 3rd ed. 2017) and has also been translated into Chinese, Spanish, and Polish. In 2011, Astrid Erll founded the Frankfurt Memory Studies Platform, a vibrant forum for memory studies across the disciplines, connecting researchers both in Frankfurt and internationally. In 2016, she received a research grant from the VolkswagenStiftung for an „Opus Magnum“ on the reception of Homer as cultural memory (“Odyssean Travels: A Literary History of Cultural Memory“). ______Painel/Panel 1 1- Helena Maria da Silva Santana (Universidade de Aveiro) Maria do Rosário da Silva Santana (Instituto Politécnico da Guarda) A memória nos tempos modernos: quando as ações culturais nos comunicam espaços de saber, mitos, lendas, tradições. Portugal suportou nos últimos anos transformações que metamorfosearam a sua paisagem material e imaterial traduzida em mudanças a nível social e cultural às quais não podemos ficar alheios. A recuperação dos territórios tem conduzido ao (re) aproveitamento e desenvolvimento de novas valências sociais, de renovadas identidades territoriais e culturais, preservando tradições. Neste contexto, surgem ações de divulgação e dinamização de territórios cujas dinâmicas dependem das atividades sociais e culturais aí desenvolvidas. Questionando as narrativas e as poéticas gestuais, visuais e sonoras propostas pelas diversas ações culturais que se dinamizam nesses territórios, vemos no uso da Máscara um rito apoiado em mitos que revelam a particularidade dos contextos onde se exteriorizam estes rituais. Assim sendo, a preservação da tradição transforma-se num importante fator para a conservação da autenticidade e da cultura de uma região, promovendo a conservação de lendas e mitos que se podem mostrar em ações tais que A Guarda Folia - O enterro do Galo, uma ação que permite aferir das diferentes manifestações que ora se dizem nas tradições, mitos e lendas locais, ou no Caretos do Nordeste Transmontano entre outros eventos. Assim, nesta comunicação, temos como objetivo principal a identificação e apresentação de dois recursos culturais do nosso território, percebendo como o património reflete a forma como um povo, uma nação, um país, se diz, num espaço vivencial que se mostra cada vez mais plural e multicultural. Neste contexto, pretendemos efetuar uma reflexão sobre a forma como a Máscara surge e se expressa enquanto recurso, mas também como espaço de narrativa multicultural. Concomitantemente, salientaremos a especificidade das construções e das narrativas propostas pelos Caretos da região de Trás-os-Montes, ou dos

Cardadores de Vale-de-Ílhavo. A Máscara está ainda presente nas poéticas gestuais, visuais e sonoras do Boi Bumbá, ou do Perú, naquilo que se mostra em a Diablada. Palavras-Chave: Máscara; Boi Bumbá; Diablada; Narrativas visuais; Enterro do Galo Nota Biográfica: Helena Santana Helena Santana estudou Composição Musical na Escola Superior de Música e Artes do Espectáculo do Porto. Em 1998 obteve o grau de Docteur na Universidade de Paris-Sorbonne (Paris IV) defendendo a dissertação intitulada - “L’Orchestration chez Iannis Xenakis: L’espace et le rythme fonction du timbre”. Desde 2000, desempenha as funções de Professor Auxiliar no Departamento de Comunicação e Arte da Universidade de Aveiro. Pertence à unidade de Investigação – Inet-MD -, realizando diversa investigação no domínio da música contemporânea. É coautora do livro, (semi)- BREVES. Notas sobre música do século XX, e autora do livro (In)EXISTÊNCIAS do SOM. Nota Biográfica: Rosário Santana Rosário Santana estudou Composição Musical na Escola Superior de Música e Artes do Espectáculo do Porto. Em 1998 obteve o grau de Docteur na Universidade de Paris-Sorbonne (Paris IV) defendendo a dissertação intitulada - “Elliott Carter: le rapport avec la musique européenne dans les domaines du rythme et du temps”. Desde 1999, exerce funções de Professora Coordenadora no Instituto Politécnico da Guarda. Pertence à Unidade de Investigação da referida instituição, bem como ao INET-MD. É co-autora do livro, (semi)- BREVES. Notas sobre música do século XX, publicado pela Universidade de Aveiro.

2- Karla Barroso (Universidade Federal do Estado do Rio de Janeiro) Samba-enredo, rastros e memórias Vivências múltiplas e experiências são compartilhadas num mesmo tempo e espaço, o fato de interagirmos com sujeitos distintos socialmente, abarcam nessas relações laços e rompimentos. Simultaneamente, elaboramos nossa memória, não vivemos sem trocas e circulação de significados, conforme aponta Hall (2015). Os indivíduos interpretam, vivem suas realidades, negociam, atuam em seus dramas assimilando os aspectos externos da vida social, conforme a proposição de Halbwachs (2006) no entendimento dos conceitos de memória coletiva e individual, representa o coletivo, a ideia de um grupo social, o individual se submete as prioridades do coletivo nas negociações sociais. A proposta dessa comunicação, abordar uma das representações culturais elaboradas nas estratégias de sobrevivência cultural nos processos da diáspora africana no Brasil: o samba-enredo. O samba-enredo, gênero musical brasileiro, um dos elementos norteadores da memória das escolas de samba, do samba e identidade cultural, pois, em suas narrativas a presença de rastros culturais e vestígios de termos relacionados ao léxico africano, se assemelha com a ideia de espaços de recordação proposto por Assman (2009). São relatos de mitos que sobrevivem contados de geração em geração na vida cotidiana e narrados no samba-enredo. A memória, a oralidade e a tradição perpassam toda a

3 construção cultural. O mito é interpretado, reinterpretado e atualizado. O samba-enredo convoca e envolve pelas nuances da memória coletiva que são descritos nas suas letras e música. Palavras-chave: Samba-enredo; Memória coletiva; Estudos Culturais; Diáspora africana; Rastros. Nota Biográfica: Sou Museóloga, Mestra em Memória Social e tenho colaborado com investigações que abordam os seguintes temas: Narrativas, Memória Coletiva, Diáspora Afro Brasileira e Patrimônio Cultural. Interesso-me profundamente pelas formas específicas de transmissão de saberes, nas redefinições e reconfigurações provocadas pelos deslocamentos e a desterritorialização dos grupos culturais que transpassam o Atlântico Negro, pois, considero o processo dessa diáspora como afirmação das identidades culturais.

3- Sergio Schargel (Instituto Igarape) Reticências: pós-memória e reconstrução nos Schargels/Szargels O testemunho é vital para que gerações posteriores possam construir uma identidade. Na ausência de narrativas, no silêncio, a memória é mutilada, substituída por retalhos, forma- se uma pós-memória. Este ensaio trata das questões relativas ao desconhecimento do passado utilizando, para isso, de uma reconstrução de arquivo da história do refúgio dos judeus Schargel/Szargel da Polônia para o Brasil, através de alguns poucos documentos e da memória coletiva da família. Com poucas informações e documentos, o principal objetivo deste trabalho é apontar as dificuldades de reconstruir narrativas indenitárias de uma família destroçada pelas guerras, e as consequências que esse vácuo implica no contemporâneo sendo, a mais evidente, a formação de uma pós-memória. Justifica-se a pertinência deste trabalho não apenas pela necessidade de levantar uma discussão acerca da reconstrução por arquivo, mas também da diáspora judaica e das formas que gerações posteriores, espalhadas pelo mundo todo, buscam se reconectar com um passado que muitas vezes foi retalhado. Sobram, assim, reticências, lacunas que, por mais que sejam diminuídas com trabalho de arquivo, jamais serão completamente preenchidas. A reconstrução desse ensaio é feita principalmente através de alguns poucos documentos pessoais, aliado a documentos encontrados por outros familiares, próximos e distantes, e buscas realizadas por uma empresa, alguns anos atrás, no Arquivo Nacional e outros arquivos, visando, na época, a emissão de passaporte polonês; nesse contexto, conceitos como assombração, ruínas, cascas e, principalmente, pós-memória, perpassam metodologicamente todo o ensaio. Palavras-chave: Silêncio; Testemunho; Pós-memória; Assombração; Cascas. Nota Biográfica: Mestrando em Literatura, Cultura e Contemporaneidade (PPGLCC) pela PUC-Rio, mestrando em Ciência Política pela UNIRIO (PPGCP), bacharel em Comunicação Social, Jornalismo e

Comunicação Social, Publicidade e Propaganda. Analista de Comunicação do Instituto Igarapé. Currículo Lattes: http://lattes.cnpq.br/0215890727285473. ______Painel/Panel 2 1- Jonas Prinzleve (University of Lisbon) Cityscapes of Entangled Heritage: Lisbon’s Museu do Aljube as a Site of Multidirectional Memory Centuries ago, the port city of Lisbon constituted a nodal point in the violent genesis of the modern globalised world. The city’s more recent colonial history was shaped by the policies of the dictatorial Estado Novo regime, which left a profound mark on its topography of cultural memory. While Lisbon’s (neo)-imperial city-scape is amply researched, less efforts have been made to explore landscapes of urban cultural memory as both post-imperial and post-fascist and to bring these two frameworks into conversation. Taking the former political prison Museu do Aljube as a starting point, this paper charts places of multidirectional memory that allow for a transnational and multidirectional travelling of memory across intersecting routes of colonialism and fascism (and respective moments of resistance). The aim is to develop an analytical framework equipped to recognise and respond to rising nationalist tendencies within dominant manifestations of cultural memory in Portugal and beyond. Keywords: Multidirectional Memory, Travelling Memory, Postcolonial Studies, Urban Space, Lisbon Bio-note: A scholarship holder and PhD candidate at the University of Lisbon, Jonas Prinzleve’s research project focuses on heritage, memory and public space in postcolonial Lisbon and Hamburg. It is supervised by Professor Astrid Erll (Goethe University Frankfurt), and research fellows Elsa Peralta (University of Lisbon) and Marta Pacheco Pinto (University of Lisbon). As an anti-racism and memory activist, he co-organized the second transnational Herero and Nama congress in Hamburg, Germany in 2018. He is a member of the Hamburg Ministry for Media and Culture’s advisory board for the drafting of a city-wide decolonial programme. Further, he is part of the project “ReMapping Memories Lisboa - Hamburg” of the Goethe Institute Lisbon.

2- Zuzanna Schnepf-Kołacz (POLIN Museum of the History of Polish Jews) POLIN Museum and the Waliców Heritage Site in Warsaw: Circulating Memories and Ideas The three buildings on Waliców Street in Warsaw survived the total annihilation and destruction of the city during World War II. Being part of the ghetto area and place of the most intensive fights during the Warsaw Uprising, they witnessed the most tragic key moments in Polish and Jewish wartime history. At the same time, the enclave of Waliców

Street is a fragment of a vanished pre-war city: a real DNA of non-existing Warsaw (G. Morpurgo, 2018). After the war, Waliców buildings, considered by the communistic regime as a bourgeois legacy, were abandoned and neglected in terms of their heritage and identity. It was “a memory non-site” defined by Claude Lanzman or rather “a site despite everything” by Georges Didi-Huberman (Roma Sendyka, 2013): a taboo place, not marked and absent in official commemoration, but a the same time disturbing and provoking bottom-up reactions. Since early 1970s, artists, activists and residents have been developing grassroots initiatives to commemorate the history of this particular site. Architects Guido Morpurgo and Annalisa de Curtis launched “The Waliców Project” at the Politecnico di Milano. The POLIN Museum, in cooperation with the Italian professors, has started to bring the subject of the Waliców to the wider public discussion, inviting authorities of Warsaw, urban activists, residents, architects and historians to take part in it. After many years of post-war oblivion, Waliców has gained a “symbolic aura” (Pierre Nora, 1989) and has become an iconic place for different groups, a memory anchor for their own stories. Has Waliców Street become a lieux de mémoire? What was the memory shift over years, with participation of different social actors and circulation of their ideas and concepts? How did Waliców acquire new meanings and symbols not only in terms of past but also regarding its future: from local memory place to transnational European heritage site? Can we define the phenomenon of building a social partnership for Waliców and what was the Museum’s role in it (the ICOM’s idea of “extended museum”)? These are the key questions of my paper. Key words: Warsaw; heritage site; Holocaust; museum; participation. Bio-note: Zuzanna Schnepf-Kołacz, graduate of the Department of Journalism and Political Science and Jewish Studies at the Institute of History, University of Warsaw; doctoral student at the Institute of Philosophy and Sociology of the Polish Academy of Science; coordinator of the Holocaust Gallery at the POLIN Museum, Vice-consul of Poland in Milan (Italy), presently working in the Research Department of POLIN Museum, author of several articles about the history of Polish Jews during the Holocaust, co-author of historical exhibitions: “Solidarność nei documenti della Fondazione Giangiacomo Feltrielli” (Milan, 2014); “From Poland with Love” (Warsaw, 2017); “Window to Waliców Street” (Warsaw, 2018).

3- Anna-Marie de Beer (University of Pretoria) Remembering Rwanda through transnational narrative In this paper I explore an African genocide that unfolded in a collectivist society and is written about in a commemorative project by a group of intellectuals from African origin. Their approach can on the one hand be framed within what Abdourahamn Waberi (2011) has called an African ‘enclosure’: a deep engagement with local mourning and burial cultures, perspectives on death and traditional modes of storytelling. On the other hand, they are a transnational, transcultural group of writers who may also be described as Afropolitan, and

6 write from that ‘interstitial space’ that many contemporary African authors occupy who have lived both on and off the continent. I situate my approach to the project entitled Rwanda, écrire par devoir de mémoire within the broader framework of attempts to decolonize (or contextualize) trauma theory and hope that it demonstrates what Irene Visser calls an ‘openness to non-Western belief systems and their rituals and ceremonies in the engagement with trauma’ and an engagement with ‘culturally specific spiritual and religious perspectives’ (2015: 250, 259). To do this, I consider the African roots of the project participants. I also draw from the framework of the communitarian notion of ubuntu, with its focus on collectivity, solidarity and empathy, as well as the capacity of the oral tradition to build bridges and share stories. Such a reading seems to cohere with the spirit of the project as it was originally conceived; it is commonly accepted that this joint effort by a transnational group of African authors was ‘an unprecedented phenomenon’ in African literature (Cazenave and Célérier 2011). Never before had a group of African writers gathered, in the face of traumatic events which had taken place on the continent, to produce literary works which would be at the same time ‘individual’ and ‘collective’ voice from the continent (Djedanoum 1999), providing us with a seminal example of what Stef Craps would call the trauma aesthetics relevant to a ‘minority’ trauma (2014: 46). Bio-note: Anna-Marie de Beer is a lecturer in French and francophone studies at the University of Pretoria in South-Africa. She was born and grew up in Zimbabwe and completed her undergraduate studies at the University of Pretoria. She obtained a Master’s degree in Modern European Literature from Wits University in 2001. Her fields of interest are the relationship between trauma, memory and literature as well as francophone life writing. Her most recent publication Sharing the Burden of Stories from the Tutsi Genocide (2020) deals with literary responses to the genocide of the Tutsis in Rwanda and in specific the collective project ‘Rwanda: Writing by duty of memory’. Her current research focuses on the role of genocide memorials in Rwanda. ______Painel/Panel 3 1- Alessandra Nardini, Elaine Trindade, Fernando Augusto Silva Lopes, Tiago Vieira da Silva (Universidade do Minho) Painel: O Museu Virtual da Lusofonia: memória, língua e conhecimento Este painel visa a discussão do regime comunicativo do tempo atual, em que a informação e o conhecimento estão em fluxo, e o efêmero e o híbrido permeiam a esfera cultural. A língua enquanto um signo digital primitivo, quando exposta a essa realidade complexa, híbrida e envolta em um movimento simbiótico entre a materialidade da memória e o imaginário, somente pode ser compreendida por meio de narrativas multi, inter e transculturais. As mídias digitais são transversais as materialidades da memória, pois, possuem a capacidade de delinear uma fronteira muito tênue entre o real e o virtual, uma vez que mesclam e

7 convergem as produções em diversas plataformas, nas quais o fluxo entre as diversas mídias consegue construir uma sensação de pertencimento do que se controla virtualmente. Neste ponto a socialização digital, assim como a socialização familiar, possui uma forte carga na definição da relação do sujeito com o objeto memorativo. As gerações que nasceram já nos últimos anos da década de 2000, a chamada geração millenium, já foram socializadas em um mundo sob a mediação multimídia digital, logo a sensação de realidade quando imersas em ambientes virtuais, é completamente diferente em relação a gerações anteriores. Trazer esta discussão memorativa por meio de um Museu Virtual torna-se mister a discussão deste painel. O Museu Virtual da Lusofonia, objeto elementar do estudo em questão, vem a ser o dispositivo capaz de amalgamar as relações entre a memória, o imaginário sociocultural e a língua portuguesa como um idioma de produção de conhecimento empírico e memorativo. Dessa forma, debater a materialidade da memória em um Museu Virtual, no qual a convergência dos meios e dos objetos constroem a realidade através das imagens digitais e de suas textualidades, encontra-se em fluxos; a sociabilização digital se torna um elemento extremamente relevante para que este Museu seja não apenas um repositório, mas um espaço atrativo em alinhamento constante com a memória e o imaginário. Desta forma debater e refletir a materialidade da memória, dentro dos universos imaginários propiciados pela Era Digital e pela experiência de imersão, resiginificam as relações culturais. Trazer para este painel uma nova proposta sobre a circum-navegação da língua portuguesa torna-se fundamental, pois em uma relação memorativa digital quem chega não é o colonizador, mas sim o mediador cultural, que traz consigo uma proposta de união e colaboração, na qual o estatuto máximo é a igualdade sociocultural de todos os falantes deste idioma. Para se chegar a tal proposta é necessário superar a razão pura pré-iluminista da qual os grandes navegadores portugueses foram os pioneiros, contrariando os argumentos de que não são necessários “renascentistas não humanistas”, pois a ordem da razão pura, positivista, é uma matriz geradora do “equívoco lusocêntrico”, no sentido crítico da Dialética do Esclarecimento. Palavras-chave: Memória. Imaginário. Museu Virtual. Lusofonia. Conhecimento. Nota Biográfica: Alessandra Nardini Alessandra Nardini é graduada em Jornalismo pela Pontifícia Universidade Católica de Minas Gerais, especialista em Roteiro para Cinema e Televisão pela mesma instituição de ensino, Mestre em Estudos Culturais pela Universidade FUMEC (Belo Horizonte, Brasil) e discente do Doutoramento em Estudos Culturais na Universidade do Minho. Atualmente dedica-se ao projeto de investigação do Museu Virtual da Lusofonia e desenvolve investigações no âmbito das Indústrias Criativas, buscando formas depotencializar a visibilidade das expressões culturais e artísticas de países lusófonos em plataformas digitais. Nota Biográfica: Elaine Trindade Elaine Trindade é doutoranda em Ciências da Comunicação, no Instituto de Ciências Sociais da Universidade do Minho. É investigadora na plataforma de Arte e Cultura Urbana, A Passeio, e no Museu Virtual da Lusofonia (MVL). Ambos, projetos estratégicos do Centro de

Estudos de Comunicação e Sociedade (CECS). É Mestre em Comunicação e Cultura, na linha de pesquisa: Tecnologias da Comunicação e Estéticas, pela Universidade Federal do Rio de Janeiro (UFRJ). Desenvolve pesquisas na área da comunicação e da cultura, com especial interesse em questões da lusofonia, na utilização das novas tecnologias de comunicação e sua integração na cultura contemporânea, fotografias e imagens por dispositivos móveis, Google Street View, Google Earth e Google Arts & Culture. Nota Biográfica: Fernando Augusto Silva Lopes Fernando Augusto Silva Lopes é graduado em Relações Internacionais, Mestre em Estudos Culturais Contemporâneos da Universidade FUMEC (Belo Horizonte, Brasil) e doutorado em Estudos Culturais pela Universidade do Minho. Tem um interesse nas mudanças em curso nas relações entre cultura e tecnologia, em especial nas manifestações semióticas em que a tecnologia tende a hibridizar-se com os objetos culturais. Dedica uma atenção especial ao que ocorre no universo da tecnologia como elemento de construção cultural, especialmente no projeto do Museu Virtual da Lusofonia. Atualmente desenvolve uma ampla pesquisa sobre a representação cultural das imagens digitais. Nota Biográfica: Tiago Vieira da Silva Tiago Vieira da Silva frequenta atualmente o Doutoramento em Ciências da Comunicação da Universidade do Minho em Braga, Portugal. A sua investigação “O debate da identidade nacional desde a revolução de abril até ao presente, através do cinema português” é financiada pela Fundação para a Ciência e Tecnologia. É membro do projeto “Memories, cultures and identities: how the past weights on the present-day intercultural relations in Mozambique and Portugal?”, financiado pela Rede Aga Khan para o Desenvolvimento e pela Fundação para a Ciência e Tecnologia. Integra a equipa do Museu Virtual da Lusofonia, no Centro de Estudos de Comunicação e Sociedade.

2 – Isabela Curvo (Universidade do Minho)

Os museus, reconhecidas instituições do campo do patrimônio cultural, são espaços privilegiados de poder na medida em que operam na construção da memória coletiva e na relação da dicotomia entre memória e esquecimento. Conferem valor e pressupõem autenticidade, além de serem locais de lazer, estudo, pesquisa, consumo e de estetização do cotidiano. As instituições museológicas agem em torno de uma memória coletiva, visto que essas, através da pesquisa e divulgação dos bens patrimoniais e culturais, atuam em uma perspectiva construtivista da memória, por meio de representações coletivas. Ou seja, narrativas apresentadas em uma instituição museológica possuem a preeminência de agir diretamente na perpetuação da memória coletiva. Memórias são influenciadas pela organização social, cultural e seus diversos meios de comunicação empregados. Esta pesquisa propõe uma revisão de literatura pautada na análise quanto a utilização dos espaços museológicos com o intuito de criação e promoção de uma identidade nacional, utilizando-se da funcionalidade do patrimônio cultural em representar simbolicamente a

9 identidade e a memória de uma nação, elementos formadores, na ânsia de construir uma narrativa de passado comum e homogêneo. Entre as principais conceituações ponderadas está a dicotomia entre memória e esquecimento; memória individual e memória coletiva; além das tensões e a complementaridade entre a história e a memória coletiva.

Palavras-chave: memória coletiva; museus; comunicação; identidade nacional; exposição.

Nota Biográfica:

Isabel Curvo é doutoranda em História, com ênfase em Patrimônio, pela Universidade do Minho. Mestre em Ciência da Informação pelo Programa de Pós-graduação em Ciência da Informação (PPGCI/IBICT-UFRJ) em convênio com a Escola de Comunicação (ECO) da UFRJ. Especialista em História e Cultura do Brasil pela Universidade Cândido Mendes. Bacharel em Museologia pela Universidade de Brasília (2013). Tem experiência na área de Museologia, com ênfase em Expografia.

______Painel/Panel 4 1- Anabela Valente Simões (University of Aveiro) The synergy between tourism and culture: the revival of local identities as driver of attractiveness and regional development Tourism, the third-largest sector in international trade, is an important agent for development and a driver for socio-economic progress; cultural tourism, in particular, is one of the largest and fastest-growing markets. Because their interplay creates distinctiveness, culture and tourism have a mutually beneficial relationship, one that can strengthen the attractiveness and competitiveness of a region and, simultaneously, enhance culture itself by creating an income to support cultural heritage and cultural attractions. By recovering history, local traditions and cultural memories, tourism contributes, thus, not only to the reinforcement of a region’s collective identity and the preservation of cultural and historical heritage, but also to its image as a tourism destination, paramount in the process of touristic (and, therefore, economic and social) development. Dominated by its lagoon estuary, Aveiro has long been associated with sea trade, fishing and salt production. Crossed by a network of channels, the city has always been dotted with picturesque moliceiros, the colourful vessels once used to collect algae and seaweed, and closely associated to the ample salt works. In 2017, tourism in the Center of Portugal grew twice the national average. Parallel to this boost in touristic activity, new businesses have been created. Moliceiros are no longer lonely remnants of the past, gracing the still waters of the Ria; they are now part of the thriving business boat tours along the channels. The extinguished salt works are now sites of guided tours and unique experiences. The aim of this work is precisely to characterise this new reality and analyse how the synergy between tourism and culture has contributed to the social and economic development of the region and to the reinforcement of the city’s collective identity.

Bio-note:

Anabela Valente Simões holds a PhD in Culture from the University of Aveiro (2009), a Master's degree in German Literature and Culture from the University of Coimbra (2001) and a degree in English and German from the University of Aveiro (1997). In 2013, she also completed a second Degree in Spanish Language, Literature and Culture. She has been professor at the UA's School of Technology and Management since 2000, having taught several curricular units in the areas of Languages, Intercultural Communication and Business Communication. She also collaborates with the University of Aveiro's Department of Languages and Cultures in supervising master projects. Anabela Simões is an integrated member of the Research Centre for Language and Culture at the U. Aveiro. Her research interests focus on language teaching for specific purposes, cultural studies and business communication, and she is the author of several papers presented at congresses and scientific meetings, as well as of various national and international publications.

2- Rafal Rukat (Polish Academy of Sciences) Migrants, Tourists, Reenactors. Slavs and Vikings' Festival in Wolin as the Games of Memories Ethnographical research on the sociocultural context of Slavs and Vikings’ Festival in Wolin, led by me in August 2019, reveals it as an arena for many different cooperating or clashing memories. Wolin is a place where medieval legends of Jomsborg and Vineta were converted to scientific (namely archaeological) discourses and practices, as well as subordinated to totalitarian politics of memory: Nazi, struggling to find Viking origins of prewar German citizens of the town, and communist, proving Slavic history of the island, in order to make it Polish for postwar citizens resettled from territories taken over by USSR. In the ’90s new actors appeared at the battlefield – Western, mainly Danish, reenactors inspired by the Jomsborg legend, who started to organise the annual Viking Festival in cooperation with local authorities and institutions. Their initiative crowded out former local forms of Wolin’s pre- Christian history commemoration (Kupala Night fest) but provoked a reaction of Polish reenactors who started to fight for the Slavic memory of Wolin by their participation in the Festival. Recent editions of the Festival, renamed as “Slavs and Vikings' Festival”, attracted thousands of reenactors and tourists from all over the world, performing their various ideas about the early Middle Ages. The event transformed from the transnational (namely Polish- Danish) practice of memory to a “touristic product” promoting the city but becoming less and less accessible to the local community. I am going to present different local attitudes toward the commercial recolonization of Wolin’s memory. Keywords: Transnational sites of memory; historical reenactment; tourism; commercialization; Wolin. Bio-note:

Rafał Rukat – cultural anthropologist, interested in history representations in contemporary culture. His recent ethnographical fieldwork on reenactment festivals in Poland focuses on constructing of sites of memory by reenactors, tourists and local communities.

3- Joanne Paisana (University of Minho) Lady Aberdeen's Irish Village, Chicago World's Fair, 1893: mobilizing the Irish diaspora in the USA The enthusiastic commemoration of the 125th anniversary of the Chicago World's Fair (CWF) in May 2018 through the mass media, local digital memory websites and elsewhere, attests to the power to produce cultural memory in those who have no first-hand experience of the event. Although the late nineteenth- and early twentieth-century Irish villages, constructed for various national and international exhibitions in Europe and North America including the CWF, were not permanent memory sites in themselves, their regular occurrence in fairs and the like indicates an influence on differently located peoples at diverse times. However, it would appear from the absence of specific commemorative enthusiasm in 2018 for the long- gone idealized Irish village, in both Ireland and the American Irish diaspora, that an Irish identity even partially defined by a subaltern colonial past does not sit well in today's Ireland, except perhaps in academia. The various thematic villages located on the CWF's Midway Plaissance offered the millions of visitors a glimpse of the exotic. The Irish village cobbled together by the Irish Industries Association led by Lady Aberdeen was of a different kind, however, striving to promote Ireland by showing 'authentic' rural industry rather than urban sauciness. This paper will focus on how a specific narrative of an idealized Irish past/identity was used in order to 'mobilize affect and loyalty' (Rigney) in the Irish-Americans visiting the village. The shared origins of the Irish visitor and the exhibited Irish were reinforced through the imagined community of the Irish village in order to bolster collective fidelity and create the belief in shared distinctiveness and a common history in order to boost Irish industries. Keywords: Chicago World's Fair; Irish village; Lady Aberdeen; cultural memory; collective loyalty. Bio-note: Joanne Paisana is a lecturer in English Culture and Cultural Studies at the University of Minho, Portugal. She has a PhD on the nineteenth-century temperance movement in England. She is Head of the PhD program in Cultural Sciences and is also a researcher at CEHUM/NETCult. Her current interests are in Memory Studies and Women’s Philanthropic Work of the Victorian and Edwardian periods. Co-editor of Connecting Women. National and International Networks during the Long Nineteenth Century (2021). ______Keynote / Palestra Pelnária 2: Emily Keightley (Loughborough University) The communicative dynamics of diasporic memory

It is commonplace in postcolonial studies to recognise the complexity of memory after empire. Situated in complex histories of uneven and unequal power relations and in multiple trajectories of mobility which intertwine geographic, class, linguistic movements, diasporic identities and experience are always in formation, always in process. However, in memory studies, postcolonial memory is routinely conceived in relatively narrow terms, often as the mode by which connections with a home or homeland are invoked, or as providing an authentic counterpoint to the exclusionary histories of empire. For example, in their collection of essays on the dialectics of diaspora, Gallago and Soto conceive of memory as a restorative process which is ‘central to the diasporic experience insofar as it is the means by which to recover what has been lost or silenced by the grand narrative of Western hegemony’ (2009: 13). In this paper I am not going to argue that restorative perspectives on diasporic memory is wrong – memories of home and homeland remain potent reference points in response to the upheavals of postcolonial experience - rather that it is partial and requires considerable expansion. As I have argued elsewhere, remembering is a primary process by which we make sense of experience over time and space but is also a repertoire of cultural and communicative practices by which complex postcolonial trajectories and inheritances as they have accumulated over time are reckoned with in the present. This extends beyond a bilateral transaction between there-thens and here-nows, and is a wider process of making sense of, enacting and communicating a myriad of complex relations to a continually accumulating postcolonial past in a rapidly changing present. Drawing on material gathered as part of an ongoing five-year project Migrant Memory and the Postcolonial Imagination I will propose an expanded way of thinking about diasporic memory that brings insights from postcolonial studies and communication and media studies in order to focus on communicative cultural practices of diasporic remembering. By attending to practices of communication in processes of remembering it is possible to understand the changing relationship of diasporic communities to the colonial past: across generations and in the context of changing socio-political conditions. Bio-note: Emily Keightley is Professor of Media and Memory Studies in the Centre for Research in Communication and Culture at Loughborough University. Her research is focused on the role of media in everyday processes of remembering. Her published work covers themes such as photography, music and memory; memory and the experience of change; nostalgia; memory and methodology; and painful remembering. Emily currently holds a five-year Leverhulme Research Leadership Award for the project Migrant Memory and the Postcolonial Imagination which explores the role of memories of the 1947 Partition of India and associated experiences of decolonisation in contemporary South Asian communities in the UK. She is also an Editor of the journal Media, Culture & Society. ______Painel/Panel 5 1- Paula Guimarães (University of Minho)

Remembering European Political Refugees through the Literary Culture of Victorian Imperial Britain The paper focuses on the figure of the European political refugee in Victorian England and its impact on the literary culture of the period. It traces the emergence of this figure during the liberal and radical revolutions of the nineteenth century that swept across several countries. It examines the cultural exchange that existed between exiles and the political and artistic organizations of Imperial Britain, projecting an expansionist vision of the country’s liberal power onto the international stage. By 1852, thousands of radical, nationalist, republican and socialist refugees from France, Hungary, Poland, the German and Italian states, and elsewhere (Spain and Portugal), had arrived, clustering above all in London. In their midst were famous individuals like the Italian nationalist Giuseppe Mazzini, the French socialist Louis Blanc, and Karl Marx. Due to absent restrictive immigration policies, almost anyone could enter the country, and a broad contingent of supporters from all social classes celebrated refuge as a national moral imperative. Philanthropists lobbied the government on behalf of persecuted foreigners, and refuge became a nation-defining commitment for the British, who were the first to develop a strong voluntary sector. From the early 1850s, British radicals like Chartist George Julian Harney became actively involved in continental insurrections. Public interest in refugees was cultivated through poems (William Morris, Mathilde Blind) and fictional tales of persecution, which explained the experiences and characteristics of refugees (Charles Dickens’s A Tale of Two Cities). The liberal logic of the refugee poem/narrative included fugitive slaves, European revolutionaries, and the victims of those very same revolutionaries. The resettling of refugees throughout the Empire made refugee relief an aid to empire building. Between the late 1860s and 1900, with the rise of French Communism, continental Anarchism and violent Irish Nationalism, there were debates over whether Britain had to protect increasingly violent continental revolutionaries. Key-words: Victorian; literature; political refugee; empire; mobility. Bio-note: Paula Alexandra Guimarães: Assistant Professor in English Studies at the University of Minho; senior member of CEHUM (NETCult). Masters: Elizabeth Gaskell’s Social Novel (1995); doctorate: Vision and Creation in the Poetry of the Brontës (2002). Areas of interest: Intercultural Poetics, Romantic and Victorian Studies, Poetry Studies, Literature and History/the Sciences. Lectured and published widely: Comparative Critical Studies, Nineteenth-Century Gender Studies, Diacrítica, Miscelânea, Journal of Anglo-Portuguese Studies, Cambridge Scholars and LIT Verlag. Supervision: four PhD theses and a Research Group (IntCultPoet, 2012-16). Forthcoming book: Intercultural Poetics. Literary Representations of the Foreign Other. Memberships: British Association of Victorian Studies, British Association of Decadent Studies.

2- Ana Catarina Monteiro (University of Minho) Other Edens: Renaissance Poetry and Nostalgia for the Future in Fashioning a Memory of Empire Following a series of false-starts, England’s encounters with the New World resumed when, in 1584, Queen Elizabeth instructed Walter Ralegh to establish colonies in any “remote, heathen and barbarous lands, countries and territories, not actually possessed of any Christian Prince or inhabited by Christian People.” Although he never set foot in North America, Ralegh engineered the expeditions that brought the first settlers to the ill-fated Roanoke Colony, in North-Carolina, and subsequent ones. Thomas Harriot, who was in his employ, was more successful in his quest, which he described in A Briefe and True Report of the Newfound Land of Virginia (1588). Ralegh did eventually take part in several expeditions and went on to document his personal experiences in empire-building in The Discoverie of Guiana (1596). First-hand accounts arriving from the Americas of explorers’ first contacts with natives stirred the imagination and fostered ambitions at home, while Protestantism and its mission to evangelise savage territories further promoted and helped shape English imperial expansion policies. This paper investigates Renaissance England’s fascination and anxiety towards the New World in the relationship between history and poetry. The desire to recreate Eden in faraway lands was all too frequently met with failure and prompted Renaissance poets to conceptualise the memory of an empire that was experiencing protracted birth-pangs. Narratives of conquest sought to counter these successive missteps by anticipating the arrival of the Golden Age of England — in Philip Sidney’s Arcadia (c. 1580), Edmund Spenser’s Faerie Queene (1590), and in the love poetry of John Donne, in which he yearns for a “good-morrow.” Poetry, acting as a temporary and aspirational stand-in, flags the urgency for the triumph of heroic and ambitious projects and the longing for a great empire that was yet to materialise. Keywords: empire; colonialism; memory; nostalgia; Renaissance poetry. Bio-note: Catarina Monteiro is a PhD candidate in English Literature and a lecturer at ILCH, University of Minho. She is also a researcher at CEHUM/NETCult. Her current research focuses on emotional responses to death in the poetry of sixteenth- and seventeenth-century England. Her research interests include early modern poetics, the history of emotions, death studies, the English Reformation, early modern women’s writing, and the poetics of melancholy.

3- Inês Tadeu (University of Madeira) New ‘old’ woman as witch The broken-hearted heiress Beatrice Desmond undertakes a voyage to New England and ends up in Salem where she starts a new life under an assumed identity. Little Alice Campbell travels with her grandmother, Mistress Elsie Campbell, all the way from Scotland to Salem, to avoid sharing in the same fate as her late mother. Allison and Ida Beresford, two orphan

15 sisters, cross the Atlantic to be taken in by their uncle Ebenezer Fairfax, the only surviving relative on their mother’s side, who lives in Salem. Baby orphan Dorothy Grey, her aunt Martha Holden and her uncle David Holden escape persecution and find asylum in Salem, where she grows up harbouring an unsettling longing to return to “merry old” England. Thus, in my paper I would like to discuss the following: 1. Though these girls “travel” in different Romantic historical novels, authored by different lesser-known nineteenth-century women writers, they all share the same destination, and their love stories unfold within the same temporal and historical setting: early modern Salem Village and Salem Town, around or during the Salem Witch Trials of 1692. 2. None of these young women are historical depictions of any of the accused woman-as- witches of Salem, but they are recreated and represented as witch-heroines. 3. Their less than successful transatlantic escape to the New England, in the medial of literature, illustrates the inescapability and range of the (trans)cultural memory of the woman-as-witch of Old England, both in seventeenth- and nineteenth-century American culture. Keywords: transatlantic experience; transcultural memory; woman-as-witch; Salem witch hunt; Romantic historical fiction. Bio-note: Inês Tadeu FG (PgDip, Anglo-American Culture and Literature, University of Madeira, 2002) is a lecturer at the University of Madeira, Faculty of Arts and Humanities, Department of Languages, Literatures and Cultures; and a Doctoral candidate at the University of Minho in Cultural Studies, namely North-American Culture with emphasis on Women Studies and the transcultural memory of the woman-as-witch. ______Painel/Panel 6 1- Patrycja Trzeszczyńska (Jagiellonian University) Memory, migration, and (not)belonging: the case of Ukrainian migrants from Poland to Canada My paper will be devoted to migratory memory, i.e. memory in the conditions of migration and diaspora (Creet 2011), which I recognized during a three-year ethnographic field research in Canada among the community of Ukrainians who emigrated from Poland in the 1980s. The importance of memory in migration studies, especially in diaspora studies, is underestimated today. The case of the community I am interested in shows that the past can have a great impact on the diaspora-making processes, the positioning and self- positioning of migrant groups within diasporas, and the processes of constructing the symbolic boundaries of migration communities. A special case in which the importance of memory is poorly recognized is the migration of members of national and ethnic minorities, who, along with their migration, “take” with them the memory of the past of their community in the country of origin, which may be incomprehensible to other migrants. I would like to draw your attention to the perspective of memory mobility and its importance

16 in migration, resettlement, dispersion and diaspora conditions, as well as to memory and migration relationships and to the transcultural/ transnational memory condition in the diaspora. I will also show that memory in the conditions of migration, diaspora and departure of a minority group, is transcultural memory (Erll 2011, 2016). I will illustrate these issues with synthetic conclusions regarding the "shape" of memory of the migrants I am interested in, as well as by indications about Ukrainian diaspora’s memory discourses in general. Keywords: migration; memory; Ukrainians; Canada; diaspora. Bio-note: Patrycja Trzeszczyńska, post-doctoral degree (Polish dr hab.) – cultural anthropologist and a specialist in the field of Ukrainian studies, assistant professor in the Institute of Ethnology and Cultural Anthropology of Jagiellonian University in Krakow, Poland. Interested in anthropology of memory, diaspora studies, Ukrainian studies, methodological problems of contemporary anthropology, and ethnology of Eastern Europe.

2- Teresa Botelho (Nova University, Lisbon) Outside of Time and Space: Obstructed Mobility in Contemporary Migrant and Refugee Literature The dehumanization and deligitimazation of contemporary migrants and refugees who, as the Vietnamese Canadian writer Kim Thúy describes, have been “ejected from their past” and “have no future”, who “live outside of time” and also “outside of space” (2018), has been countered by self-authored or testimony narratives that reaffirm personhood and expose the unimaginable cruelty of the traps of borders, seas, walls, smugglers, bureaucratic categorizations that manage and mismanage the movement of desperate people. Contemporary refugee literature, invoking but also disrupting the discourses of the exile and immigration aesthetics, is a complex construct, open to as many visions and formats as the variety of the experiences it portrays, but, as Timothy K. August suggests, shares a strategy that aims to render knowable and intimate a presence that, having been “produced, detained and contained at a distance” is “visible without being knowable” (2016: 68). This paper discusses two literary texts that represent the “nowhere” spaces that interrupt and obstruct the mobility of migrants and refugees, identifying alternative literary strategies of representation of borders and denied futurities. The first is a memoir, No Friends but the Mountains (2018), by the Kurdish-Iranian journalist Behrouz Boochani, which chronicles the perilous sea travels towards an Australian destination that was never reached, and the subsequent brutalizing detention in Papua New Guinea, where, deprived of all other means, he composed the text which won the prestigious Australian Victorian Prize for Literature of 2019, using WhatsApp messages. The second is the play The Jungle (2017), by Joe Murphy and Joe Robertson, two volunteers who worked in the migrant camp of Calais from 2015 until its destruction by the French authorities in 2016, and which, performed by refugees, brings to the stage a collective portrayal of a diverse set of characters from a variety of conflict zones who built an intermediary space which became a temporary “somewhere”.

Bio-note: Teresa Botelho is Associate Professor of American Studies at The Faculty of Social and Human Sciences, Nova University of Lisbon. She is also a member of the research group Mapping Utopianism and convener of the American Intersections Research Strand at CETAPS. She has published extensively on African American, and Asian American culture and literature, theater and drama. Her current interests include technological utopias/dystopias and the post-human, Arab American literatures, the collaboration between sciences and literature and climate change fiction.

3- Andrei Linchenko (Financial University under the Government of the Russian Federation) Mnemonic adaptation of migrants in Russia The paper analyzes the main strategies for the mnemonic adaptation of migrants in Russia in the context of the current trends in the integration policy of the Russian state. Based on the work of R. Brubaker, the migrants are viewed as a transnational group with a special hybrid identity. The paper is an interpretation of the results of the empirical study conducted in 2017 in five Russian regions among migrants and the host society. It analyzes the features of the attitude of migrants to the history and cultural memory of Russia, as well as the revealing of the degree of cultural diffusion in relation to commemorative practices of the host Russian society. The study was conducted in the framework of cognitive, linguistic, value and behavioral aspects. The study shows that, from the point of view of the cognitive aspect, migrants demonstrate a rather high degree of readiness for cultural diffusion. At the same time, the level of ethnocentricity of migrants' views on their own history is quite noticeable. As part of the linguistic aspect, the study revealed a high percentage of those who speak their own language, limiting themselves to using only those words of the Russian language that are not in their native language. The value aspect of the study revealed the orientation of migrants to a secular worldview, a neutral attitude to religious practices, and the construction of religious sites of other cultures. Migrants are characterized by a low degree of ethnocentric views on their religion. Migrants do not share and do not show interest in the political practices of Russians. However, they accept and share the behavioral attitudes of the native population. In the course of social practices, personal qualities that appear during everyday communication come to the fore. Bio-note: Linchenko Andrei (born 1982). 2004 – Lipetsk State Pedagogical University (Teacher of history and politology). 2007 – Saint-Petersburg State University (Ph.D.) 2007 – Lipetsk State Technical University (Associate Professor) 2016 – Financial University under the Government of the Russian Federation, Lipetsk branch (Scientific Researcher). The leader of the BIG DATA Laboratory. 2018 – DAAD scholarship (Ruhr University)

2018-2023 – Participant of the international project “Core Concepts of Historical Thinking” (Adam Mickiewicz University). The project is headed by Prof. Ulrich Timme Kragh and Prof. Jörn Rüsen. Awards: The medal of the Russian Academy of Sciences awarded to young scientists of 2013 for the best book on philosophy. ______Painel/Panel 7 1- Luiz Adriano Daminello (Federal University of Pará) Travel, Culture and Memory of Mazagão The history of Mazagão comes from a journey that began in 1769, when the first families headed towards New Andalusia. It is not only the story about the displacement of some people, but also the related memories that have been traveling for almost 250 years. Mazagão was the name of the last Portuguese possession on the west coast of Morocco that was often under attack by the Moors. The Marquis of Pombal decided to transfer it to the Amazon region in order to help protect the region from French, English and Dutch invasions. Its inhabitants, who had had several real experiences of battles with the Moors, decided to stage their memories in celebration of the acclaim to the throne of Queen D. Maria I, in the model of several other representations that take place today in the Iberian Peninsula. Since then, the festivities have persisted in honor of Saint James, the holy apostle who appeared on a white horse to help Christians in the battles where defeat seemed inevitable. Currently, Mazagão Velho is a village in the State of Amapá, in Brazil, where the majority of the population is made up of Afro-descendants, bearers of an enormous cultural wealth expressed in parties, musical rhythms, handicrafts and memories that do not always coincide with the historical facts. They believe in their descent from the ancient Moroccan Africans, who in North Africa defended their Christian religion. This communication will report some details of these cultures and memories while traveling, and how the population has been related, today, with the historical discoveries about their origins. Bio-note: Luiz Adriano Daminello is professor of the Cinema Course at the Federal University of Pará (BR), graduated in Cinema at USP (BR), master's degree in Multimedia at UNICAMP (BR) and currently pursuing a doctorate in Cultural Studies at UMINHO (PT). Director of documentaries and fictions, he is the author of the series Mário and Missão on ethnographic research on Brazilian popular culture carried out by the writer Mário de Andrade.

2- Rosa Cabecinhas & Alice Balbé (University of Minho) Nation-state, migrations and transcultural memories: Representations of migrants in contemporary history textbooks The research project “Memories, cultures and identities: how the past weights on the present-day intercultural relations in Mozambique and Portugal?” aims at analysing the

19 processes of construction and reconstruction of the collective memories conveyed by educational narratives and artistic products. In this paper, we will discuss the preliminary results of an analysis of the history textbooks currently in use in Portugal and a reception study conducted with young people in secondary education. History textbooks are privileged sources of information for constructing social identities and worldviews, influencing intercultural relations in contemporary societies. Today, schools are a space in which “hegemonic memories”, informed by the nation's dominant narratives that continue to be conveyed by school textbooks are confronted with “itinerant memories” that result mainly from the experiences and trajectories of the people involved in the educational process, including migrant students and teachers. Among other aspects, we will discuss the images and cleavages conveyed by current school textbooks, the limitations arising from how attempts to include the “other” and building “global” or “cosmopolitan” memories have been operationalized in Portuguese schools, and how much remains to be done for transforming the school in a space for the co-construction of transcultural memories. Keywords: Transcultural memories; migrations; images; historical cognition; social representations. Bio-note: Rosa Cabecinhas Rosa Cabecinhas holds a PhD in Social Psychology of Communication, is professor at the Social Sciences School of University of Minho and a researcher at the Communication and Society Research Centre. She is Head of the PhD program in Cultural Studies and her research interests are interdisciplinary. She was Vice-Chair of the Cost action IS 1205 "Social psychological dynamics of historical representations in the enlarged Europe" and has authored, among others, the book "Preto e Branco. A naturalização da discriminação racial [Black and White. The naturalization of racial discrimination” (2018, Second edition). Bio-note: Alice Balbé Alice Balbé - Communication and Society Research Centre (CECS/ICS), University of Minho. Ph.D. in Communication Sciences from the University of Minho. She is a researcher at the Communication and Society Research Centre (CECS) under the project “Memories, cultures and identities: how the past weights on the present-day intercultural relations in Mozambique and Portugal?”.

3- Davide Gravato & Rosa Cabecinhas (University of Minho) (Re)signifying Africa throughout Chullage’s music Hip-hop took its first creative steps in the Bronx from the cultural exchange between migrants. The different cultural backgrounds can also be identified in Portuguese rap since it became a discursive connecter between the banks of the Tejo. Regarding the denunciation of racial inequality, the difficulty of afrodescendants’ integration in the country or the valorization of African culture, Chullage is an easily recognizable voice within the rap movement. In Igualdade é uma ilusão (2001) he stresses that the “victory starts when we

20 are who we are”. In S.E.F. (Suplício de Estrangeiros e Fronteiras) (2012) the MC shows exploitation of migrant labor over different generations. In Chakras (2020) he comments on the continuity of the same political, artistic, social and educational systems. In general, the idea of rescuing and preserving African cultural heritage is transversal to Chullage’s musical journey. The artist uses hip-hop, a movement with diasporic and transcultural aspects, as a tool for (re)signifying Africa. The goal is to create other perspectives for the future based on a music that “(…) provides a great deal of courage needed to continue living in the present. It is, at the same time, the production and expression of this ‘transvalorization’ of all values...”. (Gilroy, 2001, p.94). Keywords: rap; identity; migration; Chullage. Bio-note: Davide Gravato Davide Gravato – Communication and Society Research Centre (CECS/ICS), University of Minho. Davide Gravato is a PhD student in Cultural Studies at the University of Minho and Linguistics at the Federal University of Espírito Santo. His research focuses mainly on topics related to hip-hop, sociocultural identity, digital communication and data science. Bio-note: Rosa Cabecinhas Rosa Cabecinhas – Communication and Society Research Centre (CECS/ICS), University of Minho. Rosa Cabecinhas is professor at the Social Sciences School of University of Minho and a researcher at the Communication and Society Research Centre. She is Head of the PhD program in Cultural Studies and her research interests are interdisciplinary. She was Vice- Chair of the Cost action IS 1205 "Social psychological dynamics of historical representations in the enlarged Europe" and has authored, among others, the book "Preto e Branco. A naturalização da discriminação racial [Black and White. The naturalization of racial discrimination” (2018, Second edition). ______Painel/Panel 8 Mobility and Memory in Ancient Near East (1) 1- Shai Gordin (Ariel University of Samaria) Walking among the orchards of Gilgamesh: the role of spatial memory in and around the Neo-Babylonian City Urban spaces also act as memorial spaces. In the ancient cities of the last Babylonian empire spatiality interacted frequently with the civic, the political, the mythical and the religious. City districts were named after ancient mythical designations, channels were given the names of the kings who dug them, and gates were named after deities which frequently passed through them. My talk will explore how these intricate spatial networks were created and what role did they play in the patterns of mobility and land management in and around Babylonian cities. Bio-note:

Shai Gordin is an historian of the ancient Near East at the University of Ariel and founding director of the Digital Humanities Ariel Lab (DHA-Lab). The focus of his research includes two subjects: (1) the history, economy, religion and material culture of the Ancient Near East and Eastern Mediterranean, and (2) the creation of a human-machine interface for the historical sciences and the humanities in general. In his research he combines a solid philological- historical approach with modern tools and techniques of digital humanities and data science, which include, data-mining and visualization, machine learning, social network analysis, and remote sensing. He is the author of an open-source initiative called the Babylonian Engine (https://babylonian.herokuapp.com/), a portal of tools and resources for studying and analysing ancient Babylonian texts.

2- Itzhaq Shai, (Ariel University of Samaria) & Chris McKinny (Gesher Media) Canaanite Cult with a Cypriot Scent: A View from Tel Burna, Israel Over a decade of excavations at Tel Burna (Israel), a unique and fascinating cultic building was exposed. The building is well-dated to the 13th century BCE (Late Bronze Age). The finds indicate ritual practices within the Building and show local Canaanite tradition accompanied by Cypriot customs. In this lecture, we will present the building and the finds with an emphasis on the cultic materials. In addition, special attention will be put on the various imported items, which reflect a transcultural connection between Canaan and Cyprus. We will also discuss the local Canaanite cult practices and the meaning of the foreign elements for the local people who worshipped within this building. Bio-note: Itzhaq Shai Itzhaq Shai is a Professor, an archaeologist and the Director of the Tel Burna Archaeological Project. His research focuses on the Bronze and Iron Ages in the Southern Levant. He completed his PhD at Bar Ilan University and a postdoctoral fellowship at the Semitic Museum of Harvard University. He is the editor of two books and has published dozens of articles in peer-reviewed journals and currently serves as the Vice-President and Dean of Research and Development at Ariel university. Bio-note: Chris Mckinny Chris McKinny is an archaeologist and biblical scholar. Passionate about the archaeology, history, and geography of the Biblical world, he has written extensively on these subjects in both academic and popular publications. Chris is a senior staff member at the Tel Burna Archaeological project and regularly leads study tours to the lands of the Bible.

3- António de Freitas (University of Minho) I am your King, because I brought to you a god that so it says. Šiu in the Old Hittite Kingdom The most ancient written text in an Indo-European language. Hittite or Nessite language, Anitta’s Proclamation (CTH1), also known as Anitta Res Gestae. Anitta was King of Kaneš,

22 conqueror of Neša, later Hatuša. He brought an idol of Šiu to Neša and invoked that fact to justify himself as Hatuša’s conqueror. The memory of reception of that foreigner idol was the way to justify Anitta’s royal lineage over Hatuša. Was that the right memory, or could it be another way? Bio-note: António de Freitas is a Researcher at the CEHUM, University of Minho, Scientific Adviser for the Mesopotamian area at the Gulbenkian’s Museum and a Staff Member of the Tel Burna Excavation Project in Israel. He is an Epigraphist and a specialist in Palaeo-ephragistics, works in linguistics and ancient transcultural studies. His research project is a study of the language of the gods in cosmogonic and eschatological text. It has been said that he works in Archaeology of the Thought. ______Painel/Panel 9 Mobility and Memory in Ancient Near East (2) 1- Xianhua Wang (Shanghai International Studies University) Shulgi A: Memory, Geography, and the Art of Sumerian Hymnology "So that my name should be established for distant days", the Sumerian hymn Shulgi A, as known to Sumerologists, tells that King Shulgi (2094-2047 BCE) of the Third Dynasty of Ur (Ur III, 2112-2004 BCE) made a return trip between his capital Ur and Nippur the traditional Sumerian religious center. In a single day, it was reported, Shulgi ran from Nippur to Ur and then ran back from Ur to Nippur, which together makes a run of more than 320 kilometres by one calculation. This fantastic run does not surprisingly attract much scholarly attention as its interpretation seems to disclose the secrets of Sumerian hymnology at the core of which is the creation of royal memory. In this presentation, I make use of this masterpiece of Sumerian hymnology to reconstruct the Sumerian science of memory fabrication that seems to have a strong mathematical orientation as early as the Ur III Period. The run of Shulgi, despite some ungrounded speculations such as compared to real athletes, is only mathematically possible. On the other hand, the stress on geography in the hymn has in itself true significance on the image of kingship that was the content of the fabricated memory. Bio-note: Xianhua Wang is Professor and founding Dean of the Institute for the Global History of Civilizations at Shanghai International Studies University, China. He holds a D.Phil. degree in Assyriology from Cambridge University, UK. His thesis was published as The Metamorphosis of Enlil in Early Mesopotamia (AOAT 385, Ugarit-Verlag 2011).

2- Annick Payne (University of Bern) Your culture is my memory. Anatolians in Greek literature

A number of historical figures from Anatolia, such as Midas of Phrygia or Croesus of Lydia, take on a prominent role within Greek (not necessarily historiographical) literature. This paper will consider how the memory of Anatolians lived on amongst the Greeks, and became part of their heritage. Is there is a distinct typology for people whose memory transcended cultural boundaries? And what are the parameters and dynamics involved in passing on, adapting and, possibly, distorting a collective memory? Bio-note: Annick Payne is a lecturer in Ancient Near Eastern Languages at the Institute of Archaeological Sciences and an associated researcher at the Center for Global Studies, both at the University of Bern. She specializes in writing systems and the role of Ancient Anatolia between Eastern and Western traditions.

3- Giulia Torri (Università degli Studi di Firenze) Back and forth through the Taurus: military expeditions of the Hittite kings and legendary expeditions of the Akkadian kings in Hittite sources in comparison Several Hittite sources preserve the memory of the military expeditions of Old Hittite kingdom rulers to Syrian territories and beyond. Muršili I even marched against Babylon. On the other hand, the Hittite texts also preserve the legends of the Akkadian kings and their expeditions against Anatolian cities: The so-called Hittite version of šar tamhari, “The king of Battle”, is the story of the military expedition of Sargon against the Anatolian city Purušhanda. There are also fragments concerning the military deeds of Naram-sin (CTH 311). One of the compositions is similar to the old Babylon text from Sippar, entitled “Gula-an and the 17 kings against Naram-Sin”, the other is the so called Cuthean legend and is preserved in both versions, Akkadian and Hittite. The tradition of the kings of Akkad reached Hattuša in many different ways but undoubtedly it underwent an active process of literary reworking so that the Akkadian rulers became in Hittite memory the symbols of the kings’ heroism. In this presentation I intend to analyze and compare the strategies of narrating the historical facts concerning the Old Hittite kings and the legends of the Akkadian kings and enlighten how Hittites tried to build, through the enterprises of their kings, a collective identity in Anatolia. Bio-note: Giulia Torri graduated in Philology of the Ancient Near East from the University of Naples “L’Orientale” in 2001. In the same year she worked as research staff at the Akademie der Wissenschaften und der Literatur in Mainz (Germany) and started to work on the edition of Hittite cuneiform texts from Hattuša. In 2002-2003 she got a short-term research grant at the University of Rome, “La Sapienza” and in 2004 she became assistant professor at the University of Florence where she is currently Associate Professor of Hittitology and History of the Ancient Near East. In 2014, she was awarded a grant of the Alexander von Humboldt Stiftung for a research project in collaboration with the University of Mainz. She is co-director and epigraphist of the archaeological excavation at Ushakli Hoyük in Turkey. Her main fields

24 of interest concern the Hittite religion, the scribal system, and the economy of the Hittite state. ______

Dia / Day 2 - Sexta-feira / Friday – 16 de Abril / April

Keynote 3: Irene Flunser Pimentel (Instituto de História Contemporânea-Universidade Nova de Lisboa) Portugal, the refugees and the Holocaust As soon as Hitler rose to power in 1933, persecutions against Jews, political opponents, and all those who the national-socialist government considered to be outside the “Arian” Volksgemeinschaft (People’s Community) began. As the oppression and anti-Semitic laws toughened, the number of refugees seeking sanctuary in other European countries grew. In consequence, the latter closed their doors to the refugees. Portugal was no exception and also began to have a restricter border policy, allowing only “emigrants” who could not return to their country of origin, as was the case of German Jews. Joining these emigrants were the Austrians, Czechoslovakian and Polish, following the “annexation” of Austria in 1938, the invasion of the Sudetes, and the occupation of Poland, which marked the beginning of the Second World War. Since the beginning of the war, and following the invasion of several European countries, particularly France by the Wehrmacht, those fleeing Hitler who had found refuge in other countries had to continue fleeing, ever more westwards. Due to circumstantial reasons, (among them geographic location, having a long-standing alliance with Great Britain and the absence of anti-semitism in Salazar´s ideology), some of these refugees were allowed to enter the country. But there were difficulties. The entry of refugees was hindered, particularly by the PVDE, and their presence only tolerated as a temporary stay, permanent exile being prohibited. Even so, Portugal was a place of passage for Jews and other refugees from Germany and other occupied countries. I will seek to address the involvement of neutral Portugal, in the Refugee problem and also in the Holocaust. Salazar´s Government did nothing to save the Jews of Portuguese ascendency in the Netherlands. In 1943 and 1944, with the authorisation of the Nazis, Salazar´s government enabled the repatriation of some – few – Jews of Portuguese nationality and/or Portuguese ascendency from France – 137 Sephardi Jews. As for the Jews from Hungary, some were definitely saved from extermination but very much thanks to the Portuguese diplomats in Budapest who followed the attitude of their Swedish, Spanish and Swiss colleagues in the city, at a time when the German defeat had been forecast and was approaching. Bio-note: Irene Flunser Pimentel has a BA in History from FL/UCL, a MA in Contemporary History and a PhD in Institutional History and Contemporary Politics from FCSH/UNL (2007). She is a researcher at the Institute of Contemporary History (FCSH of UNL) Interested in the relations between Memory and History, she has been studying the Political Police in Portuguese Dictatorship, PIDE/DGS, subject of her PhD Dissertation.

In 2012 she was one of the organizers of the international conference «Portugal and the Holocaust», hosted by the Calouste Gulbenkian Foundation and the Luso-American Foundation (FLAD), in partnership with the U.S. Embassy in Lisbon. She is author and/or co-author of several books about the Political Police during the Portuguese Dictatorship – the «New State» -, the Woman Question, and Portugal in the Second World War: Os Cinco Pilares da PIDE (Esfera dos Livros, 2019); Inimigos de Salazar. A história das principais figuras que arriscaram a liberdade, o trabalho e a vida contra a ditadura (2018); Júlio Pomar, O Pintor no Tempo (2017); O Caso da PIDE/DGS. Foram julgados os principais agentes da Ditadura? Julgados (2017); O Comboio do Luxemburgo. Os Refugiados judeus que Portugal não salvou em 1940, (with Margarida de Magalhães Ramalho (2016); Bystanders, Rescuers or Perpetrators. The Neutral Countries and the Shoah, ed. International Holocaust Remembrance Alliance/Metropol (2016); Mulheres Portuguesas. História da Vida e dos Direitos das Mulheres num Mundo em Mudança. Com Helena Pereira de Melo (2015); História da Oposição à Ditadura. 1926-1974 (2014); Salazar, Portugal e o Holocausto (with Cláudia Ninhos, 2013); Espiões em Portugal durante a Segunda Guerra Mundial (2013); Democracia, Ditadura. Memória e Justiça Política, (Coord.Irene Flunser Pimentel and Maria Inácia Rezola (2012); A Cada um o seu Lugar. A Política Feminina do Estado Novo (2011); Cardeal Cerejeira. O Príncipe da Igreja (2010); Conflicts, Memory Transfers and the Reshaping of Europe (Cambridge, 2010); Fotobiografia de José Afonso (2009 e 2010); Tribunais Políticos. Tribunais Militares Especiais e Tribunais Plenários durante a Ditadura e o Estado Novo (Lisboa, 2009); Biografia de um Inspector da PIDE (2008); O Corporativismo em Português. Estado, Política e Sociedade no Salazarismo e no Varguismo (2007); Vítimas de Salazar. Estado Novo e Violência Política (with João Madeira, Luís Farinha, preface Fernando Rosas)( 2007); A História da PIDE (2007); Mocidade Portuguesa Feminina (2007); Judeus em Portugal durante a Segunda Guerra Mundial. (2006); Fotobiografia de Manuel Gonçalves Cerejeira (2002); Textos relativos a Portugal da obra Contai aos Vossos Filhos. Um Livro sobre o Holocausto na Europa, 1933-1945 (2000): História das Organizações Femininas do Estado Novo (2000 e 2001). She has been the recipient of the following prizes, among others: «Carolina Michaelis», 1999; «Adérito Sedas Nunes/ICS», 2007; «Pessoa», Expresso and Unysis, 2007, A História da PIDE, prémio especial da revista Máxima, 2008; «Seeds of Science», “Social and Human Sciences” category, 2009. A Cada um o seu Lugar. A Política Feminina do Estado Novo, essay prize ot the revue Máxima, 2011; Chevalière de la Légion d´Honneur, 2015. ______Painel/Panel 10 1- Daniel Féo Castro de Araújo (Universidade de Brasília) Migração e relações socioculturais: um estudo sobre os trabalhadores migrantes nordestinos no triângulo mineiro/alto paranaíba, MG/Brasil O objetivo deste artigo é compreender a construção e reprodução das múltiplas identidades e sociabilidades existentes entre os trabalhadores assalariados, de origem nordestina, que migram para Ituiutaba, Minas Gerais/ Brasil e os tijucanos. A metodologia utilizada para desenvolver este trabalho se inicia com uma revisão bibliográfica para o entendimento da

27 dinâmica do fenômeno a ser estudado e também para construir um referencial teórico. Outra etapa da metodologia refere-se a levantamento de dados de fonte primária, através da realização de trabalho de campo, cujo objetivo é identificar os sujeitos sociais que por ora figuram esse relatório, nesse momento nos pautamos em entrevistas junto aos trabalhadores migrantes, principalmente nos finais de semanas e feriados, assim, possibilitando examinar as relações dos migrantes com tecnologias, educação e o mundo do trabalho. Na concepção da orientação dada a esse trabalho, na construção da sua própria subjetividade, cada sujeito é sintaxe de significações e referências diferentes aos acontecimentos em sua volta a partir do “outro”. Para os nativos tijucanos, a figuração do “outro” é portada pelo que eles designam como “alagoanos”, ou seja, os quaisquer migrantes vindos dos estados do norte e nordeste. Portanto, para destacar dicotomias profundamente apreendidas dos dois grupos em Ituiutaba, MG, os alagoanos são colocados na condição subalterna, entre estigmas, desqualificação social e violência simbólica, conforme Bourdieu (2011). São indivíduos constituídos a partir das interações “alagoanos” versus “tijucanos”. Os dados apresentados são de extrema importância porque demonstram elementos em Ituiutaba, MG, consideráveis para as meditações sobre grupos, redes sociais e identidades que deparamos na cidade. Concluímos que os resultados das entrevistas no bairro Novo Tempo II em Ituiutaba, MG, estão presentes, as análises e criação das categorias “Tijucanos e Alagoanos” eixos norteadores de análise. Palavras-chave: Violência Simbólica; Migrantes Nordestinos, Ituiutaba, MG. Nota Biográfica: Doutorando pela Universidade de Brasília, Mestre em Ciências Sociais pela Universidade Federal de Uberlândia. Licenciado e bacharel em Geografia pela Universidade Federal de Uberlândia. É colaborar do grupo de pesquisa Travessias - Núcleo de Pesquisas Urbanas, que se propõe a pesquisas os múltiplos regimes normativos que atravessam a vida nas periferias das cidades brasileiras hoje: mundo do crime, religião, trabalho, movimentos sociais, entre outros. Membro do grupo de pesquisa GEPEAT (Grupo de Estudos e Pesquisa Agrárias e Trabalho). É membro da Rede de Pesquisas sobre Regiões Agrícolas - REAGRI.

2- Ana Cristina dos Santos Araújo (Universidade Federal do Rio de Janeiro) Vila das Torres: Histórias, Memórias, (Re) Territorialidades No contexto dos Grandes Projetos de Investimentos (GPI), implementados durante o “boom” empreendedor do Estado, na figura da prefeitura do Município do Rio de Janeiro, e do capital especulativo imobiliário para os Mega Eventos ocorridos no Rio de Janeiro entre 2014 e 2016, houve a desterritorialização de famílias de forma compulsória para hipervalorização do solo urbano e como parte da estratégia de acentuar, via meios de comunicação de massa, a imagem do Rio de Janeiro como “Cidade Maravilhosa e socialmente democrática”. Essa apresentação que proponho, enfoca o processo de desterritorialização que trouxe perdas não materiais, não tangíveis, não monetarizadas para a população da Vila das Torres, no bairro de Madureira no Rio de Janeiro, que teve em um

28 só tempo a perda do seu imóvel, mas também a perda da sua territorialidade, seu vínculo afetivo, memória e relações sociais e emocionais com o “seu lugar de moradia”, perdas que passarei a chamar de “valores não monetizáveis”. As perdas da “identidade” cultural e territorial causada pelo capital especulativo imobiliário nos grandes centros urbanos dos países do hemisfério sul em busca de um referencial de cidade “moderna”, provoca quotidianamente deslocamentos involuntários e compulsórios de pessoas. Esse fenômeno pode ser entendido como um deslocamento imposto por uma “guerra do desenvolvimento” e suas vítimas, “refugiados urbanos”. Palavras-chave: Desterritorialização; identidade; cultura; deslocamentos; capital imobiliário; refugiados urbanos. Nota Biográfica: Bacharel e licenciada em História pela Universidade Federal Fluminense (1992), Licenciada em Geografia pela Universidade Federal Fluminense (1992), Pós -Graduada em História Contemporânea (Lato Sensu) pela Universidade Universidade Federal Fluminense (2001) e, Mestre em Sociologia pela Universidade Federal Fluminense (2017) e Doutoranda em Planejamento Urbano e Regional pelo IPPUR/UFRJ (a partir de 2019). Desde 2011, exerce a função de Técnica em Assuntos Educacionais da Universidade Federal do Rio de Janeiro - UFRJ.

3- Jamile Staniek (Instituto Internacional de Geopoética) Texto-Vivo: uma prática geopoética lusófona sobre memórias e geograficidades Nas últimas décadas assistiu-se à expansão de um amplo campo discursivo sobre mobilidades transculturais e suas relações entre espaços, identidades e pertinências dentro de mudanças paradigmáticas, a exemplo das reflexões expostas por Bhabha e Bauman. Dentro de um viés geopoético, através do engendramento de uma chamada "Cartografia do pensamento nômade" (White), abrem-se também novas concepções nas interrelações sobre, com e nos espaços, a observá-los como loci inconstantes nos quais os sujeitos, através da linguagem, seja verbal ou não verbal, reconstroem seus referenciais. Na coadunação entre o ser e o estar no mundo em suas sínteses no devir, surge uma realidade de metafronteiras a conferir "outros contornos" e, assim, uma nova história através das mobilidades de seus agentes diaspóricos. Uma realidade glocal (Canevacci). Visando potencializar uma sensibilização intelecto-perceptiva sobre estas questões, nas quais inevitavelmente a dimensão ética encontra-se envolvida nas dialéticas entre o "eu e o outro", bem como "o lá e o cá", o projeto intercultural Texto-Vivo coloca-se como uma proposta dialógica na reconstrução sujeitos/espaços. Tratando-se de um experimento transdisciplinar crítico-reflexivo, reúne textos e composições de novos autores lusófonos diaspóricos voltando-se à promoção de um campo discursivo extraterritorial dentro da língua portuguesa. Assim, envolve a literatura nas categorias de: performance, conta-ação e cancioneiro, pelas quais explora-se os liames das memórias culturais em intercruzamentos sincrônicos e diacrônicos. Aludindo à necessidade de "práticas" tanto nos processos de

29 construção quanto nos de socialização do conhecimento, para tanto interagindo ciência e arte em suas experimentações, Texto-Vivo tem como meta proporcionar explorações dialógicas com o público, principalmente o que tem o Português como língua materna ou de herança. Uma interação dinâmico-reflexiva, dada principalmente através da ludicidade, a discutir os contextos híbridos que vêm se formando pelas novas geograficidades emergentes e suas relações com a memória. Palavras-chave: geopoética, linguagens, transdisciplinaridade, mobilidade, memória. Nota Biográfica: Jamile do Carmo Staniek, doutoranda em Romanística, é pesquisadora e professora na Universidade Friedrich-Alexander-Erlangen. Fez bacharelado e mestrado na Escola de Belas Artes-UFBA, onde também foi docente no departamento de História da Arte. Tem especialização em Metodologias do Ensino pelo Instituto Olga Mettig (Salvador-BA) e participou do projeto Rede UNEB 2000 ministrando a disciplina Arte-Educação. É membro dos seguintes institutos de pesquisadores: LATinBAY, Geopoetic International Institut, NAMID e RIIA. Recebeu alguns prêmios literários, além de ter publicações em jornais e revistas. ______Painel/Panel 11 1- Inês Fialho Brandão (Exiles Memorial Centre, Estoril, Portugal) In transit: the challenges of interpreting refugee experiences Cultural institutions whose vocation is the interpretation of historic events position themselves along a spectrum of tension between strict memorialization and open-ended discussion of historical facts, with methodologies ranging from the so-called objective eye of the museum to the use of postmodernist discourses and methodologies. The historical episode regarding the flight of tens of thousands of refugees through Portugal between 1933 and 1945, escaping Nazi religious, ethnic, political and cultural persecution (PIMENTEL; PIMENTEL E NINHOS) has thus been discussed either through the lens of an open arms narrative (ZUR MUHLEN) or through the prism of a failed rescue potential (FRANCO; MILGRAM; PIMENTEL E MAGALHÃES RAMALHO). The museumisation of these memories and experiences has tended to operate within the narrative framework of the former rather than the latter (MAGALHÃES RAMALHO; CASCAIS). At a moment when hashtags demand us to ‘decolonise the museum’ and civic groups question the authenticity, and legitimacy, of museum authority and discourse, the cultural institutions focusing on migratory and human rights issues are at the forefront of the critical choices on their objectives and their methods of interpretation and display. The Exiles Memorial Centre (EME), which researches and interprets the memories and experiences of the refugees from Nazi persecution who sought shelter in Cascais, is no exception. This paper discusses the methodologies and approaches chosen by the EME to address the tension between memorialization and interpretation; between memory-keeping and education for citizenry: between the Annales-influenced interpretation and the influence of postmodernist thought and micro-history in conveying

30 the multitude of experiences and memories of the refugees who sojourned in transit in the municipality of Cascais. Keywords: Refugees; Memory; Interpretation; Cascais; Case study. Bio-note: Inês Fialho Brandão manages the Exiles Memorial Centre (Cascais City Council, Portuguese Museum Association Award 2019). She researches World War Two refugee movements, Nazi-era art provenance and related ethics, subjects on which she is a guest lecturer at university level. She has worked extensively as a museum professional and curator. Noteworthy projects include Multiple Voices on Art and Islam (2008); Collecting for the Res Publica (2011); and Jewish Legacies and Experiences in Portugal (Cascais setup, 2018). She is a graduate from the University of Edinburgh (History/History of Art) and New York University (Middle Eastern Studies/Museum Studies).

2- Teresa Oliveira, (Institute of Comparative Literature, University of Porto) Marianne Loring’s Escape from France (1940) Marianne Loring (1924-2003), daughter of the journalist and SPD leader Friedrich Stampfer, describes at 16 years of age the escape she took with her parents and other party leaders and their families through occupied France, Spain and Portugal to New York. These notes are the basis of Flucht aus Frankreich. Die Vertreibung deutscher Sozialdemokraten aus dem Exil, published in 1991. It is this report of the escape, whose route can be considered somehow paradigmatic, that we intend to analyze, focusing especially on the experiences in Portugal. We will regard the text not only as an exercise of memory, but also as an experience of displacement, exclusion and frontier (territorial, political-ideological, linguistic and cultural). Bio-note: Teresa Martins de Oliveira was for several years Associate Professor of the Department of German Studies at the Faculty of Letters of the University of Porto, where she taught in the areas of German Literature and Culture. Currently she is an invited Associate Professor at the University of Porto and member of the research center Instituto de Literatura Comparada Margarida Losa (ILC), where she is part of the Inter/Transculturalities project. She holds a PhD in German Literature with a thesis entitled The Woman and Adultery in the novels O Primo Basilio de Eça de Queirós e Effi Briest by Theodor Fontane, which was published in the Minerva/CIEG editions. Her main research interest is the German-speaking literature from the 19th century to contemporaneity, with special focus on Gender Studies, and more recently on the Studies of the Holocaust and Memory. Among her publications and research projects stands out the volume Passage: German-speaking artists in the Portuguese exile and the database Passages which is integrated in the digital encyclopedia Ulyssei@s of the ILC, dedicated to intellectuals and artists who passed through Portugal in World War II. Both publication and database were developed in collaboration with Maria António Gaspar Teixeira.

3- Sima Shamir-Shachar (Poznan University) Handa Pollak's Diary - A Look at the World of a Girl in the Theresienstadt Ghetto Ghetto Theresienstadt was established as a transit ghetto in Bohemia on Czech Land, on November 24, 1941, until liberation on May 8, 1945, for Jews of Central Europe before they were sent to be exterminated, and the Jews who arrived with the death marches - about 160,000 Jewish inmates. The children: in their creations the children expressed all their feelings and emotions – hard reality versus fantasy, current reality in face of a longing for homes grown up in, reality contrasting dreams for a better future. But the most dominant theme was life in the ghetto and in the children’s homes. From the paintings, poems, newspapers and diaries it can be learned that the children grew up in the ghetto surrounded by the realities of diseases, hunger, death. And transports arriving – but mainly transports departing for the East. The new reality further imprisoned the children and youth, accelerated their growing-up, leading to the loss of their innocent childhood and adolescence. As they longed for freedom and normal lives, their feelings, thoughts and emotions were expressed in stories, poems, songs and articles. A living testimony for this is that of Handa Pollk’s diary, written in Theresienstadt. She called it “All” (Everything). Every subject she studied was expressed: English, grammar, and Hebrew, as well as Czech literature, geometry and math. Every thought about the present and speculations on the future that crossed her mind. “All” was written, drawn and illustrated. Every pleasant memory from long ago, and the experiences of her friends in the girls’ home. All was handwritten in detail. And she was 12 years old. Keywords: Heritage, Holocaust, Theresienstadt, Children, Diary Bio-note: Doctoral studies, History - Holocaust Poznan University, Poland, 2019 Technion Certified, Contemporary Curator Studies, 2010 Masters’ degree, History of the Jewish People - Holocaust University of Haifa, 2011 Director of Archives and curator of “Beit Theresienstadt”, Theresienstadt Martyrs Remembrance Association Mentor for pupils and students; Group and workshops mentor on the subject of the Theresienstadt ghetto Givat Haim Ichud, Israel, 2018-1997 ______Painel/Panel 12 1- Jackelina Meira (Universidade Federal da Bahia), Andréa Cristiana Santos (Universidade do Estado da Bahia) Rio São Francisco, relações culturais e fluxos intrarregionais pelas redes fluviais

Nesta comunicação analisamos as representações culturais construídas ao longo do rio São Francisco pelas narrativas dos remeiros por meio das embarcações no perímetro entre os Estados de Minas Gerais, Bahia e Pernambuco, chamado de estirão médio. Para tanto, partimos do aporte teórico da História Cultural e instrumentos metodológicos a partir de fontes documentais encontradas em acervos públicos e privados como fotografias e narrativas documentais a partir das entrevistas e relatos memorialísticos, compreendidas como fragmentos e artefatos do passado. Tais narrativas trazem aspectos de uma memória individual e coletiva identificadas a partir das narrativas biográficas, memorialísticas, lendas, mitos e textos jornalísticos. Verifica-se nessas narrativas aspectos pertinentes à memória das cidades, situadas às margens do rio São Francisco, entrelaçada à história da navegação como traço constitutivo da identidade desses povos. Estes artefatos documentais permitem compreender vestígios dessa relação intercultural que demonstram a importância da navegação como patrimônio material e imaterial e de uma memória coletiva marcada a qual evidencia interações culturais e fluxos intrarregionais viabilizados pelas redes fluviais. Palavras-chave: História Cultural; Memória; Navegação; Cidades; Rio São Francisco. Nota Biográfica: Jackelina Meira é graduada em Comunicação Social pela Universidade do Estado da Bahia. Mestre em Desenho, Cultura e Interatividade pela Universidade Estadual de Feira de Santana. Atualmente é doutoranda do curso de Arquitetura e Urbanismo da Universidade Federal da Bahia. Andréa Cristiana Santos é professora do curso de Jornalismo em Multimeios pela Universidade do Estado da Bahia, campus III, Juazeiro, e Doutora em Comunicação e Cultural, Universidade Federal do Rio de Janeiro (UFRJ)

2- Francisco Acioly de Lucena Neto (Universidade de Santiago de Compostela), Natália Luiza Carneiro Lopes Acioly (Universidade de Varsóvia) A trajetória de exílio das personagens na obra poética e cinematográfica Morte e Vida Severina - Auto de Natal Pernambucano de João Cabral de Melo Neto O poema e sua adaptação cinematográfica representam o nosso material de trabalho que submetemos ao Congresso Internacional “Mobilidades e Memórias Transculturais” na condição de comunicação oral junto ao evento. As obras são apresentadas por intermédio da forte sensibilidade crítica e estilística do autor, que por intermédio da escrita poética detalhista relata a degradação das pessoas que vivem diante da morte e da sobrevivência em um espaço de peregrinação constante em busca da vida. É diante do texto que transcorrem as questões relacionadas à natureza humana e as problemáticas sociais. A presente proposta tem a intenção de estudar a relação da força literária do poeta diante dos dramas marginais contemporâneos oriundos dos movimentos existentes nas sociedades em seus idênticos dramas. Este paralelo se dará diante da temporalidade do espaço da publicação da obra poética Morte Vida Severina, que se deu em 1955 aos dias atuais e com a análise das informações contidas no poema. Logo, iremos trabalhar dentro desta análise o

33 conteúdo nas reproduções narrativas do poema, buscando aproximar aos dramas atuais dos refugiados diante da pobreza destes homens nas margens do mundo atual. O escritor em seu poema apresenta o “sertão nordestino brasileiro” como um espaço de pouco valor para a sociedade mundial, podemos até comparar a atualidade o espaço geográfico na obra aos refugiados vindos da Ásia ou África.No poema é possível perceber que o autor apresenta as condições desprezíveis do homem retirante, como também aponta a inter-relação da construção de dependência e sobrevivência entre o homem e o novo mundo composto pela grande cidade e seus dramas sociais e psicológicos. O poema mostra a fragilidade humana e a luta pela vida. A obra dialoga a luta da sobrevivência do homem com o que lhe é oferecido no momento para a sua sobrevivência. O proposto artigo em sua dinâmica diante a multidisciplinaridade de linguagens da literatura tem por objeto propor uma nova perspectiva utilizando a poesia e o e os fatos marginais atuais vivenciados pela sociedade atual como ferramenta de estudo no espaço da literatura, e buscar analisar o sentido criativo e de denuncia da obra poética, como aliar os elementos poéticos ao composto realístico e quase que profético na produção na criação do texto e na força da fundamentação dos versos deste grande poema e deste genial escritor. Palavras-chave: Literatura; Mobilidades; Populações; Identidade e Cultura. Nota Biográfica - Francisco Acioly de Lucena Neto Doutorando do Departamento de Comunicação Audiovisual em Comunicação e Informação Contemporânea da Universidade de Santiago de Compostela, USC, Espanha. Nota Biográfica – Natália Luiza Carneiro Lopes Acioly Doutoranda do Departamento de Artes Liberais da Universidade de Varsóvia, UW, Polônia.

3- Lennon Noleto Ferreira (Universidade do Minho) A fé e seus fantasmas: as imagens transculturais de Guadalupe em Borderlands, de Glória Anzaldúa Em Borderlands/La Frontera, Glória Anzaldúa (1941-2004) traz à tona uma intensa crítica histórica aos legados territoriais entre México e Estados Unidos, uma vez que tais legados se concretizam em um processo cultural opressivo e silenciador. Na obra em questão, a autora lança mão de um método pouco convencional: trata-se de confluir relatos autobiográficos, registros historiográficos e formulações teóricas próprias. Ao narrar um processo que se estende desde a colonização espanhola à presente imposição do poder anglo-saxão, Anzaldúa se vale de figuras religiosas caras à cultura mexicana/chicana, entre as quais se destaca a Nossa Senhora de Guadalupe. Esta comunicação expõe brevemente as descrições por parte da autora como decomposição metodológica do processo colonial e da formação da fé local. Apresentam-se respectivamente os seguintes tópicos: I) O contexto por meio do qual a Virgem de Guadalupe se apresenta em Borderlands/La Frontera; II) as implicações desta abordagem desde a perspectiva teórica chicana; III) hipoteticamente, como a Virgem de Guadalupe pode ser reconstituída como um encadeamento de imagens e imaginários.

Palavras-chave: Anzaldúa, Guadalupe, imagem, decolonialidade, história. Nota Biográfica: Licenciado em filosofia e mestre em Arquitetura (teoria, crítica e história) pela Universidade de Brasília. Doutorando em Estudos Culturais pela Universidade do Minho. Investigador das áreas de filosofia da arte, estética, pensamento alemão dos séculos XIX e XX e teoria das imagens. ______Painel/Panel 13 1- Fernando Clara (Nova University, Lisbon) Lisbon, May 1945: a memorandum The end of World War II left the Portuguese New State in a rather complex and difficult situation. Though neutral during the war, Salazar's regime (and above all its elite) could hardly conceal its affinities with several other European dictatorships of the period, the Italian, the Spanish and also the German. It goes without saying that the new post-war world order - democratic and anti-authoritarian - posed enormous challenges to the country, both internationally and domestically. The paper deals with the Portuguese official reactions to the Allied Victory in Europe. It pays special attention to three public speeches that Salazar held in the first weeks of May 1945 and were notably marked by a conspicuous need to affirm the country's "collaborating neutrality" during the conflict. The analysis will be carried out against the background of the news about Portugal made public in the allied press of the time and will focus on how the memory of "Portuguese neutrality" was (re)built in May 1945. The paper finally suggests that in this as in other cases, there is no memory that does not imply, simultaneously, forgetfulness. Bio-note: Fernando Clara teaches at the Faculty of Social and Human Sciences, New University of Lisbon (FCSH-NOVA), where he also got his PhD in German Culture (2002) and his Habilitation in Cultural Studies (2010). Among his publications that deal with the fascist period are the co-edited volumes The Anxiety of Influence: Politics, Culture and Science in Germany’s Relations with Southern Europe, 1933–1945 (in Portuguese, Peter Lang 2014), Nazi Germany and Southern Europe, 1933-45: Science, Culture and Politics (Palgrave Macmillan 2016), and Closing the Door on Globalization: Internationalism, Nationalism, Culture and Science in the Nineteenth and Twentieth Centuries (Routledge 2018).

2- Political Resistance and Holocaust Memory: Virgílio Martinho’s O Grande Cidadão (The Great Citizen, 1963) Luís Pimenta Lopes (University of Minho)

From a formal point of view, O Grande Cidadão (1963), a novel written around 1963 by the Portuguese writer Virgílio Martinho, immediately transports its reader to the Orwellian universe of 1984 (1948), a clear hypotext of this equally dystopian recreation. On the other hand, this might be the only Portuguese novel written during Salazar’s dictatorship that conveys images originating mostly within the system of repression and extermination enforced during the Holocaust, while giving shape to the fictional totalitarian system at the centre of the plot. Faced with the clear juxtaposition of Orwell’s text, as noted by critics, the author claimed to have been inspired by a different book: Uomini o No [Men and Not Men, 1986; Os Homens e os Outros, 1960], a novel from 1945 by the Italian writer Élio Vittorini’s about the Italian resistance during World War II. In articulation with other examples, this paper will argue that the representation of World War II and the Holocaust in the Portuguese cultural system during the 1960s is indissociable from the authors’ representation of a memory of themselves as intellectuals. Bio-note: Luís Pimenta Lopes is a PhD student in Comparative Modernities at the University of Minho, where he also teaches German language and culture. He holds an MA in German as a Foreign Language (2011), a joint degree from the universities of Leipzig and Salamanca, with a master thesis on a Culture Studies approach (Kulturwissenschaft) in the acquisition of language and culture. He is also a member of the research groups on Transcultural Studies and on Humanistic Studies of Migration and Marginalization, at the Centre for Humanistic Studies of the University of Minho, and is currently working on his PhD project on the Holocaust reception by Portuguese intellectuals from the post-war period until 1967.

3- Antonio Alías (Universidad de Granada) Imágenes sin cuerpo: la exhumación del relato necropolítico en las narrativas audiovisuales en torno a la recuperación de la memoria histórica Desde la aprobación de la Ley de Memoria Histórica (Ley 52/2007, de 26 de diciembre) las producciones culturales en torno a la memoria en España han ido ajustando sus relatos a un contexto supuestamente más democrático con la posibilidad de devolver a la sociedad española un imaginario sobre la Guerra civil y el franquismo silenciado desde los primeros años de democracia. En esta contexto, sin embargo, la memoria no sólo ha conseguido penetrar políticamente en la sociedad española, sino también entenderla como objeto de la cultura popular. Si bien es cierto que la emergencia ficciones (literarias, artísticas y audiovisuales) de los últimos años ha sido determinante para sostener el derecho a una imaginación política –con la excepción de algunas lecturas más nostálgicas o vintage de la industria cultural–, actualmente la capacidad reparadora de la memoria depende de ejercicios culturales críticos –cine documental, sobre todo–, no sólo con la ausencia de unas políticas memoria desactivadas, sino también con sus formas de representación y producción a través de narrativas sobre el pasado violento. En este sentido la comunicación tratará de dar cuenta de esas producciones que, además de constituirse en una de las reivindicaciones del movimiento por la recuperación de la memoria histórica todavía urgente

(excavación y exhumación de los cuerpos de las víctimas aún desaparecidas), también suponen un acto de resistencia poética ante los relatos hegemónicos sobre nuestro pasado y el silencio que todavía impera sobre él. Se analizarán los últimos trabajos cinematográficos de Ramón Lluís Bande en contraste con otras producciones audiovisuales más próximas al activismo político, ambas entendidas como dispositivos transculturales de contramemoria. Palabras clave: memoria histórica, transcultural, cine documental, necropolítica, exhumación. Nota Biográfica: Antonio Alías es Doctor en Teoría de la Literatura y del Arte y Literatura Comparada por la Universidad de Granada con la tesis titulada Formas de la razón herida. Genealogía y transición de la memoria como categoría del pensamiento crítica (2015). En esta misma universidad realizó los estudios de Teoría de la Literatura y Literatura Comparada (2009) y, con anterioridad, se licenció en Periodismo en la Universidad de Sevilla (2003). En la actualidad imparte docencia en los estudios de Grado de Literaturas Comparadas de la Universidad de Granada. Sus intereses en investigación se centran en el pensamiento poético, la estética y los estudios de memoria. ______Keynote 4: Luísa Afonso Soares (Centro de Estudos Comparatistas - Universidade de Lisboa) At the Crossroads of Memories – Anna Seghers’ Transit, revisited by Christian Petzold The story told by Anna Seghers in Transit is one that the author herself has lived. As a German-Jewish anti-fascist, she was arrested by the Gestapo when Hitler came to power in 1933. Upon her release, she migrates to Paris, and after the Nazi troops invaded northern France she fled to Marseille – the city “where Europe ends” as the narrator of Transit notes. In March 1941 Seghers managed to obtain the necessary permits and transit visa and she and her family arrived in Mexico. Already in exile, Seghers reconstructs her own experience in a complex “fiction of memory” – a story, recounted in the first person, told by one refugee to an unnamed listener. In 2019, Christian Petzold revisits and actualizes Seghers’ narrative and her memories giving them a universality that goes beyond the World War II and the European borders, although without erasing the social and emotional effects of the past. The German filmmaker returns to Marseille, to its port and streets, eventually assuming that memories are tied to places and places are themselves haunted by memories. Nevertheless, Petzold erodes the political signs of the past, dehistoricizing Seghers’narrative, and bringing to light the atmosphere and emotions triggered by the painful uprootedness and unbelonging. These among other strategies may provide points of identification to a transcultural and transnational audience, who will be able to fill in the gaps left by the filmic narrative, and to feel empathy with that state of transiency and the anxiety of belonging screened in Transit. In this talk I will track those of Petzold’s strategies, which allow him to reframe and actualize the memories inscribed in the novel, to cross (or to intertwin) them with the present and to emphasize the timeless emotions that permeate those memories.

Bio-note: Luísa Afonso Soares is Associate Professor at the University of Lisbon, where she completed her PhD in 1998. She teaches Literary and Culture Studies as well as Gender Studies in both the undergraduate and graduate programmes. She is the Director of the Department of German and of the Undergraduate Programme in Comparative Studies. She belongs to the teaching staff of the PhD Programmes in Comparative Studies, Culture Studies and Gender Studies at the University of Lisbon. Her teaching and research interests include the 18th and 20th century literature and culture, memory studies as well as film studies, identity and gender studies. She has published articles and has presented papers at national and international conferences on these areas. She is a full research member of the Centro de Estudos Comparatistas, where she works on the project “Aesthetics of Memory and Emotions”. She has co-organized Discursos de Memória. Espaço. Tempo. Identidade (2008) and Estudos de Memória. Teoria e Análise Cultural (2016). She is the author of O Dever da Memória. Estudos de Literatura e Cultura (2016). ______Painel/Panel 14 1- Rogério Madeira (Universidade de Coimbra) Receção e representação transcultural: a memória da Primeira Guerra Mundial no romance A Oeste nada de novo de Remarque e no filme homónimo de Lewis Milestone O romance Im Westen nichts Neues [A Oeste nada de novo] (1929), do autor alemão Erich Maria Remarque, e a respetiva adaptação cinematográfica All Quiet on the Western Front (1930), levada a cabo pelo realizador norte-americano Lewis Milestone, constituem dois marcos fundamentais da memória cultural que, há sensivelmente cem anos e por meio dos mais diversos testemunhos historiográficos, artísticos e outros, se tem vindo a erigir sobre a Primeira Guerra Mundial. O estudo que proponho, no âmbito da memória transcultural, começa por abordar os contextos histórico-políticos, sociais e culturais de produção e receção de cada uma das obras histórico-ficcionais de pendor anti-belicista e pacifista, para analisar, depois, quer as semelhanças quer as diferenças no que respeita aos modos de representação do primeiro grande conflito militar do século XX. A análise comparativa contempla a configuração geral da ação, bem como a constelação de figuras, e centra-se nalguns episódios ou sequências narrativas particularmente relevantes, tomando em consideração não apenas os aspetos temático-motívos comuns às duas obras mas, de igual modo, as caraterísticas técnico-narrativas específicas das duas formas de expressão estética em consideração. Palavras-chave: Cinema; História; Literatura; Memória transcultural; Primeira Guerra Mundial. Nota Biográfica: Licenciou-se, em 1990, em Línguas e Literaturas Modernas (Estudos Ingleses e Alemães), na Universidade de Coimbra. Foi bolseiro do ICALP na Univ.Trier (1990/91), leitor de Português

38 na Univ.Würzburg (1993/94) e docente do ensino básico e secundário (1992-1997). Em 1998, obteve o grau de Mestre em Literatura Alemã e Comparada com uma dissertação sobre O Imaginário de Lisboa em Romances de Thomas Mann e de Hanns-Josef Ortheil (MinervaCoimbra/CIEG, 2002). Em 2009, doutorou-se em Letras, na Univ. de Coimbra, com a tese Ficção e História: a Figura de Uriel da Costa na Obra de Karl Gutzkow (MinervaCoimbra/CIEG, 2012). Tem publicado vários outros estudos de menor dimensão sobre recepção e de hermenêutica intercultural no contexto luso-alemão e europeu. É Professor Auxiliar da Faculdade de Letras da Univ. de Coimbra, onde lecciona disciplinas de Literatura e Cultura Alemãs, foi membro do Conselho Directivo (2002-2004), sub-director do curso de Línguas Modernas (2011-2013) e coordenador do Centro de Investigação em Estudos Germanísticos (CIEG) (2012-2014). Actualmente é membro do Centro de Investigação Transdisciplinar «Cultura, Espaço e Memória» (CITCEM).

2- Maria de Fátima Gil (Universidade de Coimbra) Escrever a memória no exílio: Stefan Zweig e O Mundo de Ontem (1942) O Mundo de Ontem é um dos últimos trabalhos do conhecido escritor austríaco Stefan Zweig (1881-1942). Terminado pouco antes do suicídio do autor no Brasil, o livro evocaos “lugares de memória” (Pierre Nora) da primeira metade do século XX, na óptica da geração a que Zweig pertencia, e é considerado pela crítica uma forma sui generis de autobiografia. O estudo que pretendo apresentar ao Congresso analisa a obra partindo do conceito de “Rhetorik des kollektiven Gedächtnisses” [retórica da memória colectiva] de Astrid Erll (2003, 2005, 2017) e à luz dos modos de representação literária da História que esta investigadora sintetizou. Para revelar O Mundo de Ontem como meio de construção da memória colectiva, serão também ponderados quer o contexto de produção – associado ao exílio –, quer o actual contexto de recepção – que, nomeadamente em Portugal, aproxima esta obra zweiguiana do estatuto de “texto cultural”, no sentido de Aleida Assmann (1995).

Palavras-chave: Stefan Zweig; O Mundo de Ontem; exílio; memória; texto cultural. Nota Biográfica: Maria de Fátima Gil é Professora Auxiliar do Departamento de Línguas, Literaturas e Culturas da Faculdade de Letras da Universidade de Coimbra desde 2005, ano em que concluiu o doutoramento em Letras, na mesma Universidade. A sua tese foi publicada em 2008, sob o título Uma Biografia «Moderna» dos Anos 30. “Magellan. Der Mann und seine Tat” de Stefan Zweig. Como investigadora, Maria de Fátima Gil desenvolve a sua actividade no CITCEM (Porto), onde se dedica a estudos de recepção e de hermenêutica intercultural no contexto luso-alemão e europeu, debruçando-se em particular sobre a relação dialógica da Literatura com a História.

3- Viviane Ferreira de Almeida (Universidade do Minho) Entre o efêmero e o arquivo: o blogue Alma de Viajante como memória transcultural da Literatura de Viagens no contexto português Enquanto género literário sem “residência fixa” (Ette, 2003) e intrinsecamente vinculado ao fenómeno da mobilidade tanto ao nível temático, como discursivo e formal, não surpreende que a Literatura de Viagens tenha denotado recentemente uma tendência clara para migrar para o ambiente digital. Neste contexto, os blogues de viagens podem ser qualificados como novos espaços literaturizados, marcados por vivências, experiências e memórias que poderão ser consideradas mais recetivas ao contato e troca, transcendendo barreiras e contribuindo, potencialmente, para a observação dos processos culturais com as “lentes da transculturalidade” (Erll, 2011). Embora associados, de certa forma, à volatilidade, os blogues de viagem, enquanto artefactos, poderão ser percebidos como arquivo de memórias? Com recurso a análise do blogue do escritor-viajante português Filipe Morato Gomes, Alma de Viajante, que em 2021 comemora vinte anos, pretende-se responder à esta pergunta e, ainda que de forma breve, relacionar os conceitos de efémero e arquivo, sendo possível já identificar uma dinâmica de esquecimento e lembrança, “lost and found” (Assmann: 2008), no binómio acesso-memória dos posts pelos seus seguidores/leitores.

Site: https://www.almadeviajante.com/ Palavras-chave: Blogues de Viagem; Bloggers de viagens portugueses; Literatura de Viagens; Transculturalidade, Transmedialidade. Nota Biográfica: Viviane Ferreira de Almeida é mestre em Educação Social e Intervenção Comunitária pela Escola Superior de Educação de Lisboa – Instituto Politécnico de Lisboa, tendo a sua tese “Equipamentos culturais como mediadores de intervenção comunitária: A Biblioteca Humana e a Biblioteca de Marvila em relação por uma comunidade”, investigado o papel do equipamento cultural, em particular a biblioteca, enquanto mediador da intervenção comunitária. Atualmente é doutoranda em Estudos Culturais pela Universidade do Minho. Tendo atuado como mediadora literária e cultural com públicos e instituições diversas em Portugal e no Brasil, identifica como interesses de investigação os Estudos Culturais, as literaturas de viagem, a mediação literária e formação de leitores. ______Painel/Panel 15 1- Ricardo Rato Rodrigues (Jagellonian University) Vicarious Memory(ies) of Daniel Blaufuks

Daniel Blaufuks is a Portuguese photographer and artist, grandson of Polish and German Ashkenazi Jews who moved to Portugal in the late 1920s and 1930s. In his work, he explores the legacy of his grandparents, delving into their memories and articulating them in several media, especially photography and film. In 1991, Blaufuks published, with Paul Bowles, My Tangier, and in 1994, the London Diaries, followed by Ein Tag in Mostar (1995) and Uma Viagem a S. Petersburgo (1998). As well as producing many exhibitions, Blaufuks directed several films and videos: Life is not a picnic (1998, a film without a story), Black and White (2000, the story of a girl who becomes color-blind), Under Strange Skies (2002, a documentary on the Jewish refugees in Lisbon during and after the Second World War), Reversed Landscapes (2002, a film on Portuguese architecture), and Slightly Smaller than Indiana (2006, a documentary about contemporary Portugal). This paper aims to address the way in which Blaufuks articulates memory, migration and Jewish identity, focusing on its vicarious dimension. The problematics arising from his work will be explored in different perspectives, highlighting the variety of media chosen by the artist to deal with both memories and identities that have reached him in a vicarious manner, namely through his grandparents, Jewish migrants who found refuge in Lisbon in the 1930s. The importance and urgency of his work, especially for the little-known area of Ashkenazi Jewish Portuguese identity, will be brought forward. Keywords: Memory; Migration; Portuguese Jewishness; Vicariousness; Photography. Bio-note: Born in Lisbon in 1985, I grew up and lived between Portugal and the UK. I obtained my BA in English and Portuguese Studies from Universidade do Minho, in Braga, Portugal. My MA was in Applied Drama and obtained from the University of Exeter. In 2016, I obtained my PhD in Lusophone Studies from the University of Nottingham, with a thesis entitled A Silent Scream: Madness and Trauma in the early works of António Lobo Antunes. Between 2016 and 2018 I worked as Camões Instructor at the Queen Mary, University of London. I am currently a member of several research groups, such as the International Consortium for the Study of Post Conflict Societies (University of Nottingham), International Health Humanities Network and I am also an external researcher at Centro de Estudos Humanísticos (CEHUM), at Universidade do Minho. I have organised several events: III International Health Humanities Conference: Traumatextualites: Trauma in the clinical, arts and humanities contexts, and several Camões Lectures, amongst others. Currently, I work as an Assistant Professor of Portuguese at the Jagellonian University, Kraków, Poland. My research interests are varied, from trauma and madness in literature and the arts, health humanities, comparative literature (especially in between the lusophone and anglophone contexts), psychiatry, suicide studies, politics in literature, applied drama and gender studies (with a special focus on masculinities).

2- Jagoda Kryg (Jagellonian University) Places where I have slept by Georges Perec. Between the space of memory and the space of the room

Places where I have slept is one of the literary projects of the French writer Georges Perec, which he never finished. Despite this fact, the correspondence between Perec and his publisher shows all the details that the author wanted to include in this work. Inspired by the first volume of the cycle of In Search of Lost Time by Marcel Proust, the text was a direct reference to this famous passage in which the Proustian narrator considers the link between human memory and space which becomes a stimulus to recall images of the past. Following Proust's example, Perec set himself the goal of writing an autobiographical work in which he would describe with as much detail as he could, and his memories would allow him, all the places (including bedrooms, guest rooms, hotels, train stations or even car seats) in which he had spent at least one night. In doing so, the author aimed to conduct an experiment on his own memory and discover its possibilities of recreating forgotten images. Perec has repeatedly pointed out that space as such affects human memory, just as Proust had described it, using as example the famous madeleine. The fact that human memory is able to assimilate a large amount of information through its association with specific locations was first noticed by Cicero who called this mnemonic system "the memory palace". In my presentation I would therefore like to analyze how the space of the room functions in the autobiographical works of Georges Perec, and in particular how it is related to the work of memory undertaken by the writer. Space itself is undoubtedly one of Perec's favourite topics; and the works which focus precisely on this most intimate environment of the writer, which is that of his own apartment, and which I would like to analyse in particular are: Places where I have slept, Species of spaces and Notes concerning the objects that are on my worktable. Bio-note: Jagoda Kryg is PhD student at the Institute of Roman Philology of the Jagiellonian University in Krakow, Poland. She is currently working on the writing of her thesis on memory and lack in the work of Georges Perec.

3- Sofia Cavalcanti (University of Bologna) A luggage heavy with memories: things and gendered identity within the diasporic space Despite the increasing feminization of migration, the intersection of gender and diaspora has been a less explored literary manifestation until recently. Moreover, the physical luggage migrants carry over to the new land, including things imbued with memory, has hardly been considered as a clue to understand the subject’s processes of identity negotiation in the diaspora. Hence, a deeper investigation of the material things through which memories work within houses, landscapes, and innerscapes is necessary in order to shed new light on how diasporic men and women negotiate the past, live the present, and envisage the future. By focusing on two short stories from Jhumpa Lahiri’s Pulitzer-Prize-winning collection The Interpreter of Maladies (1999), I will examine things as emotional anchors and establish whether they impede or facilitate belonging within the diasporic context. First, I will show how in “Mrs. Sen’s” the private museum of memories recreated by the woman protagonist

42 in her American apartment only contributes to increase her sense of alienation and loss. By resurrecting idealized memories and transposing elements of a past life into America, she transforms both her present and her past home into a chimera. On the other hand, I will argue that “The Third and Final Continent” offers an example of successful negotiation of remembrance and forgetting. The male narrator’s reproduction of India is not paralyzing as he maintains cross-border relations which enable a dialogue between here and there, present and past. The Indian artifacts which circulate within his home in the U.S. symbolize links to his original culture as well as propellants to find strategies of integration. In conclusion, diasporic memories—both individual and collective—act differently for men and women. If the narration of the past evoked by things can be very positive for their capacity to activate processes of self-analysis, self-discovery, and relocation, their impact on the perception of the present can be problematic. In other words, a luggage heavy with memories might impede movement, increase nostalgia, and hinder the natural flux of hyphenated identities.

Keywords: diasporic memories; gendered diaspora; Indian women’s literature; diasporic material culture.

Bio-note: Sofia Cavalcanti is a Ph.D. candidate at the Department of Interpreting and Translation of the University of Bologna (Forlì Campus) and a freelance translator specialized in English, French, and Portuguese. Her research areas are material culture studies, diaspora and migration, and feminist theory applied to postcolonial women’s writing, which is the current topic of her work. In particular, the present focus of her research is English-language literature by contemporary Indian women writers.