RIO DE PÉROLAS, RIO DE CONFLUÊNCIAS : MARCAS CIVILIZACIONAIS NOS CONTOS CHINESES DE DEOLINDA DA CONCEIÇÃO珠江 , 匯合之江 : 黛奧琳達‧貢塞紹之“中國故事”中的文明印蹟
The article examines, through Deolinda da Conceição's work *Contos Chineses*, how the author mobilizes an imagery of “River of Pearls, River of Confluences” to inscribe civilizational marks in the short Chinese narrative. It argues that the opposition between cultures—represented from the very cover...
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| Published in: | Review of Culture |
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| Format: | Articles |
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Instituto Cultural de Macau
October 2009
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| Online Access: | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40032/3574 |
| Summary: | The article examines, through Deolinda da Conceição's work *Contos Chineses*, how the author mobilizes an imagery of “River of Pearls, River of Confluences” to inscribe civilizational marks in the short Chinese narrative. It argues that the opposition between cultures—represented from the very cover (Chinese and Western elements in contrasting fields)—organizes the production of meaning by articulating body, fashion, symbolic language, and conflict. The analysis focuses on the inaugural tale “Cheong-Sam” as a key text: in it, the garment and the name (*qipao*/cheongsam; “cabaia” as metonymy for “woman”) become signs of persecution, mourning, and vengeance, while the adoption of “modern” Western codes is narrated as depersonalization and displacement of the traditional framework. Methodologically, the study proceeds through intertextual reading and the identification of formal and thematic recurrences, highlighting “war” as a spatial-temporal and traumatic vector, “incomprehension” as a relational fracture (especially between masculine and feminine), and temporal strategies (analepsis and prolepsis) that explain the present through the mediation of the past. It concludes that the tales stage a two-faced modernity: the convergence of cultural currents produces both aesthetic fascination and symbolic violence, making civilizational difference a driver of destiny. |
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| ISSN: | 1682-1106 |