A pureza perdida do desporto : futebol no Estado Novo

Tese de doutoramento, Sociologia (Teorias e Métodos de Sociologia), Universidade de Lisboa, Instituto de Ciências Sociais, 2014

Comoção : os ritmos afectivos do acontecimento teatral

Tese de doutoramento, Estudos Artísticos (Estudos de Teatro), Universidade de Lisboa, Faculdade de Letras, 2014

A censura sem limites : as práticas de censura no cinema e seus ecos na contemporaneidade demográfica luso-brasileira (1930-1950)

Tese de doutoramento, Educação (História da Educação), Universidade de Lisboa, Instituto de Educação, 2015

Has Regionalism Peaked? The Latin American Quagmire and its Lessons

Since 1960, Latin American attempts at regionalism have undergone distinct phases. More notably, they have tended to diverge across space, gradually giving birth to separate blocs that seem to be tearing South, Central and North America apart. Additionally, within and across these regions several overlapping projects coexist. This article focuses on the dynamics of segmented and overlapping regionalism in order to describe what they look like, analyse how they articulate with one another, and explain why member states have pushed for such a messy outcome. This situation, linked to the evolution of the global context, might be indicating that regionalism in Latin America has reached its peak, beyond which it may be difficult to achieve further progress. Two conclusions are elicited: first, economic integration is becoming a geographically diffused phenomenon rather than a regional one; second, regionalism is still a compelling foreign policy but its causes, goals and outcomes are no longer what they used to be.

Has Regionalism Peaked? The Latin American Quagmire and its Lessons

The chapters in this book were originally published in the The International Spectator, volume 47, issue 1 (February 2012).

A suspensão do tempo na escultura de Rui Chafes

The work of Rui Chafes is the irreducible expression of a sculpturesque thinking that intends to overcome the limits of materiality, aiming the reencounter with a lost spirituality. From the various influences that his work welcomes, the spiritual legacy present in the late german gothic, the german romanticism, as well as the formal heritage of post-minimalism stand out. The objects build are only possible as the translation of an Idea, since, for the sculptor, the “matter is filthy and wrong”; denying their materiality, they’re solely the support of something which is before and after their own objectuality. Like so, by refusing them the matter, of which they are yet made of, and by providing, through the aesthetic experience, the spiritual transformation of the spectator, he irreversibly denies the time which resides in them, as a constituent of historical and chronological reality. Being time a fundamental dimension of the human existence, necessarily inherent to the artistic production, it seems suspended in the objects of Rui Chafes