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| Luiz Gama | |
 | |
| Born | (1830-06-21)June 21, 1830 Salvador |
| Died | August 24, 1882(1882-08-24) (aged 52) São Paulo |
| Nationality | Brazilian |
| Other names | Afro, Getúlio and Barrabaz |
| Education | Self-taught |
| Occupation(s) | Lawyer, writer, abolotionist |
| Known for | He was able to have freed more than 500 slaves. |
| Notable work | Primeiras Trovas Burlescas do Getulino |
| Spouse | Claudina Gama |
| Children | Benedito Graco Pinto da Gama |
| Parents |
|
| Awards | XXXII Prêmio Franz de Castro Holzwarth de Direitos Humanos |
Luís Gonzaga Pinto da Gama (Salvador, June 21, 1830 – São Paulo, August 24, 1882) was a Brazilian Rábula [pt] (self-taught lawyer), abolitionist, orator, journalist and writer, and the Patron of the Abolition of Slavery in Brazil [pt].
Born to a free black mother and a white father, he was nevertheless made a slave at the age of 10, and remained illiterate until the age of 17. He judicially won his own freedom and began to work as a lawyer on behalf of the captives, and by the age of 29 he was already an established author and considered "the greatest abolitionist in Brazil".
Although considered one of the exponents of romanticism (pt), works such as Manuel Bandeira's "Apresentação da Poesia Brasileira" do not even mention his name. He had such a unique life that it is difficult to find, among his biographers, any who do not become passionate when portraying him - being himself also charged with passion, emotional and yet captivating. Despite this the historian Boris Fausto declared that he owned a "soap opera biography".
He was one of the rare black intellectuals in 19th century slave-owning Brazil, the only self-taught and the only one to have gone through the experience of captivity. He spent his life fighting for the abolition of slavery and for the end of the monarchy in Brazil, but died six years before these causes were accomplished. In 2018 his name was inscribed in the Steel Book of national heroes deposited in the Tancredo Neves Pantheon of the Fatherland and Freedom.
Panorama of the time
São Paulo, where Gama lived for forty-two years, was in the middle of the 19th century a still small provincial capital that, with the demand for coffee production from the 1870s on, saw the price of slaves reach a level that made their urban possession almost prohibitive. Until this period, however, it was quite common the property of "rent slaves", on whose work their owners drew their source of sustenance, alongside the so-called "domestic slaves".
It had a population ten times smaller than that of the Court (Rio de Janeiro), and a very strong presence of legal culture because, since 1828, one of the only two law schools in the country had been established there, the Largo de São Francisco Law School, which received students from all over the country, coming from all social strata - besides the children of the rural oligarchy, members of the intellectual elite that was being formed at the time (Gama defined it, then, as "Noah's Ark in a small way").
Childhood and slavery
Luís Gama was born on June 21, 1830, in the city of Salvador, Bahia. Even with little information about his childhood, it is known that he was the son of Luísa Mahin, a freed African ex-slave, and the son of a Portuguese fidalgo who lived in Bahia. At the age of seven, his mother traveled to Rio de Janeiro to participate in the Sabinada revolt, never to meet him again. In 1840, his father ended up in debt with gambling, so he resorted to selling Luís Gama as a slave to pay his debts.
In an autobiographical letter he sent in 1880 to Lúcio de Mendonça [pt], he describes his birth and early childhood thus:
I was born in the city of S. Salvador, capital of the Bahia province, in a two-story house at Rua do Bângala, forming an internal angle, in the "Quebrada", on the right side from the Palma churchyard, in the Sant'Ana parish, on June 21, 1830, at 7 in the morning, and I was baptized, eight years later, in the main church of Sacramento, in the city of Itaparica.
Lígia Ferreira, one of the researchers who has most studied Gama's life, points out that this information could not be verified, although she stresses that the sobrado where he was born still exists; the register of his baptism could not be found, and adds to this the fact that the omission of his father's name from his account casts doubt on his real identity.
Put up for sale, he was rejected "for being Bahian". After the Malê revolt, a stigma was created that Bahian captives were rebellious and more likely to run away. He was taken to Rio de Janeiro where he was sold to Antonio Pereira Cardoso, a slave trader who took him to be resold in São Paulo. With all the buyers resisting buying him because he was from Bahia, Gama began working as a domestic slave on the ensign's property, washing and ironing clothes, and then became a slave for hire (pt), working as a seamstress and shoemaker in the town of Lorena.
Freedom and adulthood
In 1847, Luís Gama had contact with a law student, who stayed at his master's house and taught him the alphabet. With this, Luís Gama was able to prove his freedom and joined the army in 1848. It remains unclear, however, the artifices used by Luis Gama to obtain his freedom, and it is suggested that he may have used the testimony of his father - whose identity he was careful to keep obscure. There is also the theory that Gama would have run away from the estate and argued that he was free because he could read and write, which were skills that most slaves did not possess.
Even while serving in the army, he was chosen to work as a copyist for official authorities in his spare time, since he had good calligraphy. In 1856, he was hired as a clerk at the São Paulo Police Department, in the office of Francisco Maria de Souza Furtado de Mendonça, a counselor and law professor. With the knowledge of Francisco Mendonça and having his library at his disposal, Luís Gama further studied the subject of law until he made the decision to graduate from the Largo de São Francisco Law School. However, the students of the Faculty were against it, making it impossible for Luís Gama to enroll, so he began to study on his own and became a "rábula", the name given to the individual who had enough legal knowledge to be a lawyer, even without a law degree. After acting in slave cases, Gama was dismissed from his position at the Secretariat of Police, in 1868, due to pressure from conservatives (pt) who were dissatisfied with the freedoms won by the rábula. Gama defined his dismissal "for the good of the public service" as a consequence of the work he had been doing to free slaves who were in an illegal situation, in addition to denouncing the system's abuses, or, in his words
the turmoil consisted in my being part of the Liberal Party; and, through the press and the ballot box, fighting for the victory of my and his ideas; and promoting lawsuits of free people criminally enslaved, and lawfully assisting, to the extent of my efforts, slave freedoms, because I detest captivity and all masters, especially kings.
Literature
Gama was a reader of the Life of Jesus, by the French philosopher Ernest Renan, originally published in 1863 and soon translated in Brazil, being one of the first to refer to it in the country. His only work, originally published in two editions (1859 and 1861), Primeiras Trovas Burlescas, placed him in the literary pantheon of Brazil only twelve years after he learned to read. This book, dedicated to Salvador Furtado de Mendonça, a magistrate who taught at the Largo de S. Francisco and who also managed his library there (which allows us to infer that he facilitated Gama's access to his collection), also has poems by his friend José Bonifácio the Younger, attached.
Poetry: the "Orpheus with a curly top"
Recalling the figure of the Greek poet Orpheus, and alluding to his curly hair, Gama was called "Orpheus with a curly top", and mastered both lyric and satirical poetry.
His poetics is written in the first person, without hiding his own origin and without failing to proclaim his blackness; at the same time, he does not fail to use the traditional images of his time, such as mythological evocations (like Orpheus, Cupid, etc.) or the poets of the past (like Lamartine, Camões, for example).
However, Gama reverts these images to his condition: the muse is from Guinea, Orpheus has "curly top". In portraying white society, he uses strongly satirical images:
Portuguese:
Com sabença profunda irei cantando
Altos feitos da gente luminosa,
(...)
Espertos manganões de mão ligeira,
Emproados juízes de trapaça,
E outros que de honrados têm fumaça,
Mas que são refinados agiotas.
English:
With deep wisdom I will sing
High deeds of the luminous people,
(...)
Clever manganese with a light hand,
And others who are honored with smoke,
And others who are honorable as smoke,
But who are refined loan sharks.
He builds, from the elements of white culture, the antithesis to the culture and civilization of the blacks, filling them with elements of traditional poetry; thus, he contrasts the "Guinea muse" to the Greco-Roman muses; the dark granite to the white marble; the marimba and the cabaço to the lyre and the flute:
Portuguese:
Ó Musa da Guiné, cor de azeviche,
Estátua de granito denegrido,
(...)
Empresta-me o cabaço d'urucungo,
Ensina-me a brandir tua marimba (...)
English:
O Muse of Guinea, color of holly,
Statue of blackened granite,
(...)
Lend me your urucungo cabaço,
Teach me to wield your marimba (...)
In his verses, he traces an image of himself that is far from the figure of the "poor wretch" or sufferer that figures in the blacks painted by contemporary white poets like Castro Alves. Gama hits himself with the same fierce criticism with which he attacks the system, belittling his own value before the prevailing cultural standards, which he implicitly accepts:
Portuguese:
Se queres, meu amigo,
No teu álbum pensamento
Ornado de frases finas,
Ditadas pelo talento;
Não contes comigo,
Que sou pobretão:
Em coisas mimosas
Sou mesmo um ratão.
English:
If you will, my friend,
In your thought record
Ornamented with fine phrases,
Dictated by talent;
Don't count on me
That I am a penniless man:
In pampering things
I'm a real rat.
Gama even ironizes the situation of the black man, cut off from wealth, the sciences, and the arts:
Portuguese:
Ciências e letras
Não são para ti:
Pretinha da Costa
Não é gente aqui.
English:
Science and letters
Are not for you:
Little black girl da Costa
Isn't a person in this place.
Goat
"Goat" (Bode) was a term used in Gama's time to make pejorative references to black and pardo people, and the poet himself was the target of these offenses. Thus, in 1861, in the poem Quem sou eu? also known as Bodarrada, Gama used the term ironically to satirize Brazilian society, while affirming human equality regardless of color:
Portuguese:
Se negro sou, ou sou bode,
Pouca importa. O que isto pode?
Bodes há de toda a casta.
Pois que a espécie é muita vasta...
Há cinzentos, há rajados,
Baios, pampas e malhados,
Bodes negros, bodes brancos,
Bodes ricos, bodes pobres,
Bodes sábios, importantes,
E também alguns tratantes…
Haja paz, haja alegria,
folgue e brinque a bodaria;
cesse, pois, a matinada,
porque tudo é bodarrada!
English:
Whether I am black, or a goat,
It matters little. What can it?
There are all kinds of goats.
For the species is very wide...
There are gray ones, and there are striped ones,
There's bays, pampas and spotted,
Black goats, white goats,
Rich goats, poor goats,
Wise goats, important goats,
And also some rascals...
Let there be peace, let there be joy,
Let there be peace, let there be joy, let there be fun and frolic;
So let the revelry cease,
because everything is bodarrada!
Abolitionist Activism
Journalism and Freemasonry
Part of Luís Gama's abolitionist activism resided in his activity in the press. He began his journalistic career in São Paulo, together with cartoonist Angelo Agostini; both founded, in 1864, the first illustrated humorous newspaper in that city, called Diabo Coxo [pt] (Lame Devil).
But Gama also wrote articles for other newspapers, in which he discoursed on socio-racial issues of Imperial Brazil. In an article entitled Foro de Belém de Jundiaí, published in Radical Paulistano [pt], Gama denounces the decision of a judge who, after the death of a slave master, allowed the auction of a former slave who had been freed by his heir son.
In 1866, still with Agostini, now joined by Américo Brasílio de Campos [pt], they founded the hebdomadário Cabrião [pt]; all three belonged to the same Masonic lodge, and shared the same republican and abolitionist ideals. The America Masonic Lodge was very active in the abolitionist cause; it was founded by Luiz Gama and Ruy Barbosa and Joaquim Nabuco (who omits his Masonic background) may also have been a member. At the time of his death, Gama was the institution's Venerable Master.
The "Gama style" of judicial practice
In 1831, a law was passed that prohibited the importation of slaves into Brazil, making any trafficked individual free as soon as he or she arrived in the country. Called the Feijó Law [pt], it became better known as a Law for the English to see [pt], because it was a law passed to appease British pressure for the abolition of slavery in Brazil, without actually putting an end to the importation of slaves. Although it was not a law enforced by slave traders, it was the legal instrument by which Gama used to achieve the liberation of slaves. The so-called "Gama style" consisted of proving through legal proceedings that the enslaved blacks defended by Gama were brought illegally to Brazil, that is, after the promulgation of the Feijó Law in 1831, and should therefore be freed.
With the promulgation of the Lei do Ventre Livre (Free Womb Law) in 1871, Gama was able to get more freed slaves. In one of the items of the law, it was established the requirement of registration of each slave that a master owned. If the slave did not have a registration, it could be used as an argument for his alforria, as Gama did. Also, article 4 of the law formalized the purchase of the slave's manumission charter by the slave himself or by others, which allowed abolitionists to pass themselves off as slave valuers and lower the purchase price, allowing Gama and other abolitionists to buy more freedoms at lower prices.
Although he acted mainly in the defense of blacks accused of crimes, or to seek their legal freedoms, he did not refuse to attend gracefully to the poor of any ethnicity, and there were cases in which he defended European immigrants injured by Brazilians.
In his autobiographical letter to Lúcio de Mendonça, Gama estimates that he had already freed more than 500 slaves from captivity. During a jury, Gama uttered a phrase that became famous: The slave who kills the master, in whatever circumstance, always kills in self-defense - this provoked such a reaction from those present that, with the confusion, the judge was forced to suspend the session. Historian Ligia Fonseca Ferreira says that this phrase actually appeared in the biography of Luís Gama written by Lúcio de Mendonça and published in the Almanaque Literário de São Paulo, explaining that "This phrase is not by Luiz Gama, it is by this white friend who wrote about him".
Death and burial
Raul Pompeia had already noticed that Gama's health was not good; three days before his death he had observed that Gama no longer climbed down the stairs of his office without support, resorting to the support of his friends Pedro, Brasil Silvado, or himself, Raul.
Gama had diabetes, and this was the cause of his death on August 24, 1882, certified by physician Jaime Perna.
When the great abolitionist and slave liberator had died, Raul Pompeia expressed his incredulity and, registering every moment of the funeral, he immediately went to his friend's house, where he verified that many people were already there, keeping vigil: in front of the house, men cried "like cowards", and ladies sobbed. His body had been placed in a coffin in the front room; a sculptor molded his face in plaster. The coffin left the next day at three o'clock in the afternoon. Just before the coffin was closed, the widow gave a painful cry. The cemetery was at the other end of town, and a funeral coach had been prepared to take him, but the crowd of people who had flocked there would not let him go: "Everyone's friend" - as he was known - would have to be "carried by everyone".
The coffin appears, brought by friends of the deceased: journalist and member of the Centro Abolicionista Gaspar da Silva, Dr. Antônio Carlos, Dr. Pinto Ferraz, Conselheiro Duarte de Azevedo (pt), among others; ahead of the coffin followed a huge crowd, like the one squeezed in beside, disputing the honor of carrying the coffin; behind, a large number of carriages and, among them, the empty funeral coach. At four hours and five minutes, the procession arrived at Brás (pt), where a band was waiting to accompany it, playing sad chords; at Ladeira do Carmo (pt), the Brotherhood of Nossa Senhora dos Remédios joined the burial; arriving at the "city", stores closed their doors and flags were flying at half-mast, while people crowded the streets where the burial was to take place; in the windows, families squeezed themselves to watch: all along the way, many mourned the loss.
Professor Otávio Torres recorded that Luís Gama died "glorified by São Paulo"; Antônio Loureiro de Sousa, in 1949, recorded: "His funeral was an unprecedented spectacle: it was the largest ever reported in those days. The crowd that followed the funeral cortege, with all silence and admiration, was forced to stop by the numerous speeches that interrupted the funeral procession". More recently, in 2013, article writer Zeca Borges declared that "his burial was the most emotional event in the history of the city of São Paulo".
People of all classes were there, and all vying for the chance to carry the skiff. At one point, the slave driver Martinho Prado Júnior [pt] carried on one side, and on the other, a haughty, "poor, ragged, barefooted black man", in Pompey's register. It was already evening when the procession finally arrived at the Consolação holy ground, and the crowd held its ground. After a brief stop for a sermon by a priest in the chapel, where the hundreds of wreaths of flowers were laid, the coffin was finally taken to the grave, where the crowd was waiting. Before lowering it, however, someone - the doctor Clímaco Barbosa [pt] or Antônio Bento [pt], shouted for everyone to wait; after a brief speech in which he remembered the importance of Luís Gama, bringing everyone to tears, he summoned everyone to swear an oath not to let "die the idea for which that giant had fought": this was answered by a general roar from the crowd, which, hands extended to the coffin, swore.
His grave was purchased on the same day as the burial in the name of his wife Claudina, as recorded in Book 2, fols. 28, of the Municipal Archives; it is located on 2nd Street, grave 17.
Effects from the speechs
Gama's death and the engaged speech at his grave marked the end of this first phase of the abolitionist movement, markedly "legalistic" (constitution of funds for the acquisition of captives and their freedom, legal actions for liberation) and the beginning of the phase of effective actions to combat the slavers: led by Clímaco Barbosa, the campaign moved on to "de facto ways", where people took in runaway slaves, hiding them in their homes until they were sent to the Quilombo do Jabaquara, in Santos, and stimulating mass escape from the farms.
A milestone of this action was the invasion of Chácara Pari by members of the Clube Abolicionista do Brás, with cries of "Long live the abolitionists, let the slavocrats die!"; people such as Barbosa, Antônio Bento, Feliciano Bicudo, among other notables and anonymous, became part of the police's list of suspects.
Homages and influences
Among his contemporaries Gama was the recipient of several tributes. Raul Pompeia, in the Gazeta de Notícias [pt] of September 10, 1882, wrote an article about him entitled Última página da vida de um grande homem (Last page in the life of a great man); the same author wrote a caricature of him, which was published that same year on the front page of the Rio de Janeiro newspaper O Mequetrefe in August (No. 284), and also the unfinished novella A Mão de Luís Gama (The Hand of Luís Gama), originally published on the pages of the Jornal do Commercio, of São Paulo (1883), and the text A Morte de Luíz Gama (The death of Luíz Gama).
Some years after his death, and following the Abolition, the Luís Gama Lodge was founded by the São Paulo Freemason Góes and the collaboration of brothers from the Trabalho and Ordem e Progresso lodges, with the initiation of 25 blacks.
In his honor, in 1919, the Sorocabana Railroad [pt] (currently FEPASA ) named one of its stations, today practically in ruins.
Between 1923 and 1926, in what may be considered the "second period of the black press" in the state of São Paulo, the newspaper Getulino appeared in the city of Campinas; in this city racism was stronger than in the state capital itself, and the publication was part of the movement for greater participation of blacks in society; its title was a "tribute to Luís Gama who had as one of his pseudonyms Getulino" and its influence would culminate in the creation of O Clarim da Alvorada, a newspaper in the São Paulo capital.
In Largo do Arouche, in São Paulo, there is a bust (pt) erected to his memory, erected on commission by the black community on the occasion of his centennial.
Over time it influenced several black Brazilian movements, such as the literary group Projeto Rhumor Negro of São Paulo, created in 1988, for whom Gama's letter to Mendonça is "one of the most important historical documents of the Brazilian people. (...) Given the magnitude of the life of this great man, this letter, crossing time, is also addressed to all of us".
In 2014, in the wake of the success of the movie 12 Years a Slave, writer Ana Maria Gonçalves, author of the novelized work about Gama's life Um Defeito de Cor (A Color Defect), prepared a script for a movie and also drawing the attention of Brazilian television - pointing out that very little is said about slavery compared to other historical facts, such as the holocaust during World War II.
In 2017, the University of São Paulo Law School, in Largo de São Francisco, named one of its rooms after him. In 2018 his name was inscribed in the Steel Book of national heroes deposited in the Tancredo Neves Pantheon of the Fatherland and Freedom.
In 2019, it was announced that filmmaker Jefferson De [pt] would make a film on the life of Gama, with Fabrício Boliveira [pt] as the character in adulthood. The film, then in production, was temporarily titled Prisioneiro da Liberdade (Prisoner of Liberty), also would feature actors Caio Blat and Zezé Motta. The name of the film came to be Doutor Gama, with César Mello [pt] as the main character, and was released in 2021.
Also in 2019, the comic book Província Negra was published after winning the city of São Paulo's Fomento Cultural edict, portraying a fictional adventure based on the life of Gama, who takes on the role of the protagonist in the adventure. The script is by Kaled Kanbour and the art by Kris Zullo.
Title of "lawyer"
133 years after his death, on November 3, 2015, the Order of Attorneys of Brazil, São Paulo Section, granted him the title of "lawyer", since he was not trained and acted as a "provisioned" or abolitionist. The tribute ceremony, entitled "Luiz Gama: Ideas and Legacy of the Abolitionist Leader", included two days of events at Mackenzie Presbyterian University, through debates and lectures. The tribute is unprecedented in the history of the Order of Attorneys of Brazil; according to its national president, Marcus Vinicius Furtado Coêlho [pt], "It is a very fitting tribute to someone who fought so hard for freedom, equality, and respect".
Image Abroad
The Black Past website, focused on global African and African American history, has a page with the poet's biography.
In March 2020, the workshop "Slavery, Freedom and Civil Law in the Brazilian Courts (1860-1888): How the Black Lawyer Luiz Gama Developed a Legal Doctrine that Freed Five Hundred Slaves" took place at Princeton University.
Complete work
Historian Bruno Rodrigues de Lima, from the Max Planck Institute, spent nine years going through archives and registry offices looking for the complete works of Luís Gama, in a project for the publication of ten volumes and approximately 5,000 pages in Portuguese entitled Obras Completas , alongside the publisher Hedra.
- Luiz Gama (2021). Bruno Rodrigues de Lima (ed.). Democracia. Obras Completas (in Brazilian Portuguese). Vol. 1. Hedra. p. 500. ISBN 9786589705123.
- Luiz Gama (2021). Bruno Rodrigues de Lima (ed.). Liberdade. Obras Completas (in Brazilian Portuguese). Vol. 2. Hedra. p. 446. ISBN 9786589705161.
Notes
- 1. In the 19th orthography, his name was Luiz Gama.
- 2. A good example of this were the seven spinster sisters of Marshal José Arouche de Toledo Rendon - Caetana, Gertrudes, Joaquina, Pulquéria, Leocádia, Ana Teresa and Reduzinda - who lived off the income obtained from the labor of 39 slaves.
- 3. There is, in the historical memory of Salvador, an enormous gap derived from the bombing of the city (pt) in 1912 that, among other destruction's, burned the centuries-old documentation of what had been the first capital of Brazil.
- 4. The last two full texts can be read in: Schmidt, Afonso. O Canudo. S. Paulo, Clube do Livro, 1963 - p. 83-136.
References
- "Luiz Gama" (in Brazilian Portuguese). 2021-05-11. Retrieved 2021-08-21.
- ^ Lígia Fonseca Ferreira. "Luís Gama por Luís Gama: carta a Lúcio de Mendonça" (PDF). Teresa. Revista de Literatura Brasileira da USP , São Paulo, p. 300–321. (in Portuguese). Archived (PDF) from the original on 2014-02-04. Retrieved 2013-11-24.
- "Luiz Gama vence XXXII Prêmio Franz de Castro Holzwarth de Direitos Humanos". OAB SP (in Brazilian Portuguese). 2015-12-10. Retrieved 2020-09-15.
- "Lei 13.629 de 16/01/18". www.planalto.gov.br (in Brazilian Portuguese). Retrieved 2018-01-17.
- ^ Antônio Loureiro de Souza (1959). Bahianos Ilustres: 1564 – 1925 (in Brazilian Portuguese). Salvador. p. 102.
{{cite book}}: CS1 maint: location missing publisher (link) - Manuel Bandeira (1964). Apresentação da Poesia Brasileira (seguida de uma antologia de versos) (in Brazilian Portuguese). Ediouro. p. 451.
- ^ Santana, Andreia (2010-09-11). "Resenha: As novas biografias de Luiz Gama". Mar de Histórias (in Brazilian Portuguese). Retrieved 2021-07-16.
- Boris, FAUSTO (1994). História do Brasil (in Brazilian Portuguese). São Paulo: Edusp. p. 219. ISBN 9788531402401.
- ^ Ligia Fonseca Ferreira (2007). "Luís Gama: um abolicionista leitor de Renan". Estudos Avançados, vol.21 no.60 São Paulo. Retrieved 2013-11-23.
- ^ "Panteão da Pátria: os 43 heróis e heroínas do Brasil". UOL, 04/07/2018
- ^ Maria Helena P. T. Machado (2004). "Sendo Cativo nas Ruas: a Escravidão Urbana na Cidade de São Paulo" (PDF). História da Cidade de São Paulo, (Paula Porta, org.), São Paulo: Paz e Terra, p. 59–99 (in Brazilian Portuguese). Retrieved 2013-11-25.
- ^ Santos 2014.
- Cruz 2014, pp. 188–189.
- ^ Roberto de Oliveira Brandão. "A Poesia Satírica de Luís Gama" (PDF). Boletim bibliográfico - Biblioteca Mario de Andrade, vol. 49, nº 1/4 (Literafro-UFMG) (in Brazilian Portuguese). Archived from the original (PDF) on 2014-02-04. Retrieved 2013-11-27.
- Martins 1996, p. 96.
- Oliveira 2005, pp. 436–437.
- ^ Lígia Fonseca Ferreira (2012). "2012, 130º Aniversário de falecimento Luís Gama (1830–1882): de escravo a "cidadão"" (in Brazilian Portuguese). Archived from the original on 2013-12-02. Retrieved 2013-11-25.
- Alonso 2015, p. 58.
- Alonso 2015, p. 59.
- ^ Zeca Borges (2013-11-20). "Luis Gama - O filho de Luisa Mahin". Globo.com (in Brazilian Portuguese). Archived from the original on 2018-12-11. Retrieved 2013-11-29.
- Juliana Gonçalves (2018-05-17). "Obra de Luiz Gama revela a luta por um Brasil sem reis ou escravos" (in Brazilian Portuguese). Archived from the original on 2021-08-20. Retrieved 2021-08-21.
É neste texto sobre o abolicionista que Mendonça inclui a frase que mais tarde foi creditada a Gama: "o escravo que mata seu senhor, em qualquer circunstância, o faz sempre em legítima defesa". Para Lígia, a falta de conhecimento sobre o autor ajudou a espalhar essa frase como sendo de Gama. "Esta frase não é do Luiz Gama, ela é desse amigo branco que escreveu sobre ele", explica.
A pesquisadora conta que seria muito complicado pelo trânsito de Gama entre abolicionistas e republicanos sustentar essa frase desse modo, embora sua literatura seja revolucionária ao propor a ruptura do Império e a liberdade dos negros. - ^ Institucional. "Loja Luís Gama". Sítio oficial da entidade (in Brazilian Portuguese). Archived from the original on 2014-02-02. Retrieved 2013-11-25.
- Biblioteca Nacional do Rio de Janeiro (1963). "Exposição comemorativa do centenário de nascimento de Raul Pompeia" (PDF). Ministério da Educação e Cultura (in Brazilian Portuguese). Retrieved 2013-11-25.
- Miriam Nicolau Ferrara (1985). "A imprensa negra paulista (1915/1963)". Revista Brasileira de História, vol. 5, nº 10 (in Brazilian Portuguese). Retrieved 2013-11-23.
- Sylvia Colombo (2014-03-08). "Séries e filme vão contar a história do abolicionista baiano Luís Gama". Ilustrada - Folha de S. Paulo (in Brazilian Portuguese). Retrieved 2014-03-08.
- "Luiz Gama ganha nome em sala na USP por sua luta pela libertação de escravos". OAB SP (in Brazilian Portuguese). Retrieved 2020-09-18.
- "Fabricio Boliveira interpretará Luiz Gama em novo filme de Jefferson De". Cineweb (in Brazilian Portuguese). 2018-11-22. Retrieved 2018-11-22.
- "Prisioneiro da Liberdade". Adoro Cinema. 2019. Retrieved 2020-04-27.
- Pedro Henrique Ribeiro (2021-08-05). "Crítica - Doutor Gama acerta a narrativa sem espetacularizar sofrimento negro" (in Brazilian Portuguese). Archived from the original on 2021-08-15. Retrieved 2021-08-20.
- "Em Província Negra, Luiz Gama vira personagem de história em quadrinhos". Mundo Negro (in Brazilian Portuguese). 2019-05-14. Retrieved 2020-04-27.
- "HQ sobre personagem baiano e abolicionista Luiz Gama é lançada em São Paulo". Carta Capital (in Brazilian Portuguese). 2020-02-12. Retrieved 2020-04-27.
- Edison Veiga (2015-10-30). "Luiz Gama (1830-1882): enfim, advogado". O Estado de São Paulo (in Brazilian Portuguese). Retrieved 2015-11-03.
- Foster, Hannah (2014-04-02). "Luis Gama (1830-1882)". Black Past. Retrieved 2021-06-02.
- "Latin America & Caribbean Workshop". Princeton University.
- "O resgate da obra de Luiz Gama, de ex-escravo a advogado abolicionista" (in Brazilian Portuguese). 2021-06-14. Retrieved 2021-08-21.
- "Obras completas do advogado, poeta e jornalista Luiz Gama, enfim, é editada" (in Brazilian Portuguese). 2021-08-19. Archived from the original on 2021-08-21. Retrieved 2021-08-21.
Bibliography
Scientific papers
- Braga-Pinto, César. "The Honor of the Abolitionist and the Shamefulness of Slavery: Raul Pompeia, Luís Gama and Joaquim Nabuco". Luso-Brazilian Review. 51 (2).
- Cruz, Ricardo Alexandre (2014). "A trajetória social e educacional do abolicionista Luís Gama: notas e anotações para a História da Educação brasileira". Travessias Revista (in Brazilian Portuguese). 8 (2).
{{cite journal}}: Invalid|ref=harv(help) - Kennedy, James H (1974). "Luiz Gama: Pioneer of Abolition in Brazil". The Journal of Negro History. 59 (3).
- Ferreira, Lígia Fonseca (2019). "Luiz Gama autor, leitor, editor: revisitando as Primeiras Trovas Burlescas de 1859 e 1861". Estudos Avançados (in Brazilian Portuguese). 33 (96).
- Ferreira, Lígia Fonseca (2007). "Luiz Gama: um abolicionista leitor de Renan". Estudos Avançados (in Brazilian Portuguese). 21 (60).
- Martins, Heitor (1996). "Luis Gama e a consciência negra na literatura brasileira". Afro‑Ásia (in Brazilian Portuguese) (17). Retrieved 2021-06-01.
{{cite journal}}: Invalid|ref=harv(help) - Oliveira, Sílvio Roberto dos Santos (2005). "Luiz Gama, o poeta invísivel". Sínteses (in Brazilian Portuguese). 10. Retrieved 2021-06-01.
{{cite journal}}: Invalid|ref=harv(help)
Books
- Alonso, Angela (2015). Flores, votos e balas: O movimento abolicionista brasileiro (1868-88) (in Brazilian Portuguese). Rio de Janeiro: Companhia das Letras.
{{cite book}}: Invalid|ref=harv(help) - Azevedo, Elciene (1999). Orfeu de Carapinha: A trajetória de Luiz Gama na imperial cidade de São Paulo (in Brazilian Portuguese). São Paulo: Editora da Unicamp.
- Câmara, Nelson (2010). Advogado Dos Escravos (in Brazilian Portuguese). São Paulo: Lettera doc.
- Gama, Luís; Ferreira, Lígia (2000). Primeiras trovas burlescas e outros poemas (in Brazilian Portuguese). São Paulo: Martins Fontes.
- Menucci, Sud (1938). O Precursor do Abolicionismo no Brasil: Luís Gama (in Brazilian Portuguese). São Paulo: Companhia Editora Nacional.
- Santos, Luiz Carlos (2014). Luiz Gama (in Brazilian Portuguese). Selo Negro Edições.
{{cite book}}: Invalid|ref=harv(help) - Silva, J. Romão (1954). Luís da Gama e suas Poesias Satíricas (in Brazilian Portuguese). Rio de Janeiro: Casa do Estudante do Brasil.
{{cite book}}: Invalid|ref=harv(help)
Aditional reading
- Encyclopedia of Latin American history and culture. Kinsbruner, Jay., Langer, Erick Detlef. (2nd ed.). Detroit: Gale. 2008. ISBN 9780684312705. OCLC 191318189.
{{cite book}}: CS1 maint: others (link) - Used in the article body on oldid=1039809695 - Encyclopedia of African-American culture and history : the Black experience in the Americas. Palmer, Colin A., 1944- (2nd ed.). Detroit: Macmillan Reference USA. 2006. ISBN 0028658213. OCLC 60323165.
{{cite book}}: CS1 maint: others (link) - Used in the article body on oldid=1039809695 - Encyclopedia of emancipation and abolition in the Transatlantic world. Rodriguez, Junius P.,, Ackerson, Wayne. London . 2015-03-26. ISBN 978-1317471790. OCLC 908062295.
{{cite book}}: CS1 maint: location missing publisher (link) CS1 maint: others (link) - Used in the article body on oldid=1039809695 - Santos, Eduardo Antonio Estevam (December 2015). "Luiz Gama and the racial satire as the transgression poetry: diasporic poetry as counter-narrative to the idea of race". Almanack (11): 707–727. doi:10.1590/2236-463320151108. ISSN 2236-4633. - Used in the article body on oldid=1039809695
External links
- A biography of Luís Gama (in English)
- A biography of Luís Gama (in Portuguese)
- Organization dedicated to Luiz Gama (in Portuguese)
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