Contenu du sommaire : Le Brésil de Jorge Amado: perspectives interculturelles

Revue Amerika Mir@bel
Numéro No 10, 2014
Titre du numéro Le Brésil de Jorge Amado: perspectives interculturelles
Texte intégral en ligne Accessible sur l'internet
  • Editorial - Rita Olivieri-Godet, Néstor Ponce accès libre
  • Thématique

    • Le Brésil d'Amado « vu d'ailleurs »
    • Parcours amadiens en Belgique francophone - Leonor Lourenço de Abreu accès libre avec résumé avec résumé en anglais
      Cette étude analyse d'une part la réception critique de l'œuvre de Jorge Amado en Belgique francophone dans la presse de gauche (Drapeau rouge et Les Aubes) ainsi que dans les journaux « grand public » (Le Soir et La Libre Belgique). D'autre part, elle pose la question de la réception créatrice dans l'œuvre de certains écrivains proches de la mouvance communiste (David Scheinert ou Charles Paron), comme d'écrivains contemporains (Malika Madi ou Jean-Louis Lippert).
      This paper analyses the critical reception of Jorge Amado's work in the Belgian francophone left wing press (Drapeau rouge and Les Aubes) as well as in the broader newspapers (Le Soir and La Libre Belgique) on the one hand. On the other hand, it raises the question of Amado's creative reception in several writers' works close to communism (David Scheinert or Charles Paron) as well as in the work of more contemporary writers (Malika Madi or Jean-Louis Lippert).
    • Amado – Detrez, la fraternisation baroque ? - Marc Quaghebeur accès libre avec résumé avec résumé en anglais
      Traducteur d'un des romans les plus longs de Jorge Amado, avant l'émergence de sa propre œuvre littéraire et après son expulsion du Brésil par la dictature militaire, Conrad Detrez (1937-1985) n'a jamais explicitement reconnu l'influence certes rebrassée de l'écrivain-phare de Salvador de Bahia. Le roman le moins autobiographique de Detrez, La Lutte finale (1980), en porte pourtant clairement la trace, comme il révèle en quoi l'héritage franco-francophone de l'écrivain belge l'amène à un type de narration différente de celle d'Amado.
      Translator of one of the longest novels written by Jorge Amado, before the emergence of his own literary work and after his expulsion from Brazil by the military dictatorship, Conrad Detrez (1937-1985) never explicitly recognized the influence, although remodelled, of the flagship writer of Salvador de Bahia. Detrez's less autobiographical novel, La Lutte finale (1980), clearly shows its imprint, as well as it reveals how the french-speaking Literature heritage of the Belgian writer leads him to a narrative style different from that of Amado.
    • Brasil, terra de erotismo, luz e vida (Jorge Amado na Espanha) - Antonio Maura accès libre avec résumé avec résumé en anglais
      A aparição dos livros de Jorge Amado na Espanha coincidiu com o chamado boom latino-americano, que revelou os autores americanos mais importantes em língua espanhola. Por enquanto, o escritor brasileiro distingue-se logo dos outros autores do boom e seguiu seu próprio caminho, obtendo suas obras um grande número de leitores. Na verdade, durante as últimas décadas do século passado o cidadão espanhol identificara Brasil com a cidade de Salvador e o estado da Bahia, tal como foram descritos pelo autor de Gabriela, cravo e canela.
      The books of Jorge Amado were published in Spain at the same time that the Latin American « boom » was occurring towards the end of 1970s, the literary movement that allowed Spanish people to know and to read the most important South American writers. Soon after this Brazilian novelist began to be distinguished from the other « boom » authors, he followed his own and successful course and his works achieved a large number of readers. In fact, for several decades of the past century, most Spaniards identified their image of Brazil to the city of Salvador and the state of Bahia, both masterfully described by the author of the Gabriela, Clove and Cinnamon.
    • Entre o exótico e o político : caraterísticas da recepção e tradução de Jorge Amado na Alemanha - Marcel Vejmelka accès libre avec résumé en anglais
      Up to the 1990s, Jorge Amado was the most famous and influential Brazilian writer in Germany, while in the present his situation has changed considerably. In view of Brazil's condition as « Guest of honour » at the Frankfurt Book Fair in 2013, this seems to be a good moment for a critical revision of the main characteristics of his reception in Germany from its beginngs in the 1950s to the present. Some of the central questions are: What is the inner logic of the synthesis of the young political writer and the elder « storyteller » ? Or have there been, instead, two different « Jorge Amados » in the German reception? Finally, what is the relationship, in Amado's German reception, between exotic and engaged writing, regional and universal dimensions – all aspects that are not always clearly separated in his work ?
    • Jorge Amado dans la collection « La Croix du Sud » de Roger Caillois - Jean-Yves Mérian accès libre avec résumé avec résumé en anglais
      Roger Caillois a offert au public français un vaste éventail du roman latino-américain de son temps, dans la collection « La Croix du Sud » des éditions Gallimard, entre 1952 et 1970. Jorge Amado, dont un premier roman Jubiabá avait été édité en 1938, était encore peu connu en France. La traduction et la diffusion de plusieurs de ses romans réalistes-sociaux, par des maisons d'édition proches du Parti communiste, entre 1944 et 1951, étendit son public. Mais c'est grâce à l'initiative de Roger Caillois qu'il conquit une plus grande notoriété. L'intérêt pour le Nord-est du Brésil et la civilisation afro-brésilienne né du succès de Maîtres et esclaves, traduction de Casa Grande & Senzala  par Roger Bastide, paru dans la collection « La Croix du Sud », en 1952, explique sans doute le choix de Roger Caillois de publier Jorge Amado. Les multiples facettes de la vie du peuple de Salvador da Bahia, de cette société multiraciale et pluriculturelle, profondément imprégnée des traditions afro-brésiliennes, ont séduit des lecteurs en quête d'exotisme et de dépaysement. Le réalisme social, l'engagement de l'écrivain, combiné avec le réalisme magique des scènes de candomblé, donnait à découvrir un monde nouveau et parfois envoûtant. Grâce à la collection de Roger Caillois, le public français a pu découvrir le monde singulier et fascinant de Bahia vu par Jorge Amado. Tous ses romans sont aujourd'hui traduits en français pour un public de lecteurs fidèles.
      Roger Caillois made available to the French public, between 1952 and 1970, a vast range of the Latin American novels of his time in Gallimard's "La Croix du Sud " collection. Jorge Amado, whose first novel Jubiabá was edited in 1938, was then poorly known in France. The translation and circulation of many of his social and realist novels, carried out between 1944 and 1951 by publishing houses close to the Communist Party, expanded his audience. But it was Roger Caillois' initiative that raised Amado's fame. The interest in the Northeast of Brazil and in the Afro-Brazilian culture, which resulted from the success of The Masters and The Slaves, in Roger Bastide's translation of Casa Grande & Senzala, published in 1952 in " La Croix du Sud " surely explains Roger Caillois' decision to publish Jorge Amado. The multifaceted lives of the people of Salvador da Bahia, of this multiracial and multicultural society, deeply filled with the Afro-Brazilian traditions, have captivated readers seeking for exoticism and changes of scene. Social realism, the writer's commitment, combined with the magic realism of Candomblé scenes, enabled readers to discover a new and sometimes captivating world. Thanks to Roger Caillois' collection, the French audience was able to discover the strange and fascinating world of Bahia depicted by Jorge Amado. All his novels are now translated into French for an audience of loyal readers.
    • Hora da Guerra : Jorge Amado e a França na Segunda Guerra Mundial - Benedito Veiga accès libre avec résumé en anglais
      Jorge Amado, in Hora da Guerra -chronicles published in O Imparcial, Salvador-Bahia, from December, 1942, to October, 1944- shows a partisan political vision of the World War II, focusing to reflect about the effects of the Munich Agreement, 1938, when France was present and the Soviet Union was excluded from the survey and the Hitler's expansion desire was supported ; many french personality and events are shown, with quotes that exceed two hundred ; names such as Philippe Pétain, Pierre Laval, Charles de Gaulle, Henri Giraud, Edouard Daladier, François Darlan and others that help to emerge a profile of the time and the Vichy government ; in contrast, traditional historical figures appear, close to the French Revolution, such as Napoleon Bonaparte, Jean-Paul Marat, Marie Antoinette, Charlotte Corday, Marquis de La Fayette, Robespierre... those help mark the diversity of the lived moment ; in the literature, among many, are cited André Gide, André Maurois, Georges Bernanos, Romain Rolland, to clarify how the nazifascism deteriorated the relations of art and culture with the power ; Amado does not forget, despite the bellicose moment and imprecise and delicate definitions, the influence of the Gallic nation in young Brazilian citizens and his admiration by intellectuals.
    • « A nova descoberta do Brasil » : a recepção crítica da obra de Jorge Amado na imprensa periódica neo-realista portuguesa - Edvaldo A. Bergamo accès libre avec résumé en anglais
      In the year of the centenary of Jorge Amado, our intention in this work is to analyze the critical reception of the work of the novelistic from Bahia in relevant journals that embraced the ideals of a literature committed in Portugal, since the author in question was the principal name to be discussed initially in the cultural pages that gave voice to the new realism that prevailed in the 1930s and 1940s.
    • Échos amadiens en Afrique lusophone : la réception de l'œuvre de Jorge Amado en Angola - Barbara dos Santos accès libre avec résumé avec résumé en anglais
      Le présent article propose une lecture critique des rapports interculturels existant entre les littératures angolaise et brésilienne. L'écrivain brésilien Jorge Amado fut une grande référence pour de nombreux écrivains lors d'une phase très importante de la formation de la littérature en Angola. Nous nous attacherons donc à mettre en exergue l'influence du Modernisme brésilien, et plus particulièrement du Régionalisme, dans les littératures d'Afrique lusophone, dans l'objectif de montrer l'importance de la réception de cet auteur dans le continent africain. Une comparaison plus minutieuse entre l'œuvre de José Luandino Vieira et Jorge Amado illustrera notre propos en deuxième partie de notre étude.
      This article offers a critical reading of existing intercultural relations between Angolan and Brazilian literature. The Brazilian writer Jorge Amado was a great reference for many writers in a very important phase of the formation of Angolan literature. We will focus on emphasizing the influence of Brazilian modernism, particularly regionalism, in the literatures of Lusophone Africa, with the aim of showing the importance of the reception of this author on the African continent. Secondly, a more detailed comparison between the work of José Luandino Vieira and Jorge Amado will illustrate the purpose of this study.
    • Jorge Amado et le monde arabe - Elisabeth Vauthier accès libre avec résumé avec résumé en anglais
      L'article étudie la façon dont ‘Awaḍ Šaʿbân, l'un des traducteurs vers l'arabe de Jorge Amado, construit, à travers les préfaces à deux romans de l'écrivain brésilien, une image particulière de cet auteur et de l'universalité de son œuvre, dessinant dans le même mouvement les attentes supposées du lecteur arabophone de la fin du XXe siècle.
      This article examines how ‘Awaḍ Šaʿbân, one of Jorge Amado's translators into Arabic language, constructed his work through the prefaces to two novels written by the Brazilian writer. A particular image of the author and of the universality of his work, drawing in the same movement assumed expectations of Arabic reader in the late twentieth century is revealed.
    • Jorge Amado e a literatura brasileira na Rússia - Elena Beliakova accès libre avec résumé en anglais
      This article is devoted to the perception of Jorge Amado's works in Russia. This Brazilian writer is considered to be a corner-stone of literary interrelations between Russia and Brazil. Amado, unlike other Brazilian writers, opened up Brazil for Russian readers. His works were organically incorporated into the context of Soviet literature and became an inherent part of it. On one hand thematically and ideologically they played the role of transmitter for the politics and ideology of the USSR, but on the other millions of Russian readers loved them because found there what they appreciated - love of freedom, generosity, unselfishness - and also what they often lacked - a joyful outlook on life.
    • Traduzindo o Brazil : o país mestiço de Jorge Amado - Marly D' Amaro Blasques Tooge accès libre avec résumé avec résumé en anglais
      Jorge Amado, qui est entré dans le Livre Guinness des Records comme « l'auteur le plus traduit dans le monde» en 1996, a également été le premier brésilien à figurer sur la liste des auteurs bestseller du New York Times. Son premier livre traduit en anglais a été publié aux États-Unis en 1945 par la maison d'édition Alfred A. Knopf Publishers, grâce au Département d'État américain, qui soutenait un programme d'échange culturel dans le cadre de la « Politique de bon voisinage » du président Roosevelt. La littérature traduite était considérée à l'époque comme une façon de comprendre « l'autre ». Par la suite, cette idée a créé un modèle qui a duré pendant des décennies. Erico Verissimo, Gilberto Freyre, Alfred et Blanche Knopf, Samuel Putnam, Harriet de Onis et Barbara Shelby ont été des acteurs importants dans ce contexte. Malgré son positionnement stable dans la politique de gauche, après avoir quitté le Parti communiste à la fin des années 1950, l'un des titres de Jorge Amado fut considéré comme un bestseller américain, en raison de l'aspect « diplomatique » et du projet renouvelé de traduction (et d'amitié) de Alfred A. Knopf. Toutefois, d'autres tendances idéologiques ont également influencé la réception de l'œuvre de cet écrivain, en permettant son assimilation d'une manière métonymique, contrairement à ce qui s'est passé en Europe de l'Est par exemple. Notre étude a examiné le rapport entre les acteurs mentionnés, ces influences idéologiques et la représentation culturelle du Brésil au travers de la littérature traduite de Jorge Amado aux États-Unis. Nous avons l'intention de montrer dans ce colloque, un résumé de cette recherche vaste et riche (approfondie et extensive) sur un chapitre remarquable de l'œuvre de ce grand auteur brésilien.
      Jorge Amado, who entered the Guinness Book of Records as “the world's most translated author” in 1996, was also the first Brazilian to have his/her name in The New York Times best seller list. His first book translated into English was published in the USA by Alfred Knopf Publishers in 1945 under the auspices of the U.S. State Department, who sponsored a cultural interchange program as part of president Roosevelt's the Good Neighbor Policy. Translated literature was seen, at the time, as a means to understand “the other”. Such trend became a pattern as of the beginning of the 20th Century. Érico Veríssimo, Gilberto Freyre, Alfred and Blanche Knopf, Samuel Putnam and Harriet de Onís were actors in this scenario. In spite of his support of the tenets of the political left, after leaving the Communist Party in the late 1950's Jorge Amado became an American bestseller, a result of such « diplomatic » movement as well as of Alfred A. Knop's translation project. Nevertheless, other influence networks also affected the author's reception in the United States, which turned out to be quite different from that in the Eastern Europe, for instance. This paper draws on the relation between the aforementioned actors, such influence network and Brazil's cultural representation in Jorge Amado's translated literature in the United States. I intend to show, in this colloquium, a small part of this rich and long research on an outstanding chapter of this great author's work.
    • De pubas, carimãs e outras iguarias : truques de tradução q.b. para o leitor italiano de Dona Flor e seus dois maridos - Maria Da Graça Gomes De Pina accès libre avec résumé en anglais
      A translator's main concern (at least one who is idealistically trying to save the insurmountable lexical and cultural wealth found in the works by Jorge Amado) is, without a doubt, the conservation and placement of that same wealth found throughout the vast quantity of Brazilian terms and expressions that are inseparable of his works. Starting out from that difficult point, the main goal of our in-depth analisis is to see the effects that of reading the translation of the culinary driven microtexts, belonging to the novel Dona flor e Seus Dois Maridos (Dona Flor and Her Two Husbands), have on the Italian public. Therefore we have tried to establish the reasons behind the choices made, so that we might access their anthropological significance, by attempting to perceive the full scope of Bahia's sphere of influence from an Italian point of view.
    • Lectures critiques de l'œuvre de Jorge Amado : mémoire, territoire et identité
    • A dimensão da ética intercultural na obra de Jorge Amado - Rita Olivieri-Godet accès libre avec résumé en anglais
      This essay offers a reading of Jorge Amado that contrasts with the polarized vision characteristic of some critical approaches. This work is based on the « intercultural ethics » dimension that is orientating the author's trajectory, responsible for the imprint of directives that move in the direction of increasing the dialogic perspective, forming a literary work more and more open to a plural logic, to the representation of heterogeneity and to the crossing of cultures.
    • Les étrangers et l'idée de pays chez Jorge Amado - Ana Rosa Neves Ramos accès libre avec résumé avec résumé en anglais
      Quand le monde et l'État de Bahia célèbrent le centenaire de Jorge Amado, rien n'est plus opportun que de discourir sur l'importance et l'actualité de son œuvre sur la scène mondiale et dans la littérature brésilienne. Je partage l'opinion de Roberto da Matta sur la forte attraction que le texte amadien exerce sur ceux qui s'intéressent à la société brésilienne. On sait que Jorge Amado a été un écrivain mû par l'utopie de penser le Brésil : sa construction de l'image d'un pays portée au début par un engagement politico-partisan, glisse, ultérieurement vers un éloge outré du métissage et du syncrétisme. Si cette image est généralement reconnue, identifiée grâce à des personnages typiquement brésiliens, comme Gabriela, Dona Flor, sans oublier Pedro Archanjo, typique représentant des thèses amadiennes sur la question, méconnaitre l'importance des figures d'étrangers dans la construction de cette image, serait restreindre sa portée et son envergure ainsi que la façon originale de ces étrangers à présenter un ensemble de questionnements fondamentaux et novateurs concernant les possibilités d'intégration de notre société en engendrant une image du Brésil perméable à la diversité. Notre objectif, ici, est d'analyser comment l'écrivain a construit son image du Brésil et de voir si cette image persiste encore au XXIe siècle.
      As the world and the state of Bahia celebrate the centenary of Jorge Amado, nothing is more appropriate than to discuss the importance and timeliness of his work within the global scenario and in Brazilian literature. I agree with Roberto da Matta regarding the strong attraction that Amado's work exerts on those who are interested in understanding Brazilian society, as much its most obvious connection with life through its main institutions, customs, values, and above all, for its disturbing and persistent "social questions." It is known that Jorge Amado was a writer driven by a utopian reflection on Brazil: the construction of an image of the country, initially backed by a political party commitment, sliding subsequently, into a torn praise of racial mixing and syncretism. While this is generally recognized, identified by means of typically Brazilian characters, such as Gabriela, and Dona Flor, not forgetting Pedro Archanjo -typical representative of Amado´s view on the subject - the construction of this image would restrict its scope and scale if it were to ignore the importance of foreign figures, for the original way they present a set of basic and innovative questions on the possibilities posed by an integrated overview of our society, conveying a vision of Brazil pervious to diversity. It is our intention here to ascertain how the writer constructs his idea of Brazil and reflect if this image still persists in the 21st century.
    • A representação do imigrante árabe em A descoberta da América pelos turcos, de Jorge Amado - Mireille Garcia accès libre avec résumé en anglais
      In contemporary Brazilian literature, a growing number of authors are exploring the figure of the immigrant, his ethnicity and his representation on the margins of fiction and the nation. In The discovery of America by the Turks by Jorge Amado, the characters of Arabic origins are no longer displaced or relegated to the status of strangers and foreigners anymore : they occupy the centre of the narrative. This paper aims to analyse the representation of Arab immigrants in the novel and question stereotypes which are taken by the author, which « Orient » he deconstructs and reconstructs and which place these immigrants occupy. It is also to understand how the question of the experience of the « Other » and the identity figurations in the novel create binarism between belonging and an almost imaginary territory that can be classified as an « in-between place ». Theoretical contributions will be taken as the concept of orientalism by Edward Said, the concept of stereotypes and otherness representation by Homi Bhabha along with the concept of habitus of Pierre Bourdieu.
    • O país do carnaval : identitárias faces do Brasil na obra de Jorge Amado - Rogério Lima accès libre avec résumé en anglais
      In this paper we analyze some aspects of Jorge Amado's work with the purpose of identifying the forms of representation of the nation and of the Brazilian man, imagined by the Baiano writer in his novels and in his memoirs.
    • Religiosité et négritude dans Jubiabá – vers quelle conscience interculturelle ? - Florence Dravet accès libre avec résumé avec résumé en anglais
      En 1935, Jorge Amado publie Jubiabá qui sera brûlé en place publique pendant le gouvernement Vargas. Dans ce roman, il met-en-scène la trajectoire de l'orphelin Balduíno, qui devient leader de grève, mais aussi la sagesse du vieux gourou noir, à la fois conscience collective de la négritude bahianaise et conscience morale de la communauté restreinte autour de laquelle le roman se déroule. Nous parlerons ici d'interculturalité : celle d'un auteur brésilien traduit dans le monde entier, celle d'un auteur bahianais écrivant dans un contexte politique et culturel dominé par le sud-est, celle d'un auteur blanc, appartenant à une élite rurale de l'intérieur de Bahia, qui parcourt les rues du quartier le plus noir de la capitale, celle d'un auteur affilié au parti communiste tout en ayant les deux pieds plantés dans le Candomblé de Bahia. Comment Jorge Amado parvient-il à établir des ponts là où conflits et tensions semblent caractériser les rapports socio-culturels ? Peut-on affirmer que les notions de métissage et de dialogue interculturel parfois qualifiées d'idéalistes dans l'oeuvre de Jorge Amado trouvent dans Jubiabá une place réelle ? Nous montrerons que, loin d'être idéaliste, Jorge Amado, dans ce roman, parle de conflits.
      In 1935, Jorge Amado publishes Jubiabá which will be burned in public during the Vargas government. In this novel, he depicts the trajectory of Balduíno, an orphan who becomes the leader of a strike, but also the wisdom of the old black guru, both collective consciousness of the Bahian blackness and moral conscience of the small community around which the novel takes place. We speak here of interculturalism : that of a Brazilian translated author in the world, that of a Bahian author writing in a political and cultural context dominated by the south-east, that of a white author, belonging to a rural elite in the interior of Bahia, which runs through the streets of the darkest area of the capital, that of an author affiliated with the Communist Party while having both feet planted in the Candomblé of Bahia. How Jorge Amado manage to build bridges where conflict and tension seem to characterize the socio-cultural relationships ? Can we say that the concepts of interculturalism and intercultural dialogue, sometimes called idealists in the work of Jorge Amado, found in Jubiabá a real place ? We will show that, far from being idealistic, Jorge Amado, in this novel, speaks of conflicts.
    • O Brasil africano de Jorge Amado : territórios, cartografias & fotografias - Rafael Sanzio Araújo dos Anjos accès libre avec résumé en anglais
      One of the structural issues related to the African culture in Brazil that still merits research and investigation  is related to the historiographic and geographic aspects of formation and distribution of the population of African descent in Brazil. This paper recovers the main cartography and geographic references in the works of the writer Jorge Amado and uses as places of research the spatial representations of the State of Bahia, particularly the city of São Salvador da Bahia or Cidade da Bahia, with their known spaces in his works such like : the Pillory, the hill of the Cover-Black, Pier Salvador, Itapuã, Amaralina Pituba, Farol da Barra, the hill of the Church of Bonfim, Peripiri, among other parts of this urban pool, marked by African references. As basic tools we use the resources of cartographic and photographic images, due to their possibilities of being effective in knowledge and apprehension of content and contemporary historiography. The study identifies that without the "Geography of the City of Bahia," the Jorge Amado literature never be the same, say, the city of Salvador territory, strongly marked in the first half of the twentieth century, for an African identity in daily well-defined city, even in the context of socio-spatial exclusion and secular system of slavery prejudice.
    • Jorge Amado e a política cultural brasileira : correspondência com um jovem cineasta - Cláudio Novaes accès libre avec résumé avec résumé en anglais
      Analisamos a correspondência entre Jorge Amado e um jovem leitor baiano, Olney São Paulo, discutindo uma carta datada de 1956, na qual está em jogo a formação da intelectualidade brasileira ligada ao cinema, mostrando as influências literárias e ideológicas amadianas nas definições políticas e estéticas dos seus leitores.
      Analyzed the correspondence between Amado and a young your reader in Bahia, Olney São Paulo, discussing a letter dated 1956 in which the training is at idea of brazilian intellectuals linked to the movies, showing how literary influences and ideological amadianas are key in the settings and policies aesthetic of your readers.
    • Formas de representação da marginalidade infanto-juvenil n'Os capitães da areia, de Jorge Amado, e meninos do tráfico, de MV Bill - Volnei José Righi accès libre avec résumé avec résumé en anglais
      Je propose une approche entre « les capitaines des sables », personnages de l'écrivain Jorge Amado, et les « Enfants du trafic », du rappeur MV Bill, pour questionner les moyens de représentation de la marginalité des enfants et des adolescents, dans le roman Capitaines des sables (1937) et dans le rap « O bagulho é doido/La dope est dingue » (2006), qui est illustrée dans le documentaire « Faucons, les enfants du trafic » (2006), réalisé par MV Bill, en partenariat avec le rappeur Athayde. Jorge Amado représente les enfants pauvres et marginalisés, comme une sorte de société organisée et indépendante, possédant un chef et des rôles définis pour chaque membre du groupe, à l'encontre de tous les jugements et des hostilités externes. Mis en parallèle avec les « Capitaines des sables », les « enfants du trafic » sont également répartis dans une structure sociale qui semble organisée, avec des rôles définis pour chaque « faucon ». L'image du « faucon » désigne un adolescent qui est plongé dans le trafic de drogue pendant la nuit. Il n'est pas un sujet libre, car il est complètement absorbé par un système de délinquance, emprisonné dans le trafic de drogue, dont il dépend. Ainsi, le texte provoque l'inquiétude, non seulement parce qu'il réunit deux moments historiques distincts, mais aussi de par la violence de la thématique abordée, et la preuve de l'existence d'une continuité politique et sociale que seul l'art peut mettre en évidence de manière vraisemblable.
      I propose an approximation between the sand captains characters by Jorge Amado, and the traffic boys, by rapper MV Bill, to discuss ways of representing juvenile delinquency in the novel Captains of the Sands (1937) and the rap song « O bagulho é doido » (2006), the latter illustrated by the documentary « Falcão, Meninos do Tráfico » (2006), also by MV Bill, in partnership with rapper Athayde. Jorge Amado represents the poor and marginalized boys in « Captains of the Sands » as a kind of independent, organized society, with a leader and defined roles for each member of the group, independent of any judgments and external hostilities. In line with « Captains of the Sands », the traffic boys are also arranged in a social structure that seems organized, with defined roles for each « falcão » (hawk). The picture of the « hawk » refers to a teenager who a drug traffic by night, but is not a free subject, since he is completely absorbed by a system of misdemeanor drug trafficking, on which he depends. Thus, the text provokes restlessness not only by bringing together two distinct historical moments, and by violent themes, but also by the evidence of a political and social continuity that art tends to highlight in a credible way.
    • Os « capitães da areia » de Jorge Amado : histórias de vida na cidade da Bahia - Celeste Maria Pacheco de Andrade accès libre avec résumé en anglais
      Jorge Amado, throughout his literary work gave voice to many subjects who are considered marginalized. In Captains of the Sands, (1937), children and teenagers, known in the City of Bahia – Salvador – as « captains of the sands », are both the characters, title of the narrative, and social actors, whose stories expose a social problem, abandoned and delinquent childhood in the capital city of Bahia. Divided into three parts, the novel runs between the realism of social criticism and romanesque and melodramatic elements. The first one « Under the moon, in an abandoned old pier » shows the profile of some of the captains through independent stories, which are intertwined. The « Night of the great peace of your eyes », narrates the love of Pedro Bala, one of the leaders, by Dora, the only female captain of the sands. Finally, in « Song of Bahia, song of freedom », the destiny of the characters is defined. We analyze the narrative in the perspective of Social History, having stories of life as important documentary source. The meaning Captains of the Sands to the militant trajectory of the writer lies on showing conflicts between the rich and the poor, the weak and the strong. This narrative denounces an oppressive society in Bahia in the first half of last century.
    • Os Capitães da Areia na construção do território soteropolitano - Licia Soares de Souza accès libre avec résumé en anglais
      This text is an analysis of Jorge Amado's Captains of the Sands (1937), written during centenary commemorations for the famed author. This analysis shows how the city of Salvador, the first capital of Brazil and the capital of the northeastern state of Bahia, is an active character in conjunction with the gang of street children. The city has always been characterized as a beautiful and sensual girl in Brazilian literature ; however, in this novel Dora can be read as a metaphor for the city, the only female member of the gang. The city, like Dora, loses its aesthetic status in order to reveal an accelerated process of urbanization, one that excludes the majority black population that is confined to precarious spaces of habitation. 
    • Suor ou Ladeira do Pelourinho, nº 68 : uma poética da exclusão - Betina Ribeiro Rodrigues da Cunha accès libre avec résumé en anglais
      Suor or Sweat, is the third book of a still young, Jorge Amado. It was written in 1934, when the writer was 22 years old. However, the novel already outlines issues, social types and concerns that will be a motto for all literary, political production and adherence to the ideology of communism and its principles. The narrative is fragmented, which resembles a succession of themes and stories gathered by a single address, the Slope of Pelourinho n° 68, a loft with rooms divided to the maximum of promiscuity, oppression and inhuman respect to men. In this daily misery, waste and sweat, there is a polyphonic voice that creates a mixture which underlines excluded sub human characters. Thus, this paper aims to see how Amado, writing about mankind and his real universe, both fictional and idealized (at the age of 16, the writer also lived in one of the houses of the Slope), also drawing a space of interaction in which the exchanges and identities understand mental representations of their differences in individual and social knowledge.
    • Topofilia e paisagens em obras de Jorge Amado : o elo afetivo entre o real e o ficcional - Reheniglei Rehem accès libre avec résumé avec résumé en anglais
      Ce travail a pour objectif l´étude des paysages décrits dans le romans de Jorge Amado, Terre Violente (« Terras do sem-fim ») et La Terre aux Fruits d'Or (« São Jorge dos Ilhéus»), considérés comme porteurs d´un langage imagé et d´éléments fondateurs de la construction culturelle et identitaire du Sud de la Bahia. Cette approche sera développée à partir du concept de topophilie, de Yi-fu Tuan ; image et perception, de Winfred Nöth et Lucia Santaella, et esthétique dua visible, de Flora Süssekind. Ces éléments théoriques vont étayer l´analyse des symboles et épithètes présents dans les textes fictionnels citées ci-dessus, et qui sont perçus comme des métaphores visuelles composées par des éléments symboliques qui représentent, identifient et mettent en valeur, quand ils n´exagèrent pas, les traits culturels de certaines villes, comme par exemple : Salvador (Terre de Joie) ; Itabuna (Capitael du Cacao) et Ilhéus (Princesse du Sud ; Terre de la Gabriela), scénarii qui comblent l´imaginaire du lecteur qui se rend au Brésil.
      This work studies the landscapes displayed in Jorge Amado's novels The Violent Land (“Terras do sem-fim”) and The Golden Harvest (“São Jorge dos Ilhéus”). This article considers them to have language imagery and formative elements which demonstrate the identity construction of Southern Bahia. This approach will be based on the concept of topophilia, by Yi-fu Tuan; image and perception, by Winfred Nöth and the aesthetics of visible, by Flora Süssekind. Such theoretical framework will support the analysis of symbols and epithets present in these fictional works, which are seen as visual metaphors composed of symbolic elements that represent, identify and value, and possibly exaggerate, cultural traits of certain cities, such as: Salvador (Land of Joy); Itabuna (Capital of Cocoa) and Ilhéus (Princess of the South; Land of Gabriela), scenarios that dominate the reader's imagination while visiting Brazil.
    • Do Sertão à Amazônia - Brigitte Thiérion accès libre avec résumé avec résumé en anglais
      Adoptant une perspective comparatiste, cette communication analyse les stratégies narratives mises en place par Jorge Amado et Márcio Souza pour dénoncer l'exploitation humaine. Dans Seara Vermelha (1946), Jorge Amado suit l'errance d'une famille de paysans nordestins dépossédés de leur terre, qui emboîtent le pas des retirantes chassés par la sècheresse. Dans Mad Maria (1980), Márcio Souza restitue la mémoire de l'aventure hors norme vécue au début du xxème siècle par des travailleurs misérables venus de nombreux pays, réunis au cœur de la forêt amazonienne pour y construire une voix ferrée. Ces deux univers que tout oppose se rapprochent par leur extrême contingence. Du Sertão aride à la moiteur étouffante de la forêt, il n'y a qu'un pas, le pas que franchirent, à diverses reprises dans l'histoire, les retirantes venus se reconstruire et construire l'Amazonie. La fiction restitue la complexité de la nature humaine au travers de ces hommes misérables, parfois héroïques. Les deux écrivains s'insurgent contre le sort de ces êtres en dérive et nous interpellent sur le véritable fléau qui scelle leur destinée. Les contingences du milieu sont-elles les seules responsables de leur tragédie ? Comment affronteront-ils cet autre combat, celui du droit à la dignité humaine ?
      Based on a comparative perspective, this paper examines the narrative strategies developed by Jorge Amado and Márcio Souza to denounce the human exploitation. In Seara Vermelha (1946), Jorge Amado follows the wanderings of a landless family of peasants who walked in the footsteps of retirantes who have been chased away by the drought. In Mad Maria (1980), Márcio Souza restores an extraordinary adventure lived in the early twentieth century by miserable workers from different countries who are gathered at the heart of the Amazon rainforest to build a railway line. Due to extreme contingencies two opposite worlds approach one another. The arid Sertão is just few steps far from the stifling humidity of the forest. These steps have repeatedly crossed the history, steps taken by retirantes trying to rebuild themselves and to build the Amazon. Through these miserable men, sometimes heroes, fiction delivers the complexity of the human nature. Both writers protest against the fate of these bewildered people and also confront us to the scourge that seals their future. Are environmental contingencies the sole responsible for these people's tragic life ? How do they still face another battle, the battle for the right to human dignity ?
    • Poética e mística da subversão em Jorge Amado : caracteres para uma sabedoria brasileira - Gustavo de Castro, Luciana Rodrigues accès libre avec résumé en anglais
      The conditions of possibility for the existence of a Brazilian aesthetics go necessarily through the understanding of Bahianity: the types, exchanges, beliefs and vision of Brazilian literary characters from Jorge Amado are put here into the relationship. Poetic dimension - from humor and laughter - and the mystical dimension (capacity of sensitive immersion in the real) of the Bahian author constitute the search of a complex game of faces that we call Brazilian; re-drafting, even though intuitively, a tupiniquim model of wisdom.
    • O Archanjo Inseminador - Marcos Silva accès libre avec résumé avec résumé en anglais
      O romance Tenda dos milagres de Jorge Amado é um instrumento de reivindicação e de defesa da riqueza cultural dos negros e mulatos do Brasil, um manifesto contra o racismo e a opressão, publicado em 1969, período em que a ditadura militar se torna ainda mais violenta e destrutiva. Face a esse contexto opressor, o romance se realiza como um ato político de reafirmação do poder do povo. O presente artigo examina o impacto histórico do romance em diálogo com as tradições populares brasileiras de luta social, no contexto feroz da ditadura.
      The novel Tent of Miracles, by Jorge Amado, is an instrument of claim and defense of the cultural richness of blacks and mulattos in Brazil, as well as against racism and oppression. It was published in 1969, when brazilian dictatorship became even more seriously the violent destructive. In those years the novel worked as a political intervention in relation to that oppressive context, reaffirming people's power. This article reflects on the historicity of the novel, in dialogue with popular traditions of brazilian social struggles in the context of an agressively fierce dictatorship.
    • Enredos de Jorge Amado em suas navegações de cabotagem - Rubens Edson Alves Pereira, Elvya Shirley Ribeiro Pereira accès libre avec résumé en anglais
      In this article, Navegação de cabotagem (1992) is seen as a privileged space for dialogue with the writer Jorge Amado and his work, space at the same time to unify and disseminate human and intellectual experiences, marked by the riddles of the role and witness, of the reason and emotion, of the glory and the simplicity in conducting an existence. The book is presented as a kaleidoscope of experiences and knowledge, memory and history, literature and life, art and culture, fact and fiction, memory and legacy, denouncement and delight. Finally, it indicates a possible autobiography that the author tried to avoid writing, writing it as a process and fragments. It concerns us, mostly, discussing Navegação de cabotagem focusing on critical, literary and socio-historical issues and/or formulations, involving the artistic, intellectual and political trajectory of the author Jorge Amado.
    • A invenção da memória e da identidade em O menino grapiúna e Terras do Sem Fim - Mírian Sumica Carneiro Reis accès libre avec résumé en anglais
      Published with a forty-year gap between them, The Violent lands (1942) and The Grapiuna Boy (1981), by Jorge Amado, create links between the representations of a fictional setting about a Brazilian cocoa producer, with their characters (colonel, prostitutes, gunmen, explored agriculturalists) and the writer's memories: a boy born and raised in the south of Bahia and inserted in its geographical, historical and cultural scenario. In this work, we analyzed how memory and fiction are intertwined in these two Amado's books. We discuss notions of biography and autobiography, fiction and portraits of reality, in the process of inventing and representing identities which not only concerning historical reports, but they also build different strategies to witness history.
    • Zélia e Jorge - Constância Lima Duarte accès libre avec résumé avec résumé en anglais
      Pretendo refletir sobre memorialismo e autobiografia a partir de alguns livros de Zélia Gattai – em especial Chapéu para viagem (1982), Jardim de inverno (1988), Crônica de uma namorada (1995), A casa do Rio Vermelho (1999) e Reportagem incompleta (1987) –, para observar que os sentidos dicionarizados de « autobiografia » e de « memorialismo » não dão conta do trabalho realizado pela escritora. Atuando como autora, narradora e personagem, Zélia Gattai confirma o pacto autobiográfico com os leitores ao revelar a confluência entre experiência vivida e fabulação narrativa. E, para além da própria história de vida, reminiscências familiares e testemunho de fatos da história brasileira, ela registra a história de amor vivida por mais de 50 anos com Jorge Amado, bem como o cotidiano da vida e da carreira do escritor baiano. Com muita sensibilidade ela enfrenta as sutilezas da representação literária, transformando a própria história de vida em ato de discurso literariamente intencionado. E  nos lega, principalmente, uma imagem autorizada de Jorge Amado, uma « autobiografia transcrita », por guardar fidelidade às reminiscências e ter tido seu irrestrito aval.
      This work proposes a reflexion on memorialism and autobiography, using some of Zélia Gattai's books in particular: Chapéu para viagem (1982), Jardim de inverno (1988), Crônica de uma namorada (1995), A casa do Rio Vermelho (1999) and Reportagem incompleta (1987), in order to observe that the academic concepts of autobiography and memorialist essay do not give proper account of the work performed by the writer. Acting as author, narrator and character, Zélia Gattai confirms her autobiographical pact with readers by revealing some confluence between lived experience and narrative fiction. Beyond her own experience, familiar recordings and Brazilian historical facts she witnesses, she registers her love story during more than 50 years with Jorge Amado, along with the daily life and career of the Bahia-born writer. With extreme sensitivity, she faces the subtleties of literary representation, transforming her own life history into a discursive action with literary intentions. Hence, her legacy is an authorized image of Jorge Amado, a “transcribed autobiography”, to keep fidelity to the memories and having his unrestricted approval.
    • Prazeres da mesa, prazeres do corpo: Jorge Amado, culinária e erotismo - Eurídice Figueiredo accès libre avec résumé avec résumé en anglais
      L'article articule érotisme et art culinaire dans deux romans de Jorge Amado, Dona Flor e seus dois maridos et Gabriela, cravo e canela, cherchant à montrer comment l'auteur s'inspire de l'esthétique populaire et du réalisme grotesque suivant la lignée rabelaisienne.
      This article articulates eroticism and culinary art in two novels by Jorge Amado: Dona Flor e seus dois maridos and Gabriela, cravo e canela, depicting how the author is inspired by popular esthetics and grotesque realism inscribed in the Rabelaisian lineage.
  • Mélanges

    • Del teatro a la calle. Guaracha y timba : letras de cubanía - Ana Chouciño Fernández accès libre avec résumé en anglais
      For decades Cuba has exported its popular music beyond its frontiers. Guaracha and timba two main musical genres have always pointed out to everyday or social issues that have been the object of laughter or concern among Cubans. These genres show similarities and differences but both have shaped a history of Cuban way of life and identity through humor or sarcam from the XIXth century to the present.
    • Ficción y crónica anarcobarroca en Impuesto a la carne (2010) de Diamela Eltit - Mirian Pino accès libre avec résumé en anglais
      The objective of this study is problematize social relationship between Chilean literature and the historical context in which it is inserted. So, I selected the novel of Diamela Eltit, Impuesto a la carne in which your aesthetic project appeals to chilean history on the eve of the 2010 Bicentanary. National identity, national myth and literature are the target of the author who chooses women characters in order to question the three abovementioned stories. This dimension involves a mode of making history ; the neo-Baroque poetry is more palpable strategy that shows the crisis of a culture undergoing the rise of neoliberalism.
    • Being Mexican: Identity, Location, and Rosa Nissán (II) - Nathanial Eli Gardner accès libre avec résumé en anglais
      Being Mexican is the first book-length attempt to understand the narrative of the Mexican writer Rosa Nissán. Its focus are her first two novels, Novia que te vea and Hisho que te nazca, which are coming-of-age narratives in which the protagonist, Oshinica, attempts to understand her family and community as she grows up during the prosperious years of the Mexican Miracle and the changing society found in Mexico in the 1960s and 1970s. After setting down the groundwork for this study in the first installment, these next two -included in this edition of Amerika- focus on different aspects of male and female identity. While Oshinica forges her identity she does so in several spaces, both public and private. These next two sections analize the public: education and work as well as the private spaces: the home and the sacred, with the purpose of identifying the forces that work to create an identity for the protagonist. The analysis reveals the tensions created as the protagonist tries to resolve the conflict between self and famiily, between the mainstream and the marginal, and between the traditional and the modern; asking important questions regarding how identity is formed and how the spaces one inhabits exercise control over their identity.
    • Being Mexican : Identity, Location, and Rosa Nissán(III) - Nathanial Eli Gardner accès libre avec résumé en anglais
      Being Mexican is the first book-length attempt to understand the narrative of the Mexican writer Rosa Nissán. Its focus are her first two novels, Novia que te vea and Hisho que te nazca, which are coming-of-age narratives in which the protagonist, Oshinica, attempts to understand her family and community as she grows up during the prosperious years of the Mexican Miracle and the changing society found in Mexico in the 1960s and 1970s. After setting down the groundwork for this study in the first installment, these next two -included in this edition of Amerika- focus on different aspects of male and female identity. While Oshinica forges her identity she does so in several spaces, both public and private. These next two sections analize the public: education and work as well as the private spaces: the home and the sacred, with the purpose of identifying the forces that work to create an identity for the protagonist. The analysis reveals the tensions created as the protagonist tries to resolve the conflict between self and famiily, between the mainstream and the marginal, and between the traditional and the modern; asking important questions regarding how identity is formed and how the spaces one inhabits exercise control over their identity.
    • Cães, Assaltos e Murros : cenas do golpe e da ditadura militar no Brasil - André Luís Gomes accès libre avec résumé en anglais
      The year 2014 reminds us the 50th anniversary of the military coup. Through the history of theatre and dramaturgical texts we know that socio-political process also began the twenty year the military dictatorship in Brazil. This period is also often famously linked to notions of repression, censorship, torture and exile of artists and intellectual people. In this paper we shall analyse three crucial events within Brazilian society, described in the following plays: “O filho cão” by Gianfrancesco Guarnieri, “O assalto” by José Vicente, and “Murro em ponta de faca” by Augusto Boal, written or staged in 1964, 1968 and 1978. The objective of our analysis is to recover a part of this period in the history of Brazil, so that history will not repeat itself.
    • Manuel et Lola Álvarez Bravo : le couple fondateur de la modernité photographique au Mexique - Laurent Aubague accès libre avec résumé avec résumé en anglais
      L'essor de la modernité photographique au Mexique tient au travail que Manuel Álvarez Bravo et sa femme Lola Álvarez initièrent dès les années 1930 au Mexique. La production de ce couple surprend à la découverte des multiples échos existant entre l'œuvre de l'un et de l'autre. L'ensemble de leur création est aussi important comme manifestation d'une ouverture à toutes les inventions de l'art photographique aux quatre coins du monde. En cela, ils ont été à l'unisson avec les recherches esthétiques les plus avancées. Ces deux photographes sont intéressants de par leurs multiples facettes : inventeurs d'une vision propre, ils auront été aussi des récepteurs et des passeurs entre photographie nord-américaine, européenne et mexicaine.
      The rise of photography modernity in Mexico comes from the labour initiated by Manuel Álvarez Bravo and his wife Lola Álvarez in the 1930's in Mexico. It is amazing to discover in this couple's production the multiples echoes that exist between the works of both of them. Their creation as a whole is also significant as a sign of an opening to every invention of the photographic art all over the world. In that, they have been in unison with the most advanced aesthetic researches of their time. What arouses interest for both of these photographers are their many facets: inventors of a proper vision, they were also receptors and purveyors between North American, European and Mexican photography.
    • L'univers sociologique de l'Ópera do Malandro de Chico Buarque de Hollanda - André Luiz Ramalho Aguiar accès libre avec résumé avec résumé en anglais
      Cet article propose de faire une étude du personnage masculin dans l'œuvre théâtrale Ópera do Malandro de Chico Buarque de Hollanda, dramaturge, romancier et musicien brésilien. Pour développer une analyse à partir des figures référentielles de Max et Duran comme représentants centraux de l'intrigue, il nous faut d'abord essayer d'esquisser une typologie du malandro, de notre point de vue, élément catalyseur dans cette pièce. En ce sens, nous allons nous concentrer sur l'univers sociologique de l'Ópera do Malandro. Les signes, les rapports sociaux et la genèse du personnage malandro sont focalisés de telle façon que nous pouvons avoir une perception de sa représentation comme élément allégorique. Pour conclure, nous allons présenter au lecteur quelques pistes pour de futures recherches en études intertextuelles et rhétoriques au travers de cette magnifique œuvre de Chico Buarque de Hollanda.
      This article aims to propose a study of the masculine character in the play Ópera do Malandro by Chico Buarque de Hollanda, the Brazilian playwright, novelist, and musician. In order to carry out an analysis based on Max and Duran's referential figures as main representatives of our drama, we will write an essay to outline a malandro's typology, who is, from our point of view, the catalysing element of this play. For this reason, we will concentrate on the sociological universe of Ópera do Malandro. The symbolic elements, the social references and the genesis of the Malandro character are portrayed in such a way that we can reach a perception of this representation as an allegorical element. To conclude, we will present to the reader any hints that will contribute to future works on the intertextual and rhetorical studies of this magnificent Chico Buarque de Hollanda's play.
    • Récits au Sud : déplacement et musique dans les romans d'Assis Brasil - André Tessaro Pelinser, Maria Zilda Ferreira Cury accès libre avec résumé avec résumé en anglais
      Visitantes ao Sul est le titre de l'ensemble des romans publiés par Luiz Antonio de Assis Brasil entre les années 2001 et 2012. L'écrivain y reprend le thème du voyage en littérature, mettant en scène des personnages en constant déplacement. Nous analyserons dans cet essai non seulement le parcours des quatre protagonistes, à travers leurs relations avec les différents espaces culturels, mais aussi leur insertion dans la temporalité spécifique de la modernité et de ce que l'on appelle la fin de siècle. Nous étudierons également une des caractéristiques de ces romans, la thématique musicale, qui imprime fréquemment un rythme à la mobilité des personnages, se déployant en une métaphore expansive et proposant de nouveaux sens aux récits.
      Visitantes ao Sul is the title of a set of novels written by Luis Antonio de Assis Brasil and published from 2001 to 2012. In such novels, the writer deals with traveling as a literary theme, presenting characters in constant movement and, sometimes, in situations of displacement. This paper aims at analysing not only the transit experienced by the four protagonists of the novels, taking into account their contacts with diverse cultural spaces, but also intends to reflect upon their insertion in the specific temporality of modernity and in the so-called fin-de-siècle. This paper also discusses one feature that characterises that set of novels : the musical thematic, which frequently provides the characters' mobility with a rhythm, implying the development of a comprehensive metaphor and suggesting new meanings to those narratives.
    • Horror y poesía en Madrugada negra de Cristian Rodríguez - Débora Rottenberg accès libre avec résumé en anglais
      In this article we will focus in the analysis of horror in Cristian Rodríguez´s Madrugada Negra, winner of the “Premio Biblioteca Nacional de Novela 2007”. This text, which moves away from the testimonial to tell a truth from a non-mimetic mode, shocking the reader and getting him closer to suffering, examines the limits of the human and may fall within the type of artistic expression advocated by Adorno, one that “represents the unrepresentable” staging the aporia of the after-Auschwitz writer.
  • Entretien

    • La sombra del jardín : las palabras de la autora - Orianne Guy accès libre avec résumé en anglais
      The story offered by Cristina Siscar is an invitation to think about the human condition in space. Creating a fusion of poetry and fantasy, the writer has us uncover the reality of her main character in exile. The reader find himself in the presence of an Argentinean woman, anonymous and discreet, nicknamed Miss Poupée, and who is living the experience of general loss because of her exile. On the one hand, we have wanted to know more details about the writing process of this narrative fiction, and on the other hand, we have entrusted Cristina Siscar with the following task: to define five of the keywords of her novel, a "voice-over" narration. Thus, those answers will permit the reader to better understand the words of the author's imagination and, conversely, the imagination of these words.
  • Comptes-rendus

  • Opinion

    • Jorge Amado em Copacabana - Néstor Ponce accès libre
    • Amado Bonpland y Guido Boggiani : eslabones perdidos del americanismo - Éric Courthès accès libre avec résumé en anglais
      Amado Bonpland y Guido Boggiani were two explorators whose trajectories anticipated species' teories of Darwin, as regards first, as regards second, relationship's teories of Lévi-Strauss. Therefore, there's no doubt that it's necessary to rescue their memory and give them the right place : of multidisciplinaries pioneers, in the Americanism chain.
  • Livres reçus