Que coisa é essa, Yôyô?: cor e raça na imprensa ilustrada da Bahia (1897-1904)

From techniques such as lithography and woodcut, it was possible to create and reproduce daily images in the newspapers of the Empire and the Republic of Brazil. The purpose of this study is to make a historiographic report, derived from a multidisciplinary theoretical analysis to which several printed visual documents were selected from the newspaper A Coisa from Salvador, in Bahia. The weekly news, edited in the capital and distributed also in the countryside of Bahia by the end of 1897 and the beginning of 1904 is rich for its illustrations and the satirical, humorous and critical content, signed by its editors. The images in A Coisa are appealing for their content filled with tensions inherent to the time of the First Republic in Brazil, such as issues regarding ones skin color, phenotypes, race, gender, the value and the social ranking of the black population. The paper, in its gathering of texts and images, is the main basis of this research corpus, in which a dialogue with other papers from other places and times is proposed so that it becomes evident the historical process that marks the ideal of nation and the construction of a body and an identity for the people of African Descent in Brazil. The observation and analysis of the selected images from the newspaper allow the identification of its way of production, the orientation of a reality in function of its target consumers, their authorship and the objectives to which it was created. Therefore, this work aims to critically analyze the representations given to the black body and skin, in order to problematize the memories of these bodies and their sociocultural meanings and, thus, question, through a methodology aimed to the description and analysis of images united to texts, these bodies visual representations possible contribution to the formation of an idea of black people unified identity, and their social alterity in deference to the memories given to the white society in the historical and social context of that time.

Entre Grande Otelo e Sebastião: tramas, representações e memórias

A versão impressa está dividida em volume 1 e 2.

História, literatura e cinema: um debate sobre a historicidade das imagens dos piratas e da pirataria

We seek, through this work, to understand the construction of the pirates’ images from the Golden Age of Piracy (late seventeenth through early eighteenth century) through the observation of the circulation of these images, which are not limited to one field of knowledge. We take into account the importance of the book “A General History of the robberies and murders of the most notorious pirates...” written by Charles Johnson for these constructions, not only literary, but also historiographical provided that the stories of pirates and piracy gained ground in historiography from the twentieth century on. We also seek to show that this historiographical space arises opposed to an apparent historiographical silence about these stories that lasts for about two centuries, related to a new way of writing history in the aesthetic regime, where it arises as a science through a poetics of knowledge, of which the philosopher Jacques Rancière helps us reflect. Lastly, reflecting upon how these images of pirates circulate nowadays, we seek to understand the historicity of the pirates’ images within that aesthetic regime based on some scenes of the film series Pirates of the Caribbean by Disney™.

Capela de nossa Senhora da Piedade de Campo Formoso: a invenção de uma cidade à margem da modernidade, 1889-1930

This research objective is to analyze the historical aspects of the city ―Capela de Nossa Senhora da Piedade de Campo Formoso‖, located in the micro region Pires do Rio, southeast of Goiás in the period of the First Republic, 1989-1930. To understand a city is to try to understand the individuals who inhabit it, as they are the ones who are responsible for the structures that forms that space. Therefore this thesis brings to the historiography a study of the city of Capela de Nossa Senhora da Piedade de Campo Formoso through various mechanisms as oral sources, official documents of the municipality collected in public bodies of the city made available in town halls, municipal public and archive file of the prefecture. These sources have helped us to make the knowledge of the place approached. The Republic has brought to different places of Brazil expectations and/or solutions, of innovations that modernized in order to erase the marks the old colonial system. The cities to be created would be part of the molds republicans and this way, should follow models ready coming, basically, from European countries. However, the city of the Capela de Nossa Senhora da Piedade de Campo Formoso is outside of this process moderniser, having been relegated by several years to difficulties of a distant region and without resources. The historiography of Goiás summarizes the period of the arrival of the railroad in the southern region of the State, such as a time of progress in all the sectors of the life of this society. Then, to understand the specificity of Campo Formoso, we approached from the documentary sources exist various elements constitutor city history: its political constitution formed by the most affluent of the city, the strength of the colonels, the role of the Church as a political power. These power relations in the region were decisive for the deviation of the railroad. In this way, also we sought to analyze how the process of urbanization has occurred and which represented for the history of the city Capela de Nossa Senhora da Piedade de Campo Formoso the passage of the Railroad Goiás not within its limits. In the meantime we situate the special policies of a city in the interior of Goiás, which is on the edge of a project set up as amodernizer moved by the First Republic.

História, cultura, gênero e poder: representações sociais em movimento no seriado de TV Homeland (2001-2013)

In contrast to Muslins traditions and costumes, the US government and society seems to invest in the media to forge discourses on Western way of life. In addition, it creates idealized images of the woman, the hero, the father, the family, and an everyday speech invoking repeated and widespread moral values, including “justice” and “freedom”, in opposition to the “terror”. In this research we analysed the TV series Homeland, using as theoretical support the Cultural Studies, particularly the concept of Social Representation by Denise Jodelet, the analytics tools created by Michel Foucault on power devices, and feminist studies by Teresa of Lauretis. I’ve tried to see how forces in correlations operate, and how representations of womanhood, sexuality and nationality are built and reiterated in speeches, creating patterns of behaviour for men and women. Spreading images of the “good” man, the “good” wife, and the “hero”, the audio-visual product creates and produces the family, the society and the nation considered exemplar.

O ensino de arte pós-moderno na arte de Daniel Francisco de Souza

This thesis presents a research that links cultural history and visual culture in a sociobiographical approach. It gives a “political treatment” to the educational experience in the transition of art teaching from the modern to the postmodern. By taking into account my experiences as an educator and the poetic practice in Daniel Francisco de Souza’s visual art, I propose a dialogue with his art and a series of visual narratives this artist/student produced at the time of his education and recently. Such visual narratives were taken as research source and research subject. They were created in a rural setting in dialogue with formal art teaching in two phases: 1992–6, when Daniel Fran cisco attended elementary school in the rural area of Uberlândia, MG; and 2008–10, when he attended Visual Arts graduation at Federal University of Uberlândia city. I analyze historical processes related to art and teaching, from the early sixteenth century to the present times, to realize residues in students’ poetic experiences. I relate Brazilian educational public policies with experi- ences in that rural school. I try to show the extent to which our educational practices triggered experiences — from ones common to intense ones — and promoted forms of “emancipation-knowledge” or “regulation-knowledge” and how the “selective tradition” was and how art predetermined history images gave way to everyday visual references, pointing to the “broad field” of visual culture. I make an effort to show Daniel Francisco’s work as an adult by tak- ing it according to different approaches. In a poetic reading, first, I emphasixe the material and the symbolic in his art. In a second look, I approach his work through the intertwining experiences of three characters from different times and places that participated in the making of his art: the artist farmer, the artist teacher and the teacher researcher. I assume the existence of a mutual cultural incompleteness in these three characters; which means that parts of their “structures of feeling” built on the interrelationship among them are part of the artist’ work as a historical content decanted. Thirdly, I demonstrate how the artist sees his place as a key re ference to his poetic creation. His work does not reflect the rural bucolic as something untouched. In showing the difficulty in distinguishing the archaic residual, I identify emerging issues in his work. I conclude that the artist — Daniel Francisco — and the researcher — myself — present maverick features: both are scavengers; their productions approach the working with scraps in art and in the academy; even momentarily, they live in exile in the warmth of the borders or the edges, from where one sees the center clearly. In these spaces, when certain structures and normative codes enter into coalition, they fragment pre-established strategies and stimulate the creation of survival tactics.

Representações de ciência e tecnologia em Gustavo Barroso (1909-1935): nacionalismo autoritário, eugenia e antissemitismo

This study focuses on the representations of science and technology in the thinking of the Brazilian intellectual Gustavo Barroso in the period between 1909 and 1935. As one of the main leaders of the Brazilian Integralism, we will discuss,especially, his eugenic vision, prior to his participation in integralism and the influence of this science in building his authoritarian and anti-Semitic thinking. We seek to realize Gustavo Barroso dialogue, in a context of profound social and political changes, with the search for a nationalism "truly Brazilian." The methodology used was of a documentary and literature research , highlighting the analysis of Gustavo Barroso books, which were used as primary sources: Intelligencia das Coisas(1923), Aquém da Atlântida (1931), Brasil Colônia de Banqueiros (1934), O Integralismo de Norte a Sul (1934), O Quarto Império (1935) e A Palavra e o Pensamento Integralista (1935), and, also, some of his articles surveyed in the National History Museum collection. The survey results show that in this period Gustavo Barroso went on to develop in his writings an eugenic and authoritarian political vision, later, in his integralist phase, linked strongly to an anti-Semitic view.

Nutrição social no Brasil: [mais] uma estratégia biopolítica?

Inspirés par la « méthode » artisanat intellectuel propose par le sociologue Wright Mills, notre étude porte sur la formation du champ de pratiques discursives et non discursives (Michel Foucault) de la nutrition sociale dans le contexte de la société brésilienne dans lequel s insère le champ de la santé. Le travail empirique s épuise sur une source de documents normatifs de ce champ et s oriente à vérifier et à comprendre comment le praticien de la nutrition émerge dans le scènario des pratiques de la santé au Brésil à partir du milieux du 20ème siècle, tout en construisant son « regime de vérité » fondé dans des processus biopolitiques du champ de la médecine sociale. Nous avons relié deux phénomènes: a) l émergeance du champ biomédical de la nutrition comme une instance biopolitique, en approchant cette formation à l'histoire de la médecine sociale, depuis ses débuts européens jusqu'au contexte brésilien ; b) les pratiques discursives et non discursives du champ de la nutrition lequel est compris dans le Sistema Único de Saúde (SUS - Système Unique de Santé) brésilien. La démarche de recherche comprend l'élaboration et analyse d'une archive composée de publications qui contiennent l'Histoire du praticien de la nutrition au Brésil et des publications officielles disponibles dans le site web « Política Nacional de Alimentação e Nutrição » (Politique Nationale d'Alimentation et de Nutrition) lesquelles sont considérées comme des guides d actions des praticiens de la nutrition sociale dans le Sistema Único de Saúde (SUS). Le concept de biopouvoir, décrit par Michel Foucault entre 1974 et 1979, et la notion de biopolitique, dans son sens réinterprété et mis à jour par Giorgio Agamben, Antônio Negri et Michael Hardt, ont fourni le support théorique de cette recherche

Natal também civiliza-se: sociabilidade, lazer e esporte na Belle Époque Natalense (1900-1930)

Les initiatives du gouvernement ayant pour finalité une réorganisation de la structure urbaine de la ville au début du XXème siècle reflètent le désir vécu par les membres de l'élite locale d'encadrer Natal dans les moules des grands centres urbains de la même période. Les élites désiraient transformer Natal dans une ville moderne. Dans ce but, le gouvernement s'est engagé dans la reformulation de quelques espaces physiques de la ville. Néanmoins, il fallait aussi d autres que les transformations urbaines, la ville devrait passer par des réformes sociales. De cette façon, ces groupes ont créées des nouvelles institutions et espaces de sociabilité qui affirmeraient la capitale de l'État comme une ville moderne. Les institutions formelles avaient un rôle imortant dans la construction de cette nouvelle ville convoitée par l'élite locale. Ainsi, à travers celles-ci, se diffusaient des nouvelles pratiques sociales qui seraient reflétées dans les espaces urbains. Dans des places tels, des cafés, des clubs et associations sportives, l'élite se distinguait du populaire. Dans ces places, leurs pratiques étaient légitimées, en contrepoint avec les pratiques populaires. C était dans les clubs et par les activités pratiquées par leurs membres que les idéals de l'élite circulaient, c était par là que l'élite se formait et se transformait. De cette façon, les aspirations d'un groupe social reflétaient dans l'organisation sociale des espaces de la ville

Em nome da ordem: a campanha de pé no chão na visão dos inquisidores

The main goal of this work is analyze the way which the Natal City Prefecture was constructed as a place of subversion by those we call defenders of the order, in the period right after the outbreak of military coup in 1964. To reach it, the main resource of search was the Relatório Subversão no Rio Grande do Norte , document produced from the investigations realized in Natal City Prefecture as a result of the Commission of Inquiry s work, established by the governor Aluízio Alves to determine the subversion in Rio Grande do Norte s society. Based on the anti-comunist speech. That document introduces other image of the Prefecture, which activities developed by de second Djalma Maranhão administration (1961-1964), specially those developed in the educational area, as the campaign De Pé no Chão Também se Aprende a Ler , were considered subversive , communist , dangerous , threatening , names that served as backing to embed Natal City Prefecture in the general view about subversion existing in Rio Grande do Norte, according to the repression speech in this initial period of military regime. Key-words: 1964 Military Coup Natal City Prefecture

As praças de cultura no governo Djalma Maranhão

Le présent texte vise à analiser la apropriation de l'espace par le pouvoir publique. Entre les années 1956 et 1964, la ville brésilien de Natal a été administré par le maire Djalma Maranhao, dirigeants politiques marquées par des idées nationalistes, comme la lutte contre l'impérialisme et l'émancipation du peuple a travers de ce que l'on appelle « culture populaire ». Le terme a acquis une connotation politique, en même temps dans ce qui était considéré comme la plus pure manifestation du peuple brésilien. La dynamique politique signifie aussi un nouveau regard sur la ville, enquant que le désir de progrès, de industrialisation et de réformes sociales propagée dans la politique nationale brésilienne, directement traduit par des changements dans son espace physique. Dans cette orientation nationaliste, la ville a entrepris des actions systématiques à l'encontre des nouveaux besoins urbains qui se posent en même temps que tourné certains places de la ville à espaces culturelles, appelée « places de la culture ». Ces espaces sont destinés à la promotion de la culture populaire en même temps il a été un domaine stratégique de la production et la réception des valeurs défendues par Djalma Maranhao. En ce sens, nous avons demandé répondre quelle a été la position du maire face à la besoins urbaines qu'ils se posaient et comme les places de la culture sont intégré à la vie quotidienne de la ville de Natal, donnant une nouvelle signification à la place publique. Pour la construction de ce travail, nous utilisons les sources orales et de revues, de journaux et de A República et Folha da Tarde, comme le principal ressources méthodologiques

A invenção da Terra da Luz: história, literatura e paisagem (1875-1914)

Ce travail est un étude de cas qui analyse la construction litéraire du paysage du « Sertão» du Ceará entre la fin du siècle XIX et le début du siècle XX. Pour cela, quelques oeuvre simbole de la production litéraire du Ceará ont été sélectionnés, comme les textes qui suivent: O sertanejo (1875), de José Martiniano de Alencar; Os retirantes (1879), de José Carlos do Patrocínio; A fome (1890), de Rodolfo Marcos Teófilo; Luzia-Homem (1903), de Domingos Olímpio Braga Cavalcanti; Terra de sol: natureza e costumes do Norte (1912), de Gustavo Dodt Barroso et finalement, Aves de arribação (1914), de Antônio Sales. Ces oeuvres non seulement prend la nature comme personage, elles représentent aussi trois moments de la production litéraire du Ceará : romantique, réaliste et naturaliste. A invenção da Terra da Luz se rapporte à l idée d une littérature qui fait remarquer le paysage diurne du Sertão du Ceará, élaborée par ces hommes des lettres dans ses discours formidables, beaux et des matériaux qui viennent de ses rapports avec le monde naturel. Pour réaliser une tel entreprise, les idées de Edmund Burke et Gaston Bachelard se sont constitués en référence de cet étude. Et cette réflexion sur la description, la rêverie et l imagination marchent côte-à-côte au discours de ces littéreurs qui ont construits un espace simbolique spécifique : le sertão du Ceará. Comme ça, quelques thèmes deviennent canonique à la forme de penser, représenter et imaginer l espace du sertão du Ceará. De cette manière, le paysage est beaucoup plus que la contemplation, une fois qu elle est liée aussi à la rêverie poétique, à la mémoire et l imagination. C est de là l invention du paysage, car ces littéreurs n ont pas l accès au paysage purement naturel parce que ses perceptions et sensibilitées sur le monde du sertão ont été historiquement, c est-à-dire, dans un certain temps et espace

A construção da natureza saudável: Natal 14900-1930

The Brazilian city of Natal, located between river, sea and dunes, rises up as a peculiar, unique landscape. A landscape made by the junction of what we can call two natures, the first one most known as "native" and the other properly recognized as antr6pica. This landscape has been changing throughout the time as a result of human working activities. In this process of landscape changing, some influent people such as medicine doctors, people from govemment, and also technicians took place and gave their contributions based on hygiene and salubrity principles, since the early years of xx century. They intended to bring up to the Natal s citzens a legacy of new concept of healthier life, as free as possible from pathogenic agents

Habitação e modernização: Cidade Nova e maneiras de viver em Natal no início do século XX

Analyses the presence of new standards of habitation detected in the construction of the region called Cidade Nova, in the first s years of the XX century. Associates the presence of these new patterns with the historical moment lived by the capital, marked by the urban modernization and by the changes of local life. Map voices that, introduced by the republican groups since 1889, pronounced the overcome of the old city of the XIX century asseverated a new model of town. Make use, as fundamental fonts of research, of the urban chronicles produced by the local intellectuals and the newspapers, like A República. Dialog with chronics that includes since propositions about the colonial past until the preoccupations about the acting of the State on how to order the public space. Identifies on those texts the political motivations and the elements whose where inherent to capitalism that accelerated the changes occurred in the urban space. Demonstrates the gradual occupation of Cidade Nova as an important modification happened in the city from that time on. That neighborhood adopted a new model on how to construct the houses of their citizens and helped to promote the urban life as a whole. From now on, Natal has a space meant for the home of their richest families. Recognizes, from many ways, many discourses, manners of living that was legitimized by the changing of the XIX to the XX century and has his highest point in the 1920´s. And it was representative of the strong attachment about the habits of refinery and order in the essence of the private life of the local urban elites

Palavras da maldição: O Ceará de José Alcides Pinto entre símbolos e alegorias.

This work treats about the speeches that produced the crisis of symbols of Ceará, researching on matters and ways of expression of space between 1950s and 1970s. Therefore, we search discursive practices that since the end of nineteenth century built the identity of Ceará and in the middle of twentieth century produced the crisis of modes of seeing and telling the space in front of enunciations of the national modernization, especially with the emergence of politics by SUDENE to the Northeast, the progressive actions by Catholic Church, the defense of tradition by regional literature of union of Ceará Clã. The contradictions between the glorification and fear the modernization of Brazil produced on the space speeches that his identity would be fractured, that the old symbols of drought, cangaço, mysticism and colonels declined. Among analyzed speeches, we centered the analysis of Trilogia da Maldição formed of novels O Dragão, of 1964, Os Verdes Abutres da Colina and João Pinto de Maria: a biografia de um louco by José Alcides Pinto. In this novel, the enunciation of the crisis of symbologies about the space produced another aesthetic, the allegory, which, mixed with the mystical and melancholy, in search of ways to restore the language of the old themes Ceará, drop of Ceará the same stigma of anti-modern space, where the images of delay changed icons of a fractured identity in front of the modern streams, where the word was transformed in the dimension precarious and redeemer of the tradition, of old, of nature, of the plenitude of senses. In Jose Alcides, the colonel returns as the origin of the lost space, the drought is the revolt of God against the devil place, the apocalypse, the end imminent threat to the village, signs that fantastic, however, are in dialogue with the settings space and time in which they were produced