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2023-10-06T21:44:57Z2023-10-06T21:44:57Z2021-10-271327109124https://doi.org/10.22409/abriluff.v13i27.502581984-2090http://hdl.handle.net/1843/59265https://orcid.org/0000-0003-0098-2481A partir do conceito de “inseparabilidade”, publicado por Djaimilia Pereira de Almeida em ensaio homônimo como parte do livro Pintado com o pé (2019), este artigo propõe uma leitura de quatro obras da escritora, a saber: Esse cabelo (2015), Luanda, Lisboa, Paraíso (2018), As telefones (2020) e Maremoto (2021). Em comum, os quatro livros apresentam histórias de imigração, majoritariamente entre Angola e Portugal, não aquela ligada ao movimento dos retornados, já amplamente trabalhado pela literatura portuguesa, mas a de uma geração posterior ao período da descolonização, portanto, vivenciada já a partir da década de oitenta. Como indica o texto da orelha de suas obras (com exceção das duas últimas publicações, mudança editorial relevante), Djaimilia “nasceu em Angola, cresceu em Portugal, vive nos subúrbios de Lisboa”, portanto, sua inserção na literatura portuguesa contemporânea, a despeito do lugar marcado pelo mercado editorial, também merece atenção. Afinal, a reflexão sobre uma memória/história pública da colonização, para além dos testemunhos dos partícipes da guerra/da descolonização ou da segunda geração (pós-memória), que englobe a diáspora das populações das ex-colônias e ressignifique o espaço da antiga metrópole, ainda está por ser feita. Por fim, reflete-se sobre a necessidade de pensar a obra de Djaimilia Pereira de Almeida não apenas pela recorte pós-colonial, mas também passando pelo conceito de “post-migration” para compreender a sua escrita como uma memória outra na literatura portuguesa pós-25 de abril.Based on the concept of “inseparabilidade”, published by Djaimilia Pereira de Almeida in an essay of the same name in Pintado com o pé (2019), this article offers a reading of four works by the writer: Esse cabelo (2015), Luanda, Lisboa, Paraíso (2018), As telefones (2020) e Maremoto (2021). As a shared characteristic, the four books tell stories of immigration, mostly between Angola and Portugal. however, these stories are not linked to the “retornados”, which have already been thoroughly investigated by Portuguese literature, but to a generation starting in the 1980s following the period decoloniza-tion. As often indicated in the author bio included in her books (with the exception of the last two, a significant editorial change), Djaimilia “was born in Angola, grew up in Portugal, and lives in the periphery of Lisboa”, and as such, her insertion in contemporary Portuguese literature, in spite of the space set by the publishing business, is also deserving of attention. After all, there is yet to be a reflection over a public memory/history of colonization, beyond the testimonies of those who were part of the war/decolonization process or their descendants (postmemory), that encompasses the diaspora of the populations of the former colonies and resignifies the space of the old metropole. Finally, we consider the need to think about Djaimilia Pereira de Almeida not only through the lens of postcoloniality, but also through the concept of “post-migration” in order to understand her writing as a diverging memory in post-Abril 25th Portuguese literature.porUniversidade Federal de Minas GeraisUFMGBrasilFALE - FACULDADE DE LETRASAbrilLiteratura portuguesa - Séc. XXIMigraçãoDescolonização na literaturaInseparabilidadeMigraçãoPost-migrationA “inseparabilidade” dos trânsitos na obra de Djaimilia Pereira de AlmeidaThe “inseparabilidade” of transits in the works of Djaimilia Pereira de Almeidainfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleRoberta Guimarães Franco Faria de Assisapplication/pdfinfo:eu-repo/semantics/openAccessreponame:Repositório Institucional da UFMGinstname:Universidade Federal de Minas Gerais (UFMG)instacron:UFMGORIGINALA inseparabilidade dos trânsitos na obra de Djaimilia Pereira de Almeida.pdfA inseparabilidade dos trânsitos na obra de Djaimilia Pereira de Almeida.pdfapplication/pdf586853https://repositorio.ufmg.br/bitstream/1843/59265/1/A%20inseparabilidade%20dos%20tr%c3%a2nsitos%20na%20obra%20de%20Djaimilia%20Pereira%20de%20Almeida.pdf0403d85ac7e88467f488b8220a9b052fMD51LICENSElicense.txtlicense.txttext/plain; charset=utf-82118https://repositorio.ufmg.br/bitstream/1843/59265/2/license.txtcda590c95a0b51b4d15f60c9642ca272MD521843/592652023-10-06 18:44:57.505oai:repositorio.ufmg.br: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ório InstitucionalPUBhttps://repositorio.ufmg.br/oaiopendoar:2023-10-06T21:44:57Repositório Institucional da UFMG - Universidade Federal de Minas Gerais (UFMG)false
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