Jose luandino vieira biography channel

Table Of Contents

• Cover
• Title
• Copyright
• About the editors
• About the book
• This eBook can be cited
• Contents
• Foreword
• Editorial Note
• Maps of Angola and Mozambique
• Introduction
• Part 1 Angola
• Interview with Luandino Vieira
• Interview with Ana Paula Tavares
• Interview with Boaventura Cardoso
• Interview with José Eduardo Agualusa
• Interview with Ondjaki
• Interview with Pepetela
• Part 2 Mozambique
• Interview with João Paulo Borges Coelho
• Interview with Marcelo Panguana
• Interview with Mia Couto
• Interview with Paulina Chiziane
• Interview with Ungulani Ba Ka Khosa
• Interview with Luís Carlos Patraquim
• Ruy Duarte de Carvalho: In memoriam
• General Bibliography
• Index
• Series index

← vi | vii →Foreword

This volume of interviews with writers from Angola and Mozambique represents an important contribution to the study of postcolonial literatures, in particular those that have emerged in Sub-Saharan Africa over the last half century. In a field that has traditionally been dominated by anglophone and francophone theorists, critics and writers, the presence of important voices in the literatures and cultures of those African countries

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Luuanda: Short Stories of Angola
 Josè Luandino Vieira

First published in 1964, in Portuguese, and later in 1980 (the Heinemann English translation by Tamara L Bender with Donna S Hill appearing in the same year), Vieira’s Luuanda is a collection of three “tales” set in the musseques (densely populated, sprawling slums) of Luanda. Considered a literary masterpiece, Luuanda was written in a Portuguese liberally sprinkled with (untranslated) Kimbundu expressions and tinged with the rhythms of that language. The author, although the child of Portuguese settler parents, grew up in the musseques, and identified with the poor and colonially oppressed inhabitants of the slums. His stories allow us to comprehend the intricate complexities of human relationships among a people (mostly) of indigenous descent, but with a sprinkling of Cape-Verdians, mulattos, and "white" Portuguese: the majority of them poor and struggling to make ends meet, harassed by police and soldiers and exploited by shopkeepers, employers and landlords. It is set in colonial times.

Luuanda has as its epigraph a wry expression in Kimbundu: mu ‘xi ietu Luuanda mubita ima ikuata sonii … , which means: "In this our land of Luanda painful things are happening …". Vieira declared that he wanted his stories to have the flavour of oral tales, and to be comprehensible in the first place by the people of whom he wrote. Indeed, the Heinemann cover photograph by George Hallett fittingly shows two men, one of whom is gesticulating and speaking, the other raptly listening – perhaps in a pub, over drinks. But the Kimbundu expression has further relevance to the author’s own situation, since Vieira had been imprisoned for distributing ‘subversive’ pamphlets (forbidden by the colonial Portuguese government) at the time the text was published. Fully embracing the anti-imperial cause of the indigenous Angolans, he had been active in the MPLA (as the p

A Tiny Spark Downloaded from at ACQUSITIONS AND SERIALS DEPT on May 2, 2024. Copyright 2022 History and Memory of the Angolan Anticolonial Struggle in José Luandino Vieira’s Papéis da prisão Elisa Scaraggi From 1961 to 1972, the Angolan writer José Luandino Vieira was incarcerated by Portuguese colonial authorities because of his participation in the anticolonial struggle of Angola. In prison, he wrote most of his literary works, alongside a series of notebooks in which he reported his thoughts, feelings, literary and political considerations, etc. In 2015, after more than forty years after Vieira’s release from prison, the notebooks were published in a volume titled Papéis da prisão. Apontamentos, diário, correspondência (1962–1971). In this article, I focus on how the book contributes to the debate on Angola’s past by influencing how the years of the struggle for independence are perceived today and how they will be remembered in the future. I argue that Papéis is not simply a collection of the writer’s intimate and personal memories as it bears witness to the experience of a larger community, a community that Vieira identifies with the Angolan nation. Briefly considering the political uses of memory, I show how Papéis stands apart from a crystallized official narrative of the anticolonial struggle, contributing to renewed discussions around Angola’s past. These discussions aim to restore complexity, depth, and diversity to a narrative that is oversimplified and partisan. However, restoring complexity also implies showing the contradictions, conflicts, and tensions that emerged during the struggle. In this sense, the book is not a nostalgic tribute to the past, but rather a call to reflect on what the past still has to say to the present. Preso em 1961 pela sua participação no movimento pela independência de Angola, o escritor José Luandino Viei

Vieira is a Portuguese and Galician term which in Portuguese and Galician stands for the Great Pilgrim Mussel from the scallop family (Pectinidae). The term derives its use as a place and family name.

History

The use of the term can be traced, according to current knowledge, to the beginning of the 13th century in northwestern Portugal. The historical writing form of the term Vieira was Vyeyra. It is assumed that the term as a name originated independently in different places (e.g. Vieira do Minho and Vieira de Leiria). As a surname, the term is first found in northwestern Portugal in the province of Minho in the era of Kings D. Afonso II and D. Sancho II of Portugal around 1220 A.D. The historically common spelling Vyeyra is still found at least until the end of the Middle Ages in the mid-16th century.

The modern Portuguese alphabet basically does not recognise the letter Y alongside the K and W, only the 23 letters of the Latin alphabet A, B, C, D, E, F, G, H, I, J, L, M, N, O, P, Q, R, S, T, U, V, X and Z). The letters K, W and Y are still used, but only for names.

At least until the end of the Middle Ages, the use of the letter Y (y) was still common in Portuguese written language, as illustrated, for example, by the following text from the 16th century:

... toda junta a quinze dyas de aguosto hou se o tempo que lhe pareçese bem he menos pryguo se espera se lhe fezese faroll da sua naao he pelo pomto do seu pyloto vyese demandar guoa he ele com hos guoleons que fiquavam hatravesase a jmdea pare-. ceu a todos bem he cheguado a naao do fejtor perto do gualeom do gouernador foy hele la em hũ esquyfe a quem deu ho Regymento da maneyra que comprya mais a servyço d ell rej noso senhor he alem deste mandado ha que as fustas provese dese fresquo ho mais que lhe fose necesaryo a quall despedyo de sy ho mesmo dya ja noyte he sy a nau de jorge vyeyra me