Desmundo is a Brazilian drama film by Alain Fresnot , based on the novel of the same name by Ana Miranda. The film is set in , a period when orphan Portuguese girls were sent to marry the settlers ' sons. This was done to prevent the Portuguese from having sons with the indigenous peoples and black people in order to keep the Christian marriage and a "pure" heritage. In order to be more faithful to the period Desmundo is set, Fresnot—beyond of using clothing, furniture and costumes—decided that the characters would speak in archaic Portuguese. He said it was a "very hard decision", but felt it would seem shallow to use colloquial language in a historical film.

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In this essay, I intend to examine how the Brazilian author Ana Miranda creatively reconstructs Brazil's colonial past in her novel Desmundo In Desmundo, this legacy is embodied in the figure of Oribela, the protagonist of the novel. Oribela, and Brazil itself, are illustrated as the products of a conflictive transculturation.

One can argue that Desmundo forms part of this body of fictional works that attempt to come to terms with the violent bequest of conquest and colonization. In Miranda's novel, the protagonist, albeit belonging to Portuguese metropolitan society, also stands at its borders due to both her gender and her orphan status.

In this framework, Oribela's orphanhood metaphorically represents a rejection of patriarchal and colonial power. The main character's identification and parallel rebuttal of the male-dominated colonial system points towards Brazil's problematic cultural legacy, marred by the violence of conquest as well as the ethnic and cultural bond age s and tears that constitute the national fabric.

The year marked the quincentermary of the arrival of the Portuguese on Brazilian shores. Some of these historical fictions, such as Paulo Saab's A grande viagem , create a rather idealized portrayal of the European colonization of Brazil. Making the best of his situation, the protagonist "goes native" while however retaining his European subjectivity and eventually takes an indigenous woman as his lover. Their union produces offspring who, as the novel suggests, are the first "true" Brazilians.

In fictional works such as similarly to its nineteenth-century predecessors , it is the friendly, often amorous interactions between autochthonous inhabitants and Europeans that establish the basis of a Brazilian national identity based Questionable genealogy: history and nation in Ana Miranda's Desmundo. Author: Leila Lehnen. Date: Nov. From: Chasqui Vol.

Publisher: Chasqui. Document Type: Article. Length: 7, words. Access from your library This is a preview. Get the full text through your school or public library. Source Citation Lehnen, Leila. Accessed 4 June


Questionable genealogy: history and nation in Ana Miranda's Desmundo






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