Photographic source for the history of portuguese-speaking Africa, 1870-1914

History in Africa, n.18, pág.67-82

The discovery of three lost ‘Salting’ carpets: science as a tool for revealing their history

Thesis presented at the Faculdade de Ciências e Tecnologia, Universidade Nova de Lisboa, to obtain a Master degree in Conservation and Restoration,Specialization in Textiles

The visual image in Epiphanic Short History

The visual image is a fundamental component of epiphany, stressing its immediacy and vividness, corresponding to the enargeia of the traditional ekphrasis and also playing with cultural and social meanings. Morris Beja in his seminal book Epiphany in the Modern Novel, draws our attention to the distinction made by Joyce between the epiphany originated in a common object, in a discourse or gesture and the one arising in “a memorable phase of the mind itself”. This type materializes in the “dream-epiphany” and in the epiphany based in memory. On the other hand, Robert Langbaum in his study of the epiphanic mode, suggests that the category of “visionary epiphany” could account for the modern effect of an internally glowing vision like Blake’s “The Tyger”, which projects the vitality of a real tyger. The short story, whose length renders it a fitting genre for the use of different types of epiphany, has dealt with the impact of the visual image in this technique, to convey different effects and different aesthetic aims. This paper will present some examples of this occurrence in short stories of authors in whose work epiphany is a fundamental concept and literary technique: Walter Pater, Joseph Conrad, K. Mansfield, Clarice Lispector. Pater’s “imaginary portraits” concentrate on “priviledged moments” of the lives of the characters depicting their impressions through pictorial language; Conrad tries to show “moments of awakening” that can be remembered by the eye; Mansfield suggests that epiphany, the “glimpse”, should replace plot as an internal ordering principle of her impressionist short-stories; in C. Lispector the visualization of some situations is so aggressive that it causes nausea and a radical revelation on the protagonist’s.

Troia Roman baths (Portugal) – Assessment of history of interventions

International Seminar in Conservation. A Tribute to Cesari Brandi. Lisboa, LNEC, May 2006, p.273-282

The Environmental History of Cetaceans in Portugal: Ten Centuries of Whale and Dolphin Records

The history between cetaceans and humans is documented throughout time not only in reports, descriptions, and tales but also in legal documents, laws and regulations, and tithes. This wealth of information comes from the easy spotting and identification of individuals due to their large size, surface breathing, and conspicuous above water behaviour. This work is based on historical sources and accounts accounting for cetacean presence for the period between the 12th and 17th centuries, as well as scientific articles, newspapers, illustrations, maps, non-published scientific reports, and other grey literature from the 18th century onwards. Information on whale use in Portugal's mainland has been found since as early as the 12th century and has continued to be created throughout time. No certainty can be given for medieval and earlier events, but both scavenging of stranded whales or use of captured ones may have happened. There is an increasing number of accounts of sighted, stranded, used, or captured cetaceans throughout centuries which is clearly associated with a growing effort towards the study of these animals. Scientific Latin species denominations only started to be registered from the 18th century onwards, as a consequence of the evolution of natural sciences in Portugal and increasing interest from zoologists. After the 19th century, a larger number of observations were recorded, and from the 20th century to the present day, regular scientific records have been collected. Research on the environmental history of cetaceans in Portugal shows a several-centuries-old exploitation of whales and dolphins, as resources mainly for human consumption, followed in later centuries by descriptions of natural history documenting strandings and at sea encounters. Most cetaceans species currently thought to be present in Portuguese mainland waters were at some point historically recorded.

Res Antiquitatis. Journal of Ancient History

FCT

Res Antiquitatis. Journal of Ancient History 1

FCT

Portuguese plain architecture: history opening a closed sequence

The paper will address George Kubler’s Portuguese Plain Architecture [PPA] (1972) and its effect in Portuguese architectural practice. Kubler’s philosophy of art history implied that closed sequences of objects could be opened by several reasons. Thus, it will be argued that there is an effect upon Portuguese architecture post 1974, that is apparent by the reemergence of some of the form classes treated by Kubler. This was mostly achieved through the popularity of Kubler’s book within architectural practice, scholarship and moreover by the establishment of the term “Plain Architecture” in portuguese architectural vocabulary. Plain Architecture of the seventeenth and eighteenth centuries shared some qualities with the architecture to be built in post‑revolutionary Portugal, most importantly the effect that could be achieved with low budget buildings that were responding to a situation of crisis, and simultaneously exhaled aristocratic sparsity. The connection of PPA with the ideological attributes of early modernism and the political context of the time catalysed the reemergence of a new order of Portuguese Plain that resonates still in contemporary architecture.

The names of things: terminology and the practice of art history

This paper aims to explore the ways in which standard art history terminology shapes the practice of art history by conditioning the interpretation of specific works of art and, in certain cases, the definition of a research subject (especially where questions of genre and periodization are concerned). Taking as a case study a painting by Georges de La Tour, the Peasant Couple Eating, I will argue that terms such as realism, realistic, naturalistic etc. used for its description and/or interpretation, far from constituting objective stylistic characterizations, shape our perception of the work in question. Bringing the question of social class to the center of the discourse on realism, I propose to show how the social divide between the painter and his subject matter (in this case, the peasants) is internalized in the painting’s style and meaning, and how it is fundamental for the understanding of its intentionality and function.

History of Art and Art Criticism: A System in Crisis

This article aims to reconstruct the critical debate regarding the examination of the crisis in the disciplines of art history and criticism with a particular focus on the proposal formulated by U.S. theorists who contributed to October journal. The discrediting of many modernist critical methods, particularly that of Clement Greenberg – the formalist diktat – marked the birth of the journal and gave rise to proposals set forth by critics committed to a new approach. Their divergent positions, nonetheless, have contributed to undermining the traditional concepts of the autonomy of art and criticism. The proposals discussed over the course of publication were the result of a reappraisal of the disciplinary instruments of art history and criticism pursuant to the crucial cultural changes which took place in the 1980s.