TRAUMA E MEMÓRIA NOS CONTOS DE DEOLINDA DA CONCEIÇÃO江道蓮小說中的創傷與回憶
The article analyzes how Deolinda da Conceição, in short stories such as “Cheong-Sam,” stages the relationship between trauma and memory within the historical context of Macau during the Pacific War. Departing from the premise that colonial and nationalist violences continually displace the conditio...
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| Published in: | Review of Culture |
|---|---|
| Main Author: | |
| Format: | Articles |
| Published: |
Instituto Cultural de Macau
2013
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| Subjects: | |
| Online Access: | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40043/2721 |
| _version_ | 1877196270308687872 |
|---|---|
| author | Mónica Simas |
| author_autocomplete | Mónica Simas |
| author_browse | Mónica Simas |
| author_facet | Mónica Simas Mónica Simas |
| author_sort | Mónica Simas |
| container_title | Review of Culture |
| container_title_str | Review of Culture |
| container_volume | 43 |
| container_volume_str | 43 |
| description | The article analyzes how Deolinda da Conceição, in short stories such as “Cheong-Sam,” stages the relationship between trauma and memory within the historical context of Macau during the Pacific War. Departing from the premise that colonial and nationalist violences continually displace the conditions of identity representation, the author proposes that fictional writing creates a borderland “domestic space,” wherein the annihilating past returns in the form of disturbing images and liminal experiences. Methodologically, the text articulates a close reading of the short stories with theoretical frameworks from postcolonial theory (in dialogue with Homi Bhabha), privileging the narrative mechanisms of the irruption of the uncanny, the dream, and the haunting as devices of mnemonic reconstitution. As central evidence, the figure of the cheong-sam, associated with the ghost of a dead woman, functions as an icon of a memory of extermination: violence silences the victim, yet the trace persists, pursuing and destabilizing certainty regarding the authorship of the crime. The article concludes that eschatological revenge and doubt (“was that crime really hers?”) reveal the rupture of familial norms and the fabrication of subjects in a state of exception, thereby enabling the interpretation of Deolinda’s literature as an affective archive of Macanese trauma and as a critique of the regimes of power that produce it. |
| first_indexed | 2026-09-11T02:56:58Z |
| format | Articles |
| genre | Articles |
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| hierarchy_browse | Review of Culture{{{_ID_}}}zotero-coll-76L3BRGH |
| hierarchy_parent_id | zotero-coll-76L3BRGH |
| hierarchy_parent_title | Review of Culture |
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| hierarchy_top_title | News |
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| issn | 1682-1106 |
| last_indexed | 2026-09-11T02:56:58Z |
| latest_content_date | 2026-09-11T02:56:58Z |
| publishDate | 2013 |
| publishDateRange | 2013 |
| publishDateSort | 2013 |
| publishPlace | Macau |
| publisher | Instituto Cultural de Macau |
| publisherStr | Instituto Cultural de Macau |
| record_format | zotero |
| spelling | TRAUMA E MEMÓRIA NOS CONTOS DE DEOLINDA DA CONCEIÇÃO江道蓮小說中的創傷與回憶 The article analyzes how Deolinda da Conceição, in short stories such as “Cheong-Sam,” stages the relationship between trauma and memory within the historical context of Macau during the Pacific War. Departing from the premise that colonial and nationalist violences continually displace the conditions of identity representation, the author proposes that fictional writing creates a borderland “domestic space,” wherein the annihilating past returns in the form of disturbing images and liminal experiences. Methodologically, the text articulates a close reading of the short stories with theoretical frameworks from postcolonial theory (in dialogue with Homi Bhabha), privileging the narrative mechanisms of the irruption of the uncanny, the dream, and the haunting as devices of mnemonic reconstitution. As central evidence, the figure of the cheong-sam, associated with the ghost of a dead woman, functions as an icon of a memory of extermination: violence silences the victim, yet the trace persists, pursuing and destabilizing certainty regarding the authorship of the crime. The article concludes that eschatological revenge and doubt (“was that crime really hers?”) reveal the rupture of familial norms and the fabrication of subjects in a state of exception, thereby enabling the interpretation of Deolinda’s literature as an affective archive of Macanese trauma and as a critique of the regimes of power that produce it. Instituto Cultural de Macau Macau Review of Culture Articles 2013 Mónica Simas |
| spellingShingle | TRAUMA E MEMÓRIA NOS CONTOS DE DEOLINDA DA CONCEIÇÃO江道蓮小說中的創傷與回憶 Mónica Simas |
| title | TRAUMA E MEMÓRIA NOS CONTOS DE DEOLINDA DA CONCEIÇÃO江道蓮小說中的創傷與回憶 |
| title_autocomplete | TRAUMA E MEMÓRIA NOS CONTOS DE DEOLINDA DA CONCEIÇÃO江道蓮小說中的創傷與回憶 |
| title_full | TRAUMA E MEMÓRIA NOS CONTOS DE DEOLINDA DA CONCEIÇÃO江道蓮小說中的創傷與回憶 |
| title_fullStr | TRAUMA E MEMÓRIA NOS CONTOS DE DEOLINDA DA CONCEIÇÃO江道蓮小說中的創傷與回憶 |
| title_full_unstemmed | TRAUMA E MEMÓRIA NOS CONTOS DE DEOLINDA DA CONCEIÇÃO江道蓮小說中的創傷與回憶 |
| title_short | TRAUMA E MEMÓRIA NOS CONTOS DE DEOLINDA DA CONCEIÇÃO江道蓮小說中的創傷與回憶 |
| title_sort | trauma e memória nos contos de deolinda da conceição江道蓮小說中的創傷與回憶 |
| url | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40043/2721 |
| zotero_collection_key | 76L3BRGH |