O conceito contemporâneo e as reflexões sobre arte e estética de Rui Chafes

A recusa da estratificação do tempo, que surge na segunda metade do século XX, resulta da perda de fé numa grande narrativa e modifica a percepção do tempo cronológico: os acontecimentos já não se sucedem ordeiramente, manifestam-se em simultâneo no presente ou são criteriosamente convocados a partir do presente. Esta reformulação do tempo implica a reformulação do conceito de contemporâneo, permitindo questionarmo-nos, tal como Giorgio Agamben: “De quem e do que somos contemporâneos? E, antes de tudo, o que significa ser contemporâneo?” Com esta dissertação pretende-se analisar algumas formulações do conceito de contemporâneo, especialmente a partir de Giorgio Agamben, Walter Benjamin, Hannah Arendt e Georges Didi-Huberman, com a intenção de compreender as implicações da temporalidade na experiência estética e as possibilidades que as conceptualizações elaboradas oferecem à constituição de uma comunidade humana. Na segunda parte do trabalho, relaciona-se a problemática da contemporaneidade com as reflexões sobre arte e estética do escultor Rui Chafes através do seu texto “A História da Minha Vida”, um relato das principais influências da formação artística do narrador. Este relato ultrapassa os limites cronológicos, onde o artista olha para trás definindo o seu próprio tempo presente e o seu passado. O presente surge como a inteireza que resume a atenção do artista e nos descreve a sua caminhada através do tempo artístico. O narrador revive na primeira pessoa o percurso dos artistas que desde a Idade Média ao Barroco – trabalharam anonimamente a pedra e a madeira em nome dos mestres e ao fazê-lo assume-se como o escultor-aprendiz que recusa a promoção a mestre, e revela em si, através dos valores supremos do trabalho, da sabedoria e da experiência, toda a arte que o precedeu.

A arte ao serviço do império e das colónias: o contributo de alguns programas expositivos e museológicos para o discurso de legitimação territorial

Artigo escrito no âmbito da realização de tese de doutoramento em História da Arte financiado por bolsa FCT (SFRH/BD/63763/2009)

Interação cultural e interpretatio na epigrafia votiva: o caso da fachada ocidental do conuentus Bracaraugustanus

Dissertação de mestrado em Arqueologia

Chinese clay figures. By Berthold Laufer --

v.13:no.2(1914)

A new species of Leiostracus (Gastropoda, Pulmonata, Orthalicoidea) from Espírito Santo, Brazil

A remarkable new species of pulmonate land snail was found in the collection of the Senckenberg Forschungninstitut und Naturmuseum Frankfurt (Frankfurt am Main, Germany) and is described here as Leiostracus faerie sp. nov. It can be easily identified by its small and translucent shell with fine axial light brown bands and its protoconch sculpture. It was collected in the Rio Doce ("Doce River") region in Espírito Santo, Brazil, an area known for a high diversity and endemicity of land snails. This discovery shows how little this fauna is known and reinforces the importance of museum collections in the study of biodiversity and conservation.

New species of Cyclodontina from Bahia, Brazil (Gastropoda, Pulmonata, Odontostomidae)

A new species of pulmonate snail was recently collected in a small forest fragment in the city of Bom Jesus da Lapa, Bahia state, Brazil. Bahia is known for a high diversity of land snails and Bom Jesus da Lapa is an interesting locality, since it is close to the interface between two major Brazilian biomes: Cerrado and Caatinga. The new species is described as Cyclodontina tapuia sp. nov. and can be easily identified by its brown shell, conical spire, convex whorls, a sculpture comprised of strong ribs, and an aperture with four barriers: a median parietal tooth, a median palatal tooth, a median basal tooth and a strong columellar lamella. This discovery is also a reminder of how little the Brazilian continental molluscan fauna is known and of the urgency in studying and preserving the rich (though usually overlooked) fauna of the Caatinga.

Gastromermis cordobensis n. sp. (Nematoda: Mermithidae) parasitizing Simulium lahillei Patterson & Shannon (Diptera: Simuliidae) in Argentina

Gastromermis cordobensis n. sp (Nematoda: Mermithidae) a parasite of larvae of the blackfly Simulium lahillei Paterson & Shannon (Diptera: Simuliidae) in Argentina, is described. Diagnostic characters of this species include a mouth ventrlly shifted; six cephalic papillae; eigh hypodermal chords; small and pear shaped amphids; a long and S-shaped vagina; a singl spicule, which is long, has non-uniform walls, and a tip with sculpture; three rows of genital papillae, the middle one with 18 pre-anal and 10 post-anal papillae, the lateral rows have 36 papillae each; oval eggs; and post-parasitic juveniles with long thin tails. Pre-parasitic and parasitic juveniles are included in the description.

Two new mermithidis (Nematoda: Mermithidae) parasites of Simulium wolffhuegeli Roubaud and S. jujuyense (Paterson & Shannon) (Diptera: Simuliidae) in Argentina

Two new species of mermithids (Nematoda: Mermithidae), Gastromermis doloresi n. sp. a parasite of Simulium wolffhuegeli Roubaud and Hydromermis doloresi n. sp. a parasite of S. jujuyense (Paterson & Shannon) from Córdoba, Argentina, are described and illustrated. G. doloresi n. sp. is characterized by having medium sized, pear-shaped and oval amphids, eight hypodermal chords all around the body, cylindrical S-shaped vagina, single long spicule 528 [mi]m, whith teh sculpture tip, three rows of genital papillae in which the middle row contains 17 pre-anal and 9 post-anal papillae, and lateral rows contain 18 papillae. Hydromermis doloresi n. sp. can be distinghished by the following: medium sized, pear-shaped amphids, eight hypodermal chords, a cylindrical, S-shaped vagina, one short curved spicule with sculpture and genital papillae in three rows. The medium ventral row of papillae has 4 double and 9 single pre-anal papillae and 3 double and 6 single port-anal papillae, lateral rows have 18 single papillae each.

Gundlachia dutrae: n. sp. from northwest Brazil (Mollusca: Basommatophora: Ancylidae)

A new species of Gundlachia, Gundlachia dutrae is described from northwest Brazil. It is distinguishable from other congenerie species by characteristics of the shell, radula and internal organs. Shell relatively high. Aperture near-circular; periostracum dark brown without periostracal hairs. Apex slightly inclined to the right, projected but not hooked, with an apical depression surrounted by a sculpture of well-marked irregular punctations. Shell surface with prominent radial sculpture. No septate specimens were observed. Ratios (n= 59): shell width/shell lenght = 0,66- 0,79 (mean 0,73); shell height/shell length = 0,32- 0,45 ( mean 0,37); shell height/shell width = 0,43- 0,63 (mean 0,51). Body of normal ancylid type; mantle pigmentation dark brown or black, concentrated along the mantle collar. The dorsal surface of the right anterior muscle is elongated and medially constricted. The left anterior and the posterior muscles are almost elliptical. Adhesive area is V-shaped. Pseudobranch unpigmented bearing a very small and thin dorsal lobe. Ovotestis with more than 25 unbranched diverticula. Ovispermiduct with seminal vesicle rather developed. Elongated nidamental gland continous with the glandular wall of the uterus. Nidamental gland appendix ending into a bulbous swelling Spermathecal body almost rounded. Well-developed prostate with five long diverticula. Ejaculatory complex with long glandular flagellum, without a penis or true ultra-penis. "Penis sheath" developed. "Ultra-penis" projected as a tube inside the lumem of prepuce, with a slit between "ultra-penis" and "penis sheath". Rachidian tooth tetracuspid, with two median cusps assymmetrical and aculeated. Lateral teeth tricuspid, with a reduced endocon and a prominent mesocon. A well marked gap occurs between meso and ectocon. Marginal teeth similar to lateral ones. Jaw T-shaped, with about 28 dorsal plates.

Neyraiella distinctus n. sp. (Oxyurida, Blattophilidae) Parasite of Nymphs of Gryllodes laplatae Sauss (Orthoptera, Gryllidae) in Argentina

Neyraiella distinctus n. sp. was found parasitizing nymphs of the cricket Gryllodes laplatae Sauss in City Bell, Argentina. This species was characterized by having the excretory pore in the posterior end of the basal bulb, vulva protruding with one lip well developed in the 1/3 end of the body, anus of the female with wings, male with a single spicule without any sculpture, gubernaculum and bursa are absent, six pairs of genital papillae arranged in two preanal pairs, one adanal pair and three postanal pairs, and the tail appendage in both sexes was short and conic.

Morphological study of the eggs and nymphs of Triatoma dimidiata (Latreille, 1811) observed by light and scanning electron microscopy (Hemiptera: Reduviidae: Triatominae)

Eggs and nymphs of Triatoma dimidiata were described using both light and scanning electron microscopy. The egg body and operculum have an exochorion formed by irregular juxtaposed polygonal cells; these cells are without sculpture and the majority of them are hexagonal in shape. The five instars of T. dimidiatacan be distinguished from each other by characteristics of the pre, meso and metanotum. The number of setiferous tubercles increases progressively among instars. The sulcus stridulatorium of 1st instar nymphs is amorphous, showing median parallel grooves; from the 2nd instar on the sulcus is, progressively, elongate, deep and posteriorly pointed with stretched parallel grooves. All instars have a trichobothrium on the apical 1/3 of segment II of the antenna. The opening of the Brindley's gland is on the mesopleura. Fifth instar nymphs have an apical ctenidium on the ventral surface of the fore tibia. Dorsal glabrous patches are found on the lateral 1/3 of abdomen. Bright oval patches are found on the ventral median line of the abdomen, from segment IV-VI; 1st instar nymphs lack these patches. Abdominal dorsal plates are present from the 1st-5th instars; the 1st instar also contains a rectangular plate in segment IX. From the 2nd instar on, variably-shaped plates are present on segments VII to IX. Morphometric data were also obtained and proved to be useful for distinguishing T. dimidiata instars.

Jean Jaquet et ses émules obscurs : les sculpteurs d'ornement à Genève au XVIIIe siècle

Un travail consacré à la sculpture d'ornement implique de s'intéresser à un corps de métier qui n'a guère laissé de trace dans l'historiographie, les sculpteurs d'ornement. A Genève, un seul représentant de cette spécialité est passé à la postérité : Jean Jaquet (1754-1839). L'activité de celui-ci, couvrant les dernières décennies du XVIIIe et les premières années du XIXe siècle, apparaît par conséquent comme un moment de perfection de la sculpture d'ornement dans l'histoire de la République. Comment Jaquet, ce simple entrepreneur en décoration, est-il parvenu à acquérir une forme de notoriété et à entrer dans l'histoire de l'art genevoise ? En quoi son parcours professionnel se distingue-t-il de celui des autres sculpteurs d'ornement actifs à Genève au XVIIIe siècle, ses émules obscurs ? Afin de discuter ces questions, j'ai procédé en trois temps.D'abord, il a fallu se donner les moyens de connaître l'arrière-plan socio-professionnel. Un important travail de dépouillement de sources notamment des registres des permissions de séjour accordées par la Chambre des Etrangers - a permis de se faire une idée des rouages de l'entreprise de décoration, de l'activité des ateliers et de leur succession dans le temps. L'étude de la production reste néanmoins problématique. Le corpus de décorations conservées du XVIIIe siècle est en effet mal identifié et l'absence de documentation historique rend périlleuse toute tentative de classement par ateliers ou par tranches chronologiques. En raison de ces lacunes, il n'a pas paru opportun de chercher à présenter une vision globale de la décoration intérieures au XVIIIe siècle à Genève, ni de proposer une nouvelle carte des attributions. La deuxième partie de la thèse suit par conséquent un principe simple. En raison de l'omniprésence de Jaquet dans l'historiographie, elle analyse la manière dont le corpus de ses oeuvres a été constitué au fil des XIXe et XXe siècle. En d'autres termes, elle vise à déconstruire les mécanismes de l'attribution et à interroger la pertinence de ses critères. Une telle démarche permet de redessiner les contours de la production de décoration à Genève et d'en saisir les enjeux. Les ateliers ont-ils chacun leur manière propre - leur style propre ? Celui-ci se fonde-t-il sur l'expression d'une personnalité artistique autonome ? Ou leur production est-elle avant tout déterminée par une demande sociale stéréotypée, fondée sur la reproduction de modèles convenus ? Sans minimiser l'importance de Jaquet dans la décoration genevoise du XVIIIe siècle, ni la qualité de son travail, la deuxième partie de ce travail vise à révéler certaines faiblesses dans le système des attributions. Indirectement, cela permet de se faire une idée de l'apport d'autres entrepreneurs en ornement.Les deux premières parties posent les bases d'un discours critique sur les producteurs et leurs oeuvres. La troisième analyse, du XIXe au XXIe siècle, les modalités de la promotion et de la réception de Jaquet, en d'autres termes la construction de son image. Grâce à son ambition, le sculpteur s'est hissé au-dessus de sa condition. Parmi les entrepreneurs en décoration actifs à Genève, il est en effet le seul à avoir séjourné à l'étranger, fréquenté les académies, enseigné le dessin et fait quelques incursions dans le domaine de la sculpture figuriste. Par conséquent, il est aussi le seul à avoir une place dans l'histoire des Beaux-Arts, puis, à partir de la fin du XIXe siècle, dans celle des Arts décoratifs à Genève. Ni artiste de talent universel, ni ouvrier, Jaquet est un représentant de première qualité d'une catégorie professionnelle particulière, composée d'individus auxquels les historiens de l'art ne portent qu'un intérêt limité, parce qu'ils sont à la charnière des arts mécaniques et des arts libéraux.

La cascarilla cerámica y su uso innovador

The ceramic shell is a material mainly used for making foundry molds. This research demonstrates that ceramic shell can be used for making sculptures with exceptional definition in its finish. The research has identified a number of advantages of the material to meet the challenges of an artist during the making of a sculpture. The research has been developed in six stages: In the first stage data were collected from the chaff as the process material. This was the starting point for research. In the second stage, we have set the appropriate composition of the slurry, both in percentage and type of binder, and firing curve. To this end, we evaluated the application characteristics, thickness, drying, mechanical strength, the reduction coefficient and porosity. In the third stage it was observed that the husk is suitable for all types of materials acting as support. It was also found that the slurry can be used with various sculptural processes: modeling, molding using silicone or plaster mold, shuttering, with internal metal frame, and so on. In addition, we have established methods to repair and modify the husk by hand and power tools. In the fourth stage we have found ways to modify the surface of the husk with other minerals that affect the structure: introduction of filing of copper, bronze and iron in the slurry ceramics, different staining procedure in hot or cold, by enamel slip, and so on. In the fifth stage sculptures were made using the methods established in the previous stages, to verify this hypothesis. The sixth stage, which is annexed, contains a new method to process the ceramic shell as a mold in casting that emerged from the proven methods in the investigation.