Dissident Authorship in Mozambique: the Case of António Quadros is the first monograph on the literary works of the pennames of Portuguese poet and painter António Quadros (1933-1994). The book uses Quadros's quirky case-- a Portuguese man who lived in colonial and post-independence Mozambique, where he published poetry and prose under three pennames--João Pedro Grabato Dias, Frey Ioannes Garabatus, and Mutimati Barnabé Joãoto--to examine the question of what it means to be an author in Mozambique and how authorship changed after the end of Portuguese colonial rule. Quadros's engagement with the question of the authors' place and function in authoritarian contexts stands as a fruitful counterpoint to the influential essays by Roland Barthes ('The Death of the Author', 1968) and Michel Foucault ('What is an Author?', 1969), the publication of which coincided with Quadros's literary début in 1968. Quadros's interesting and useful contributions to the question of Mozambican authorship are analysed in historical context and read alongside postcolonial and decolonial theory. Tom Stennett address the political implications of Barthes's and Foucault's erasure of authorial identity and their respective challenges to authorial authority. He makes the case for an approach to the question of authorship that takes into account the anonymous agents and institutions--such as editors, political parties and the State--that are involved in the conferring of authority onto certain authors and readers. In contrast to much extant scholarship on Mozambican authorship, which has tended to focus on questions related to identity and canonicity, Dissident Authorship addresses these themes as well as those of readership, authority, power, and representation.

Literary Connections between South Africa and the Lusophone World connects literatures and cultures of South Africa and the Portuguese-speaking nations of Africa and beyond, and is set within literary and cultural studies. The chapters gathered in this volume reinforce the critical and ongoing conversations in comparative and world literature from perspectives of the South. It outlines some possible theoretical and methodological starting points for a comparative framework that targets, transnationally, literatures from the South. This volume is an additional step to renew the critical potentialities of comparative literary studies (Spivak 2009) as well as of humanistic criticism itself (Said 2004) as South Africa and the Lusophone world (except its former colonizer, Portugal) are outside the spatial and cultural dimension usually defined as European and/or North American. In this sense and due to the evident geographical and socio-historical links between these regions, critical scholarship on their literary connections can contribute to unprecedented perspectives of representational practices within a broader contextual dimension, and in so doing, provides the emergence of what Boaventura de Sousa Santos called “epistemologies of the South” (Santos 2016), as it considers cultural exchanges in the space of so-called “overlapping territories” and “intertwined histories” (Said 1993).

Looks at the politics of the Catholic Church during a turbulent period in central Mozambique

Dissident Authorship in Mozambique: the Case of António Quadros is the first monograph on the literary works of the pennames of Portuguese poet and painter António Quadros (1933-1994). The book uses Quadros's quirky case— a Portuguese man who lived in colonial and post-independence Mozambique, where he published poetry and prose under three pennames—João Pedro Grabato Dias, Frey Ioannes Garabatus, and Mutimati Barnabé Joãoto—to examine the question of what it means to be an author in Mozambique and how authorship changed after the end of Portuguese colonial rule. Quadros's engagement with the question of the authors' place and function in authoritarian contexts stands as a fruitful counterpoint to the influential essays by Roland Barthes ('The Death of the Author', 1968) and Michel Foucault ('What is an Author?', 1969), the publication of which coincided with Quadros's literary début in 1968. Quadros's interesting and useful contributions to the question of Mozambican authorship are analysed in historical context and read alongside postcolonial and decolonial theory. Tom Stennett address the political implications of Barthes's and Foucault's erasure of authorial identity and their respective challenges to authorial authority. He makes the case for an approach to the question of authorship that takes into account the anonymous agents and institutions—such as editors, political parties and the State—that are involved in the conferring of authority onto certain authors and readers. In contrast to much extant scholarship on Mozambican authorship, which has tended to focus on questions related to identity and canonicity, Dissident Authorship addresses these themes as well as those of readership, authority, power, and representation.

The sixteen-year-long war in Mozambique between the Frelimo government and Renamo rebels remains one of the most overlooked and misunderstood of the conflicts that raged across Africa during the height of the Cold War. While usually viewed as mere sideshow to more high-profile wars in Angola, Rhodesia and within apartheid South Africa itself, it nonetheless is noteworthy in its complexity, duration and destructiveness. Before it was all over in 1992 at least one million Mozambicans would be dead, millions more homeless and the country lying in ruins. Ultimately Frelimo would get its victory not on the battlefield but rather at the polling booth in 1994. Based on more than a decade of meticulous research, a review of thousands of pages of military records and documents, and dozens of in-depth interviews with political leaders, diplomats, generals, and soldiers and sailors, this book tells the story of the war from the perspective of those who fought it and lived it. It follows Renamo's growth from its Rhodesian roots in 1977 as a weapon against Robert Mugabe's Zimbabwean nationalist guerrillas operating from Mozambique through South African patronage in the early 1980s to Renamo's evolution as a self-sufficient nationalist insurgency. In tracing the ebb and flow of the conflict from the rugged mountains and Savannah forests of central Mozambique across the hot, humid Zambezi River valley and down to the very outskirts of the Mozambican capital in the far south, it examines the operational strategy of Frelimo and Renamo commanders in the field, the battles they fought and the lives of their troops. In doing so it highlights personal struggles, each side's successes and failures, and the missed opportunities to decisively turn the tide of war. Accordingly, this book provides the first real comprehensive military history of a war too long neglected and under appreciated in the chronicles of modern African history.

The book focuses on an area called Maúa, not because I believe Maúa represents the whole of Mozambique as such, but because highlighting a specific area and people helps to understand the Mozambican history more deeply and comprehensively. In any case, it would be impossible to study the experience of all Mozambicans. I am not attempting to write a history textbook of Mozambique, or a glorious history of the liberation struggle, but rather trying to fill a gap in the descriptions of contemporary Mozambican history by delving into matters that have not been written about before.

Worlds of Dissent analyzes the myths of Central European resistance popularized by Western journalists and historians, and replaces them with a picture of the struggle against state repression as the dissidents themselves understood, debated, and lived it. In the late 1970s, when Czech intellectuals, writers, and artists drafted Charter 77 and called on their government to respect human rights, they hesitated to name themselves "dissidents." Their personal and political experiences--diverse, uncertain, nameless--have been obscured by victory narratives that portray them as larger-than-life heroes who defeated Communism in Czechoslovakia. Jonathan Bolton draws on diaries, letters, personal essays, and other first-person texts to analyze Czech dissent less as a political philosophy than as an everyday experience. Bolton considers not only Václav Havel but also a range of men and women writers who have received less attention in the West--including Ludvík Vaculík, whose 1980 diary The Czech Dream Book is a compelling portrait of dissident life. Bolton recovers the stories that dissidents told about themselves, and brings their dilemmas and decisions to life for contemporary readers. Dissidents often debated, and even doubted, their own influence as they confronted incommensurable choices and the messiness of real life. Portraying dissent as a human, imperfect phenomenon, Bolton frees the dissidents from the suffocating confines of moral absolutes. Worlds of Dissent offers a rare opportunity tounderstand the texture of dissent in a closed society.

This anthology of seminal texts documents the development of the post-war anti-Soviet Ukrainian dissident movement. The collection is designed to introduce, via some crucial primary sources, Western and other non-Ukrainian readers to various forms of Ukrainian opposition to the communist regime. Stories of ideas and personal undertakings are unfolding before the reader in a vivid pulsation of texts that testify for themselves. The anthology gathers contributions from different genres. They range from poetry, public speeches, and samvydav—uncensored, self-published—texts to court speeches. They come from dissidents who were held in jails, special psychiatric hospitals (for not accepting the official ideology), and prison camps. Finally, they include self-reflections by dissidents on their personal experience of opposing the totalitarian system. This variety of contributions creates a multidimensional picture of the Ukrainian dissident movement—a generation of prominent Ukrainian public and cultural figures who, in one way or another, insisted on their freedom of speech and made history by daring to challenge the official ideology and culture. This remarkable book about the struggle for freedom has been compiled by Oleksii Sinchenko, Dmytro Stus, and Leonid Finberg. Scholarly reviewed by Myroslav Marynovych.

Women's Cinema in Contemporary Portugal brings together scholars from Portugal, UK and the USA, to discuss 14 women film directors in Portugal, focussing on their production in both feature film and documentary genres over the last half-century. It charts the specific cinematic visions that these women have brought to the re-emergence of Portuguese national cinema in the wake of the 1974 Revolution and African decolonisation, and to the growing internationalisation of Portugal's arguably 'minor' or 'small nation' cinema, with significant young women directors such as Leonor Teles achieving prominence abroad. The history of Portuguese women's cinema only begins systematically after the 1974 revolution and democratisation. This collection shows how female auteurs made their mark on Portugal's post-revolutionary conceptualisation of a differently 'national' cinema, through the ethnographic output of the late 1970s. It goes on to explore women's decisively gendered interventions in the cinematic memory practices that opened up around the masculine domain of the Colonial Wars in Africa. Feminist political issues such as Portugal's 30-year abortion campaign and LGBT status have become more visible since the 1990s, alongside preoccupations with global concerns relating to immigration, transit and minority status communities. The book also demonstrates how women have contributed to the evolution of soundscapes, the genre of essay cinema, film's relationship to the archive, and the adaptation of the written word. The result is a powerful, provocative and definitive challenge to the marginalisation of Portuguese female-directed film in terms of 'double minority'.

A splendidly written portrait of Mozambique in the colonial and post-colonial eras, by the premier historian of the country.