Miguel Mesquita Duarte
Biographic Data
| ID | 1666520 |
|---|---|
| NAME | Miguel Mesquita Duarte |
| GIVEN NAMES | Miguel Mesquita |
| FAMILY NAME | Duarte |
| SIGNATURE | DUARTE M M |
| AFFILIATIONS | Universidade Nova de Lisboa |
| ORCID | 0000-0002-7213-218X |
| VERIFIED | Yes |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 0 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Image, oral testimony, and the workings of (post)colonial memory in Diana Andringa’s microhistorical documentaries
This article explores the interplay of visual representation and oral testimony in Diana Andringa’s documentary films focusing on the Portuguese Colonial War (1961–1974), the Estado Novo dictatorship (1933–1974), and the transformative events of the 1974 April Revolution. Through a detailed examination of a key segment of Andringa’s filmography, I argue that her practice, by interweaving autobiography and personal testimonies with broader socio-h…
Histories of the Portuguese colonial war and its (other) images
Album
This photographic essay was motivated by a reflection on a set of photographs, taken and found from 10 years ago, and the concomitant rediscovery of some of my wife’s youthful writings. By combining creative writing with philosophical debate and photographic imagery, the essay aims at constructing an alternative experience of time, loss and inter-subjectivity. Grounded in a poetical dialogue with theorists and artists such as Barthes, Chris Marke…
Dialectical Thinking. Truth, Imagination and the Politics of Historical Memory
Godard's assertion that the historian must "provide an accurate description of what has never happened" speaks eloquently to Benjamin's equally provocative idea (taken from Hofmannsthal) that history allows one "to read what was never written".For both as well as for Warburg, who envisioned a "psychological history" capable of reproducing the latencies and survivals of the images of art history historical knowledge is invaded by the irrationa…
Photography and Writing, or the Intimacy of the Image
This article was prompted by James Elkins’s argument — developed in his book, What Photography Is, from 2011 — that there is no actual relationship between Roland Barthes’s theory of photography and Maurice Blanchot’s philosophy. Drawing on considerations of an historical, philosophical, and literary nature, the article argues for the importance of a dialogic encounter between Barthes and Blanchot, demonstrating that the interconnection between t…
Reinventing the body on the photographic stage
The fictional regime of the photographic image allows Helena Almeida to stage a theatrical metamorphosis of her own body through displacements, expansions and dissimulations, placing photography at the heart of a pictorial transgression that undermines the disciplinary boundaries of visual media: the artist becomes ink, inhabits the empty canvas space, multiplies herself in mirror games that produce the unfolding of a body in deep crisis, thrown …
A arte como experiência
[Resenha de: DEWEY, John. Art as Experience. New York: A Perigee Book, 1980.]
Um Historiador Cineasta
No seu novo livro intitulado Jean-Luc Godard, Cinema Historian (2013), Michael Witt aborda alguns dos mais complexos e importantes aspectos da multifacetada obra de Jean-Luc Godard. Partindo de Histoire(s) du Cinéma (1998) como objecto de estudo central, Michael Witt evidencia as proposições históricas aí desenvolvidos e analisa as suas formas, temas e procedimentos através da contextualização dos filmes e dos vídeos criados pelo cineasta Francês…
On a 1947 Rediscovery
This paper deals with the experience of archive and memory as key aspects in the photographic work of the Portuguese artist Julião Sarmento. Taking the installation entitled 1947 — based on the appropriation of an ensemble of found photographs — as the central object of study, this paper seeks to discuss the relationship between archive, memory and the photographic, or the filmic. It is argued that in Julião Sarmento’s artistic work the problemat…
O Testemunho, o Instante e a Memória. Espaços de corte e de interrupção em Video Letter (1982), de Shuji Terayama e Shuntaro Tanikawa
Este artigo tem como ponto privilegiado de investigação o vídeo experimental Video Letter (1982), de Shuji Terayama e Shuntaro Tanikawa. O filme é inquirido nos seus procedimentos formais e aproximações temáticas a partir de um estudo comparativo com o ensaio de Jacques Derrida, intitulado Demeure: Fiction and Testimony (2000), construído em torno da obra literária L’instant de ma mort (1994), de Maurice Blanchot. A aproximação entre estas duas o…
Narrativas da Imagem e (Anti)Expanded Cinema em Julião Sarmento
Para lá da dificuldade em circunscrever o seu campo teórico e epistemológico – dada a pluralidade de acepções que o mesmo abarca e dos múltiplos desdobramentos que foram despontando nas últimas décadas, - uma das tónicas mais prementes afectas ao expanded cinema refere-se à sua relação com questões de narrativa. Embora pouco óbvia, a referência ao trabalho de Julião Sarmento neste domínio parece-nos particularmente útil, desde logo pelo modo como…
No prominent works on this page.
O Testemunho, o Instante e a Memória. Espaços de corte e de interrupção em Video Letter (1982), de Shuji Terayama e Shuntaro Tanikawa
Este artigo tem como ponto privilegiado de investigação o vídeo experimental Video Letter (1982), de Shuji Terayama e Shuntaro Tanikawa. O filme é inquirido nos seus procedimentos formais e aproximações temáticas a partir de um estudo comparativo com o ensaio de Jacques Derrida, intitulado Demeure: Fiction and Testimony (2000), construído em torno da obra literária L’instant de ma mort (1994), de Maurice Blanchot. A aproximação entre estas duas o…
Narrativas da Imagem e (Anti)Expanded Cinema em Julião Sarmento
Para lá da dificuldade em circunscrever o seu campo teórico e epistemológico – dada a pluralidade de acepções que o mesmo abarca e dos múltiplos desdobramentos que foram despontando nas últimas décadas, - uma das tónicas mais prementes afectas ao expanded cinema refere-se à sua relação com questões de narrativa. Embora pouco óbvia, a referência ao trabalho de Julião Sarmento neste domínio parece-nos particularmente útil, desde logo pelo modo como…
Um Historiador Cineasta
No seu novo livro intitulado Jean-Luc Godard, Cinema Historian (2013), Michael Witt aborda alguns dos mais complexos e importantes aspectos da multifacetada obra de Jean-Luc Godard. Partindo de Histoire(s) du Cinéma (1998) como objecto de estudo central, Michael Witt evidencia as proposições históricas aí desenvolvidos e analisa as suas formas, temas e procedimentos através da contextualização dos filmes e dos vídeos criados pelo cineasta Francês…
On a 1947 Rediscovery
This paper deals with the experience of archive and memory as key aspects in the photographic work of the Portuguese artist Julião Sarmento. Taking the installation entitled 1947 — based on the appropriation of an ensemble of found photographs — as the central object of study, this paper seeks to discuss the relationship between archive, memory and the photographic, or the filmic. It is argued that in Julião Sarmento’s artistic work the problemat…
A arte como experiência
[Resenha de: DEWEY, John. Art as Experience. New York: A Perigee Book, 1980.]
Reinventing the body on the photographic stage
The fictional regime of the photographic image allows Helena Almeida to stage a theatrical metamorphosis of her own body through displacements, expansions and dissimulations, placing photography at the heart of a pictorial transgression that undermines the disciplinary boundaries of visual media: the artist becomes ink, inhabits the empty canvas space, multiplies herself in mirror games that produce the unfolding of a body in deep crisis, thrown …
Photography and Writing, or the Intimacy of the Image
This article was prompted by James Elkins’s argument — developed in his book, What Photography Is, from 2011 — that there is no actual relationship between Roland Barthes’s theory of photography and Maurice Blanchot’s philosophy. Drawing on considerations of an historical, philosophical, and literary nature, the article argues for the importance of a dialogic encounter between Barthes and Blanchot, demonstrating that the interconnection between t…
Dialectical Thinking. Truth, Imagination and the Politics of Historical Memory
Godard's assertion that the historian must "provide an accurate description of what has never happened" speaks eloquently to Benjamin's equally provocative idea (taken from Hofmannsthal) that history allows one "to read what was never written".For both as well as for Warburg, who envisioned a "psychological history" capable of reproducing the latencies and survivals of the images of art history historical knowledge is invaded by the irrationa…
Album
This photographic essay was motivated by a reflection on a set of photographs, taken and found from 10 years ago, and the concomitant rediscovery of some of my wife’s youthful writings. By combining creative writing with philosophical debate and photographic imagery, the essay aims at constructing an alternative experience of time, loss and inter-subjectivity. Grounded in a poetical dialogue with theorists and artists such as Barthes, Chris Marke…
Histories of the Portuguese colonial war and its (other) images
Image, oral testimony, and the workings of (post)colonial memory in Diana Andringa’s microhistorical documentaries
This article explores the interplay of visual representation and oral testimony in Diana Andringa’s documentary films focusing on the Portuguese Colonial War (1961–1974), the Estado Novo dictatorship (1933–1974), and the transformative events of the 1974 April Revolution. Through a detailed examination of a key segment of Andringa’s filmography, I argue that her practice, by interweaving autobiography and personal testimonies with broader socio-h…
Art (10 works) · Visual arts (6 works) · Arts and Performance Studies (3 works) · Brazilian cultural history and politics (3 works) · History (3 works) · Humanities (3 works) · Philosophy (3 works) · Philosophy (3 works) · Photography and Visual Culture (3 works) · Aesthetics (2 works)