Abstract
In 1961, Paula Rego painted a picture that marked the year of the uprisings in Angola and the beginning of the struggles by the Portuguese colonies in Africa for independence. In When We Had a House in the Country, bodies are dismembered into fragmented pieces, and the pictorial division of black and white ground gives lie to the Lusotropicalist claims of racial integration in what Salazar’s government claimed were Portugal’s provfncias ultramarinas (overseas provinces). Although Rego left Portugal permanently for England in 1974, after the Revolution of April 25, her work has never veered from the troubling issues that marked the Estado Novo: questions of patriarchal and dictatorial authority, surveillance, racial division, gender violence, and repression.
Não é descritível a força que certas imagens contêm. (The force of certain images is indescribable.)
—Lídia Jorge, A Costa dos Murmúrios
This is a preview of subscription content, log in via an institution to check access.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Bibliography
Almeida, Leonor Simas. “Invenção da História e Mimese dos Sentimentos em A Costa dos Murmúrios de Lídia Jorge.” Luso-Brazilian Review 47:2 (2010): 150–62.
Bal, Mieke. “Visual Essentialism and the Object of Visual Culture.” Journal of Visual Culture 2:1 (2003): 5–32.
Bal, Mieke.A Mieke Bal Reader. Chicago: University of Chicago Press, 2006.
Bender, Gerald. Angola under the Portuguese: The Myth and the Reality. Berkeley: University of California Press, 1978.
Bersani, Leo, and Ulysses Dutoit. “Beauty’s Light.” October 82 (Autumn 1997): 17–29.
Bhabha, Homi. The Location of Culture. New York: Routledge, 1994.
Bradley, Fiona. Paula Rego. London: Tate Publications, 2002.
Brenson, Michael. “1989: Battleground Year.” Lecture presented at the symposium Imperfect Moments: Mapplethorpe and Censorship 20 Years Later, Institute of Contemporary Art, Philadelphia, February 13, 2009. http://www.icaphila.org/pdf/mapplethorpe-1989-battleground.pdf.
Bryson, Norman. “The Gaze in the Expanded Field.” In Vision and Visuality, edited by Hal Foster, 87–113. New York: The New Press, 1998.
Certeau, Michel de. The Practice of Everyday Life. Berkeley: University of California Press, 1984.
Crimp, Douglas. Melancholia and Moralism: Essays on AIDS and Queer Politics. Cambridge, MA: MIT Press, 2002.
Elkins, James. The Object Stares Back: On the Nature of Seeing. New York: Harcourt, 1996.
Elkins, James.On Pictures and the Words That Fail Them. Cambridge: Cambridge University Press, 1998.
Foucault, Michel. The Order of Things: An Archaeology of the Human Sciences. London: Routledge, 2002.
Hickey, Dave. The Invisible Dragon: Four Essays on Beauty. Los Angeles: Art Issues Press, 1993.
Holloway, Memory. “Rear View Mirror: Looking Back, Moving Forward.” In Open Secrets: Drawings and Etchings by Paula Rego, curated by Memory Holloway, 7–24. North Dartmouth: University Art Gallery, University of Massachusetts Dartmouth, 1999.
Holloway, Memory. “Praying in the Sand: Paula Rego and the Visual Representations of the First Mass in Brazil.” Portuguese Literary and Cultural Studies 4/5 (2000): 697–705.
Holly, Michael Ann. “Past Looking.” Critical Inquiry 16:2 (Winter 1990): 371–96.
Jorge, Lídia. A Costa dos Murmúrios. Lisbon: Dom Quixote, 1989.
Joselit, David. “Mapplethorpe’s Beauty.” Lecture presented at the symposium Imperfect Moments: Mapplethorpe and Censorship Twenty Years Later. Institute of Contemporary Art, Philadelphia, February 12, 2009. http://www.icaphila.org/pdf/mapplethorpe-beauty.pdf.
Kaufman, Helena. “Reclaiming the Margins of History in Lídia Jorge’s A Costa dos Murmúrios.” Luso-Brazilian Review 29:1 (1992): 41–49.
Kuspit, Donald. Idiosyncratic Identities. Cambridge: Cambridge University Press, 1996.
Lisboa, Maria Manuel. Paula Rego’s Map of Memory: National and Sexual Politics. Aldershot: Ashgate, 2003.
Macedo, Ana Gabriela. “Through the Looking-Glass: Paula Rego’s Visual Rhetoric, an ‘Aesthetics of Danger.’” Textual Practice 15:1 (2001): 67–85.
Macedo, Ana Gabriela. “Paula Rego’s Sabotage of Tradition: ‘Visions’ of Femininity.” Luso-Brazilian Review 45:1 (2008): 164–81.
McEwen, John. Paula Rego. New York: Rizzoli, 1992.
Medeiros, Paulo de. “Memória Infinita.” Portuguese Literary and Cultural Studies 2 (Spring 1999): 61–77.
Meneses, Filipe Ribeiro de. Salazar: A Political Biography. New York: Enigma Books, 2009.
Newitt, Malyn. Portugal in Africa: The Last Hundred Years. London: Longman, 1981.
Ornelas, José N. “The Fascist Body in Contemporary Portuguese Narrative.” Luso-Brazilian Review 39:2 (2002): 65–77.
Pimentel, Irene Flunser. A História de PIDE. Lisbon: Círculo de Leitores/Temas and Debates, 2007.
Rosengarten, Ruth. Love and Authority in the Work of Paula Rego: Narrating the Family Romance. Manchester: Manchester University Press, 2011.
Sylvester, David. About Modern Art. New Haven, CT: Yale University Press, 2001.
Editor information
Copyright information
© 2014 Hilary Owen and Anna M. Klobucka
About this chapter
Cite this chapter
Holloway, M. (2014). Salazar’s Boots. In: Owen, H., Klobucka, A.M. (eds) Gender, Empire, and Postcolony. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137340993_9
Download citation
DOI: https://doi.org/10.1057/9781137340993_9
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-46566-8
Online ISBN: 978-1-137-34099-3
eBook Packages: Palgrave Media & Culture CollectionLiterature, Cultural and Media Studies (R0)