Titlebook: Gender, Empire, and Postcolony; Luso-Afro-Brazilian Hilary Owen,Anna M. Klobucka Book 2014 Palgrave Macmillan, a division of Nature Americ

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Gender, Species, and Coloniality in Maria Velho da Costas multi-and intercultural power relations. Capturing the essence of the novel is a series of paintings by Ilda David of a girl and a dog— paintings of haunting and terrible beauty. Rimbaud, the . poet, is incarnated in the novel as the dog Rambo (or Rambô), a pitbull raised to fight and kill other d

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Restelo Reduxequeno” (Portugal is not a small country). The phrase refers to Salazar’s Estado Novo propaganda and the cartographical sleight of hand that produced the superimposition of the Portuguese colonial empire on a map of Europe. As noted by Manuela Ribeiro Sanches (2006) in her introduction to a collecti

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Caroline J. Springer,Ion Niculescu-Duvazay in Brazil and among the worldwide community of Brazilianist scholars (Dunn 2006).2 Relatively few points of genuine intellectual contact may be identified between these two parallel enterprises of epistemological reassessment and reconstruction, as the “neo-Freyrean” (Dunn 2006, 42) discourse in

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The , Gene and Human Leukemias,hat it was this identitarian thrust that led to the “ethnicization of the majority,” noted by Boaventura de Sousa Santos in relation to Etiènne Balibar’s argument about the response to immigrants in France and other European countries (Santos 1994, 128). Decolonization in 1975 forcing an estimated 8

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Phytochemicals as Bioenhancers,efforts in the colonies and the progress of the Overseas Empire” (“sobre a nossa acção civilizadora e, de modo especial, sobre a acção exercida nas colónias e o progresso do Império Ultramarino”; Article 5, Act 23–054, September 5, 1933).. This task became all the more urgent in the aftermath of the

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Cancer Genetics for the Clinicianow cinematic (and photographic) media contribute to such constructions and relations. This chapter aims to explore how the film’s visual representation of gender roles and paradigms in colonial society contributes to its appraisal and critique of postcolonial identity and memory in Portugal. To this

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Introductioncates Vicente’s denigration of the India voyage … is the emergence in the play of a transverse identification: Constança, the figure of the domestic space, also stands for the extra-domestic, colonial space of India” (2004, 25). While her husband is away on Tristão da Cunha’s 1506 voyage to India, C