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This article examines the way in which José Cardoso Pires accesses and imparts the urban culture of Lisbon and his own memories of the city in Lisboa, livro de bordo [Lisbon Logbook]. The author's flânerie through the city is read in the light of Certeau's
ideas concerning walking, and the way in which the calçadas [mosaic pavements] of Lisbon inform Cardoso Pires's description of his movements is examined. There follows an analysis of Cardoso Pires's discussion of the azulejos [painted tiles] in the stations of the Lisbon
underground as a sort of memory bank of the city and of the mnemotechnics displayed elsewhere by the author's own movements across the surface of Lisbon. Prompted by his own personal experience of urban space, Cardoso Pires preserves certain historical and cultural memories, leaves leeway
for the reader to establish his own relation to Lisbon, yet is also beholden, to an extent, to the official image of the city.
Journal of Romance Studies promotes innovative critical work in the areas of linguistics, literature, performing and visual arts, media, material culture, intellectual and cultural history, critical and cultural theory, psychoanalysis, gender studies, social sciences, and anthropology. The primary focus is on those parts of the world that speak, or have spoken, French, Italian, Spanish or Portuguese, but work on other cultures may be included. Issues cross national and disciplinary boundaries in order to stimulate new ways of thinking about cultural history and practice.