ResumoO presente artigo aborda criticamente a obra Quando Tudo Se Desmorona (2008 [1958]), de Chinua Achebe, à luz da reflexão teórico-crítica desenvolvida no quadro dos estudos pós-coloniais e no âmbito da teoria do romance polifónico e carnavalesco de Mikhail Bakhtin, nomeadamente através dos conceitos de contradiscurso, (inter)historicidade, transculturalidade e carnavalização, respetivamente. Pretendemos evidenciar o papel da memória na produção da narrativa das "vozes" silenciadas pela História do recontro colonial e a contribuição dessa narrativa para a (re)afirmação da "autonomia" e do posicionamento da cultura igbo, no quadro da cultura cosmopolita.
This work presents a critical approach to Passage to India, a film directed by David Lean (1984), based on the novel written by Edward Morgan Foster in 1924, focusing attention on micro representations of Indian society under British imperial power. To structure the work, the ideas of two prominent thinkers whose critical approaches are grounded on the concept of Representation and its implication in relation to perceptions of the "Other" were we selected as theoretical framework, namely Herrieta Lidchi and Stuart Hall. In this way, the work aims at highlighting the power of visual images, represented by the film, in the construction of ethnocentric images created by Imperial power(s) and their importance for the development of critical thinking in relation to residual marks of such representations in post-colonial era.
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