Relevant bibliographies by topics / History of Brazilian Art

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'History of Brazilian Art'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "History of Brazilian Art"

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Попова, Елена, and Elena Popova. "BRAZILIAN NATIONAL PLAN ON EDUCATION: HISTORY AND MODERNITY." Journal of Foreign Legislation and Comparative Law 4, no. 2 (April 20, 2018): 1. http://dx.doi.org/10.12737/art.2018.2.3.

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Alvarez, Mariola V. "Machine Bodies: Performing Abstraction and Brazilian Art." Arts 9, no. 1 (January 19, 2020): 11. http://dx.doi.org/10.3390/arts9010011.

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In 1973, Analívia Cordeiro produced the videodance M3x3. Filmed in a Brazilian television studio and choreographed by Cordeiro with a computer, the work explores the limits of the human body through abstraction and its inhabitation of a new media landscape. Tracing the genealogy of M3x3 to the history of videodance, German and Brazilian art, and Brazilian politics, the article spotlights the media central for its conceptualization, production, and circulation to argue for how the video theorizes the posthuman as the inextricable entanglement of the body and technology.
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Anderson, Robert Nelson. "Capoeira: The History of an Afro-Brazilian Martial Art (review)." Americas 63, no. 1 (2006): 145–46. http://dx.doi.org/10.1353/tam.2006.0098.

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Funari, Pedro Paulo A. "European Archaeology and Two Brazilian Offspring: Classical Archaeology and Art History." Journal of European Archaeology 5, no. 2 (September 1997): 137–48. http://dx.doi.org/10.1179/096576697800660276.

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Oliveira, Genaro. "A “great priest of civilization”: Reinterpreting Victor Meirelles’ A Primeira Missa through newspapers." Brasiliana: Journal for Brazilian Studies 9, no. 1 (September 5, 2020): 194–215. http://dx.doi.org/10.25160/bjbs.v9i1.120083.

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Using newspapers as primary sources, this article presents an innovative analysis of Victor Meirelles’ A primeira missa no Brasil (1860). Beyond canonical interpretations of Meirelles’ work as an erudite depiction of the beginning of Brazil’s history in 1500, the article demonstrates that for viewers of that time the painting also, and above all, represented the beginning of the history of Brazilian art in the 1800s. It demonstrates this by following general art debates in newspapers of the period, specifically in the years before and after the highly anticipated return of the young Meirelles from his European sabbatical. Debates in the press illustrate how Meirelles’ significance for nineteenth-century audiences in particular, and for Brazilian art history as whole, can only be fully decoded by situating the artist within Brazilian elites’ political-intellectual efforts to achieve European-style civilisational progress during the first decades of the post-independence period.
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Braga, Marco, Andreia Guerra, and José Claudio Reis. "History of science, physics, and art: a complex approach in Brazilian syllabuses." Cultural Studies of Science Education 8, no. 3 (November 10, 2012): 725–36. http://dx.doi.org/10.1007/s11422-012-9460-9.

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Barata, Ana. "Resources for Latin American art in the Gulbenkian Art Library." Art Libraries Journal 37, no. 4 (2012): 21–23. http://dx.doi.org/10.1017/s0307472200017697.

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From its creation in 1968 the Gulbenkian Art Library has possessed a number of special collections, and these have been enriched through major bequests or through acquisition. Currently there are about 180 collections with relevance for the study of Portuguese art and culture: they include private libraries, the private archives of Portuguese artists and architects, and photographic archives. Material in the special collections is available through the library’s catalogue and some have already been digitised and are available on the internet, depending on their copyright terms and conditions. Among these special collections two have special relevance to the study of the history of Brazilian art and architecture: the collection of Portuguese tiles and the Robert Smith Collection.
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Josten, Jennifer. "Brazilian Art Under Dictatorship: Antonio Manuel, Artur Barrio, and Cildo Meireles." Hispanic American Historical Review 93, no. 3 (August 1, 2013): 524–26. http://dx.doi.org/10.1215/00182168-2211056.

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Okano, Michiko. "Nipo-Brazilian Art and Minor Transnationalism: Kenzi Shiokava and Sachiko Koshikoku." Amerasia Journal 45, no. 3 (September 2, 2019): 386–90. http://dx.doi.org/10.1080/00447471.2019.1721665.

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Maroja, Camila. "Red Shift: Cildo Meireles and the Definition of the Political-Conceptual." ARTMargins 5, no. 1 (February 2016): 30–58. http://dx.doi.org/10.1162/artm_a_00131.

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This article examines Cildo Meireles's refusal to describe Red Shift, his 1984 installation, as conceptual, political art. I use his rejection of these terms to reconsider conventional categories of the political in Latin American conceptualism as these have been historicized in the late 1990s and early 2000s. I argue that the artist builds his notions of conceptual and political art based on socio-artistic theories propagated in the short-lived but highly influential publication, Malasartes. This groundbreaking magazine, founded by Meireles and eight others in 1975, published texts crucial to Brazilian art history and translated international articles. These shaped the theoretical ideas that would inform the Brazilian art scene in the 1970s. Revisiting theses debates permits a deeper understanding of Meireles's view of art and politics. Revealing, in particular, the manner in which this generation of artists criticized the incipient art market in Brazil, then seen as synonymous with the larger art system. Proposing a differentiated art history, offering an autochthonous point of view, Malasartes's editors challenged the traditional view of the artwork as an isolated, commodified object, inserted in larger art movements through the stultifying imposition of stylistic categories on the artist. This critique of the art market helps to explain Meireles's stance on rejecting identification as a conceptual and political artist, despite the fact that his opus can be seen as both political and conceptual.
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Dissertations / Theses on the topic "History of Brazilian Art"

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Asbury, Michael. "Hélio Oiticica : politics and ambivalence in 20th century Brazilian art." Thesis, University of the Arts London, 2003. http://ualresearchonline.arts.ac.uk/8953/.

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This study investigates the presence of ambivalence as a strategy of cultural politics from modern to contemporary art in Brazil. It focuses on the development of modern art leading to the work of Hélio Oiticica, whose approach to avant-garde practice in Brazil was concurrent with intense articulations between the forces of social change and re-evaluations of the legacy of Modernism. The thesis has a strong historiographical emphasis and is organised in three parts: Part one attempts to view the emergence of Modernism in Brazil beyond the prevailing interpretations that emphasise its inadequacy compared to canonical paradigms. Part two discusses the development of abstraction in Brazil, particularly that associated with the constructivist tradition and its relationship with the prevailing positivism of a nation that saw modernity as its inevitable destiny. Such a relationship, between art and ideology, implicitly questions the purported autonomous nature of modern art. Again, what emerged were definite regional distinctions, themselves based on seemingly universal theoretical propositions. The context of Hélio Oiticica's emergence as a constructivist-oriented artist is discussed in order to establish the theoretical foundation for his subsequent articulations between notions of avant-garde and Brazilian popular culture. Part three deals with Oiticica's theoretical and artistic proposals. It centres on the artist's transition from a position concerned primarily with the aesthetic questions of art, to one in which art became engaged on a social, ethical and ultimately political level. Oiticica's relationship with concurrent developments in theatre and later in music and cinema is given particular attention. The artist's questioning of the divides between such fields of specialisation, socio-cultural borders or categories of creative production is argued to have arisen out of Oiticica's lessons from Neoconcretism as well as his individual creative approach to relations of friendship. The latter integrated the wider concept of participation that eventually drove the work through the apparent equivocation between national culture and avant-garde practice. The study concludes with an analysis of the artist's posthumous dissemination and its relation with today's contemporary Brazilian art.
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Harper, Eleanor R. "Restoring Subjectivity and Brazilian Identity: Lygia Clark's Therapeutic Practice." Ohio University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1275622355.

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Kutesko, Elizabeth. "Fashioning Brazil : globalization and the representation of Brazilian dress in National Geographic." Thesis, Courtauld Institute of Art (University of London), 2016. http://ualresearchonline.arts.ac.uk/12111/.

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As a popular ‘scientific’ and educational journal, National Geographic, since its founding in 1888, has positioned itself as a voice of authority within mainstream American print media, offering what purports to be an unprejudiced ‘window onto the world’. Previous scholarship has been quick to call attention to the magazine’s participation in an imperialist representational regime. Catherine A. Lutz and Jane L. Collins, Tamar Rothenberg and Linda Steet have all argued that National Geographic’s distinctive, quasi-anthropological outlook has established hierarchies of difference and rendered subjects into dehumanised objects, a spectacle of the unknown and exotic other. A more nuanced understanding can be reached by drawing upon Mary Louise Pratt’s concept of the ‘contact zone’. Pratt defined the contact zone as ‘spaces where cultures meet, clash and grapple with each other, often in contexts of highly asymmetrical relations of power’. Photographs since National Geographic’s centenary edition in September 1988 have traced the beginnings of a different view of encounters within the United States-Brazil contact zone, driven by the forces of globalisation, which have resisted the processes of objectification, appropriation and stereotyping frequently associated with the rectangular yellow border. This is because they have provided evidence of a fluid and various population, which has selected and experimented with preferred elements of American and European dress, and used it to fashion their own, distinctly Brazilian identities. This thesis will examine both the visual and textual strategies that National Geographic and National Geographic Brasil (the Portuguese-language version of the magazine, established in Sao Paulo in May 2000) have used to fashion Brazil, but also the extent to which Brazilian subjects can be seen to have self-fashioned, through the strategic appropriation of clothing and ideas derived from an existing and dominant global culture. It will approach dress not simply as cloth but as a system of communication, whose many meanings are not fixed but continually informed and to an extent, even performed, by its visual, material, and textual representation. This thesis employs a multidisciplinary mode of analysis that draws on five Brazilian scholars, each of whom have used dress and fashion metaphors in their writings, which have encompassed poetry, film studies, poststructuralist theory, literary criticism and anthropology.
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dos, Anjos Afonso Manoela. "Language and place in the life of Brazilian women in London : writing life narratives through art practice." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/12000/.

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Studies on Brazilians living in Britain show that, along with loneliness, unemployment and cost of living, the lack of proficiency in English is a key problem. However, there is little qualitative information about how the host language affects their daily lives. This interdisciplinary practice-based research asks how an art practice activated by experiences of displacement and dislocation in language can become a place of enunciation for decolonial selves. To this end, this research includes not only individual practices, but also collective activities carried out with a group of Brazilian women living in London, as a research focus. The endeavour to deal with English language has engendered writing processes in my visual work, which became a place for experimenting bilingual and fragmentary voices against the initial muteness in which I found myself on arrival in London. Using photography, printmaking, drawing, postcards, and artist’s books I have explored life-writing genres of diary, language memoir, and correspondence to raise an immigrant consciousness, explore accented voices and create practices for writing life individually and collectively. Assembling words and turning their meanings became strategies for expanding limited vocabularies. Once an impassable obstacle, the host language was transformed into a territory for exploring ways to know stories about language and write life narratives through art practice. This research is informed by humanist and feminist geographical approaches to space and place, postcolonial life writing, border thinking and a context of practice ranging from transnational art, accented cinema, visual poetry, conceptual art, and socially engaged art. It provides insights about English language in the lives of Brazilian women in London and offers a view on a practice in visual arts as place of enunciation for decolonial selves.
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Whitelegg, Isobel. "Mira Schendel : a radical passivity : towards another history of art, thought & action in the Brazilian sixties." Thesis, University of Essex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.423360.

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Wujcik, Stacey A. "An Anthropophagic Legacy: Oswald de Andrade's Manifesto Antropofago in Brazilian Anti-Art and the Works of Cildo Meireles." Master's thesis, Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/120020.

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Art History
M.A.
In his 1928 Manifesto Antropófago, the Brazilian poet and playwright Oswald de Andrade encouraged Brazilians to appropriate, consume, digest, and assimilate European theories and styles to enhance the Brazilian avant-garde. Oswald's theory of "cultural cannibalism," or Anthropophagy, has since been reinterpreted to serve various purposes in Brazilian art. In the early 1960s Anthropophagy was important to Neo-Concretists, who shifted the focus of the artwork to the viewer's body. The theory was then revived by the Tropicalists for its subversive nature and tactics of appropriation. Anthropophagy was immensely important to the generation of artists who worked during the Brazilian military regime in the 1960s and 1970s, who would use Anthropophagy as a model for appropriating elements of military rule to criticize the government. The themes of the Manifesto Antropófago are often evident in the works of Cildo Meireles, whose art seems to employ Anthropophagy as a conceptual model. In his investigation of the effects of consumerism, sensory perception, and imperialism and colonialism, Meireles employs the elements of appropriation and subversion that are part of an Anthropophagic legacy. Meireles' interest in Anthropophagy culminates in a utopian interpretation of the theory, and a redefinition of its significance in terms of Brazilian identity.
Temple University--Theses
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Virava, Thiago Gil de Oliveira. "Uma brecha para o surrealismo : percepções do movimento surrealista no Brasil entre as décadas de 1920 e 1940." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-14112012-223853/.

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O objetivo deste trabalho é avaliar os diversos modos pelos quais o movimento surrealista foi percebido por artistas e escritores modernistas, entre as décadas de 1920 e 1940. Parte-se inicialmente da apresentação e discussão de documentos e bibliografia a respeito do discurso surrealista sobre arte e sua importância no contexto do movimento. Em seguida, com base em uma seleção de obras de artistas nacionais (Tarsila do Amaral, Cícero Dias, Ismael Nery, Jorge de Lima e Flávio de Carvalho), assim como de um conjunto de documentos (artigos, cartas, manifestos) produzidos no Brasil no período abordado, são analisadas as aproximações e distanciamentos entre os movimentos brasileiro e francês. Procurando evitar tanto um cotejamento mecânico, quanto a rotulação das obras analisadas como \"surrealistas\", empreende-se essa análise sem deixar de se discutir a inserção de cada artista no contexto dos debates artísticos e intelectuais nacionais do período. A partir dessa perspectiva metodológica, é possível observar como o eventual interesse de cada um pelo surrealismo surge mediado por outros, ligados àqueles debates. Desse modo, busca-se salientar a singularidade desse interesse e da forma objetiva que assumiu na produção de cada artista.
This work intends to survey the different ways by which the surrealist movement was perceived by Brazilian modernist artists and writers, between the 1920s and 1940s. It starts with a presentation and discussion of documents and bibliography about the surrealist discourse on art and its relevance in the context of the movement. Afterwards, based on a selection of works by five Brazilian artists (Tarsila do Amaral, Cícero Dias, Ismael Nery, Jorge de Lima and Flávio de Carvalho) together with a set of documents (articles, letters, manifestoes) produced in Brazil during the period studied, it analyses the approaches and detachments between the Brazilian and French movements. In order to avoid either a simplistic confrontation or labeling the works discussed \"surrealists\", the analysis is made without putting aside a discussion about the insertion of each artist in the context of artistic and intellectual local debates in the period. From this methodological perspective, it is possible to observe how the potential interest in the surrealism expressed by each artist appears mediated by other interests, affined to those debates. Thereby it underlines the singularity of that interest and the objective form it has assumed in the production of each artist
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Molina, Lucas Giehl. "O universal, o local e a memória cultural na obra de Pedro Weingärtner (1853-1929)." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/103884.

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Pedro Weingärtner (1853-1929) foi um pintor brasileiro. Sua arte figurativa, realista e acadêmica retratou temas bastante diferentes: tanto paisagens e costumes de camponeses e imigrantes no jovem Rio Grande do Sul quanto a mitologia greco-romana, parte dos cânones temáticos da Europa no século XIX. O artista pintou do agricultor pobre ao presidente da província, havendo em sua arte diversa uma homogeneidade pictórica: o estilo acadêmico herdado do Velho Mundo e aprendido com o mestre William-Adolphe Bouguereau (1825-1905) em Paris. Pedro Weingärtner viveu entre o Brasil e a Europa representando as diferenças entre os dois continentes. Como se articula essa complexidade da obra de Weingärtner entre o local e o universal? Qual é o peso da cultura europeia em sua arte como memória cultural, e o quanto dela também o artista produziu, principalmente em relação à figura do imigrante alemão? São essas as questões que esta dissertação procura responder.
Pedro Weingärtner (1853-1929) was a Brazilian painter. His figurative, realistic and academic art portrayed rather different themes: landscapes and customs of peasants and immigrants in Rio Grande do Sul as well as Greco-Roman mythology, part of 19th century European canons. The artist painted from the poor farmer to the president of the province, having in his diverse art one homogeneous pictorial aspect: the academic style inherited from the Old World and learned from the master William-Adolphe Bouguereau (1825-1905) in Paris. Pedro Weingärtner lived between Brazil and Europe representing the differences between both continents. How is this complexity between local and universal articulated in his work? What is the weight of European art as cultural memory in his art, and how much of it did the artist produce himself, especially relative to the image of the German immigrant? These are the questions that this dissertation tries to answer.
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Zago, Renata Cristina de Oliveira Maia 1981. "As Bienais Nacionais de São Paulo : 1970-76." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284529.

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Orientador: Maria de Fátima Morethy Couto
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T17:34:30Z (GMT). No. of bitstreams: 1 Zago_RenataCristinadeOliveiraMaia_D.pdf: 22348163 bytes, checksum: 3e5d8a54d2f96ebd289d3f3d9b1ccbb7 (MD5) Previous issue date: 2013
Resumo: A presente pesquisa de doutorado pretende analisar a função das Bienais Nacionais de São Paulo, que aconteceram entre os anos 1970 e 76, e entender a sua relevância no cenário artístico da época. Para isso, foi desenvolvida uma pesquisa pautada primordialmente em dados resgatados da documentação histórica gerada por esses eventos (incluindo-se aqui também os artigos de jornais publicados pela imprensa do período) e conservada no Arquivo Histórico Wanda Svevo da Fundação Bienal
Abstract: The purpose of this PhD research is to analyze the role of the "Bienais Nacionais de São Paulo", that happened between the years of 1970 and 1976, and to understand their importance in the art scene of the time. Therefore, we undertook a research guided primarily by the data recovered from the historical documentation engendered by these events (including the newspaper articles published by the press of the period) and preserved in the Wanda Svevo Historical Archives of the Art Biennial Foundation
Doutorado
Artes Visuais
Doutora em Artes Visuais
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Virava, Thiago Gil de Oliveira. "Um boxeur na arena: Oswald de Andrade e as artes visuais no Brasil (1915-1945)." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-11092018-102002/.

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O presente estudo investiga a posição das artes visuais na experiência intelectual e criativa do poeta e escritor modernista Oswald de Andrade (1890-1954). São analisados não apenas seus textos sobre arte, mas também a presença das artes visuais nos livros de poesia Pau Brasil (1925) e Primeiro caderno do aluno de poesia Oswald de Andrade (1927), assim como nos romances Os Condenados (1922-1934) e Marco Zero (1943-1945). Também são discutidas as relações que o escritor manteve com artistas brasileiros e estrangeiros, além de sua participação em situações importantes envolvendo as artes visuais no país, como a Semana de Arte Moderna; a primeira exposição de Tarsila do Amaral no Brasil; o Clube dos Artistas Modernos; os Salões de Maio. A proposta é averiguar como Oswald de Andrade atuou em um período importante para a história da arte moderna no Brasil, especialmente na cidade de São Paulo, compreendendo as décadas de 1910 a 1940, que são as balizas cronológicas adotadas, tomando-se como referências o texto \"Em prol de uma pintura nacional\", publicado em 1915, e o romance Marco Zero II: Chão, publicado em 1945. Singulares do ponto de vista da escrita e das estratégias discursivas que mobilizam, os textos de Oswald de Andrade que discutem as artes visuais revelam um pensamento em constante movimento e atento ao que entendia serem as demandas de uma época de transformações e de luta pela construção de uma sociedade menos opressora, na qual as artes ocupavam posição estratégica. Com base na investigação desse material, defendese aqui que as artes visuais foram um elemento constitutivo de sua experiência intelectual e criativa, não ocupando uma posição secundária em relação à sua atuação como escritor, poeta e jornalista polemista.
This study investigates the position of the visual arts within the intellectual and creative experience of Brazilian modernist writer and poet Oswald de Andrade (1890- 1954). It analyses not only his writings on art but also the presence of the visual arts in his poetry books Pau Brasil [Brazil Wood] (1925) and Primeiro caderno do aluno de poesia Oswald de Andrade [First notebook of the poetry student Oswald de Andrade] (1927), as well as in the novels Os Condenados [The Doomed] (1922- 1934) and Marco Zero [Ground Zero] (1943-1945). This work also discusses the relationships the writer had with Brazilian and foreign artists, as well as his participation in relevant situations involving the visual arts in Brazil, such as the Semana de Arte Moderna [Modern Art Week]; Tarsila do Amaral\'s first exhibition in Brazil; the Clube dos Artistas Modernos [Modern Art Club]; the Salões de Maio [May Salons]. The aim is to examine how Oswald de Andrade took part in an important period of the history of modern art in Brazil, especially at the city of São Paulo, from the 1910s to the 1940s, which are the chronological landmarks assumed here taking the article \"Em prol de uma pintura nacional\" [In favor of a national painting], published in 1915, and the novel Marco Zero II: Chão [Ground Zero II: Ground], published in 1945, as reference points. Remarkable both as style and discursive strategies, Oswald de Andrade\'s writings on art reveal a reflection in constant movement, but always attentive to what the author understood as the demands of a time of transformations and struggle for a less oppressive society, in which the arts had a strategic position. Based on the investigation of the abovementioned materials, this work argues that the visual arts did not occupy a secondary position in relation to Oswald de Andrade\'s activities as writer, poet and controversialist journalist. On the contrary, they were a constitutive element of his intellectual and creative experience.
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Books on the topic "History of Brazilian Art"

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Stephanie, Dennison, ed. Brazilian national cinema. Abingdon: Routledge, 2007.

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Assunção, Matthias Röhrig. Capoeira: A history of the Afro-Brazilian martial art. New York: Routledge, 2004.

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Capoeira, a Brazilian art form: History, philosophy, and practice. 2nd ed. Berkeley, Calif: North Atlantic Books, 1986.

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Capoeira: The history of an Afro-Brazilian martial art. London: Routledge, 2005.

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Eulálio, Alexandre. Literatura & artes plásticas. Rio de Janeiro: Fundação Casa de Rui Barbosa, 1989.

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Galvão, Roberto. A escola invisível: Artes plásticas em Fortaleza, 1928-1958. Fortaleza: Quadricolor Editora, 2008.

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Silva, Aluisio J. T. Gavazzoni. Breve História da Arte e Seus Reflexos no Brasil. Rio de Janeiro: Biblioteca Universidade Estácio de Sá, 1998.

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Galvão, Roberto. A escola invisível: Artes plásticas em Fortaleza, 1928-1958. Fortaleza: Quadricolor Editora, 2008.

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Santos, Jesus. Arte do Maranhão, 1940-1990 =: Art of Maranhão. São Luís, Maranhão: Banco do Estado do Maranhão, 1994.

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Brito, Mário da Silva. História do modernismo brasileiro. 6th ed. Rio de Janeiro, RJ: Civilização Brasileira, 1997.

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Book chapters on the topic "History of Brazilian Art"

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Pohlmann, Markus, and Elizangela Valarini. "The Fight Against Corruption in Brazil: A Case of Good Governance?" In Knowledge for Governance, 225–41. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-47150-7_10.

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AbstractThe “Operation Carwash” is so far the biggest corruption scandal in Brazilian history. It did spoil a major part of the political system, and some of the established governance practices in Brazil. In this article, we are taking a closer look into the big corruption case, analyzing the unlawful practices of the Brazilian construction companies, and their relationship with the public sector more thoroughly. By carrying out content analyses of court files, we reveal the systemic corrupt pattern behind by connecting the level of regulations with the level of organizational crime. Furthermore, we ask, if the recent changes in law enforcement are accompanied by a changing environment of good governance? Our answer presented in the second part of the article is no. The political reactions to the “operation carwash” revealed in fact, how many of the “old-school” governance practices survived in Brazil.
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De Faria Coutinho, Eduardo. "Brazilian Modernism." In Comparative History of Literatures in European Languages, 759–68. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/chlel.xxi.58de.

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Newall, Diana, and Grant Pooke. "Art histories and art theories." In Art History, 1–30. 2nd ed. Second edition. | Abingdon, Oxon ; New York : Routledge, 2021. | Series: The basics: Routledge, 2021. http://dx.doi.org/10.4324/9781315727851-11a.

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Bezerra, Joana. "Terra Preta de Índio and Amazonian History." In The Brazilian Amazon, 15–58. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-23030-6_2.

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Pfisterer, Ulrich. "Radical Art History → New Art History." In Metzler Lexikon Kunstwissenschaft, 364. Stuttgart: J.B. Metzler, 2011. http://dx.doi.org/10.1007/978-3-476-00331-7_151.

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Dardashti, Abigail Lapin. "Negotiating Afro-Brazilian Abstraction." In New Geographies of Abstract Art in Postwar Latin America, 84–103. New York : Routledge, 2019. | Series: Routledge Research in Art History: Routledge, 2018. http://dx.doi.org/10.4324/9781351062145-6.

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Chapman, H. Perry. "Art Fiction." In Art History, 129–49. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324716.ch7.

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Arnold, Dana. "Art History: Contemporary Perspectives on Method." In Art History, 1–7. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324716.ch1.

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Chare, Nicholas. "Sexing the Canvas." In Art History, 8–33. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324716.ch2.

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Boetzkes, Amanda. "Phenomenology and Interpretation beyond the Flesh." In Art History, 34–55. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324716.ch3.

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Conference papers on the topic "History of Brazilian Art"

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Souza, José Marconi B. de, and Lia Monica Rossi. "Sertanejo Art Deco: an inspiration for a Brazilian design?" In Design frontiers: territories, concepts, technologies [=ICDHS 2012 - 8th Conference of the International Committee for Design History & Design Studies]. Editora Edgard Blücher, 2014. http://dx.doi.org/10.5151/design-icdhs-104.

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MIRANDA, O. D., J. C. N. DE ARAUJO, and O. D. AGUIAR. "CAN A BACKGROUND OF GRAVITATIONAL WAVES CONSTRAIN THE STAR FORMATION HISTORY OF THE UNIVERSE ?" In Proceedings of the MG10 Meeting held at Brazilian Center for Research in Physics (CBPF). World Scientific Publishing Company, 2006. http://dx.doi.org/10.1142/9789812704030_0264.

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Segobia, Mauricio M. M., Claudia Galindo Novoa, Cicero I. da Silva, Paulo M. Porto de Melo, and Jane de Almeida. "Videocolaboração no Hospital Militar de Área de São Paulo - Exército Brasileiro." In XXV Simpósio Brasileiro de Sistemas Multimídia e Web. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/webmedia_estendido.2019.8157.

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This article analyzes the experience of the São Paulo Military Hospital (HMASP) in the area of digital health, telemedicine and telehealth. The goal is to present the state of the art of digital health at the HMASP, a history of its recent implementation and the challenges regarding the technological conditions existing in the field of videocolaboration for surgery and teleassistance. The article also analyzes some experiences in the area of telemedicine used at the HMASP by the Brazilian Army and also lists future challenges regarding the intensive use of videocolaborative processes in digital health.
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Rudolph, Jürgen, José Eduardo Maneschy, Miguel Cisternas, José Luiz F. Freire, Felippe M. S. Costa, and Bruno Silva. "Fatigue Assessment of NPP Piping and Components Using Realistic Thermal-Mechanical Load Histories." In ASME 2014 Pressure Vessels and Piping Conference. American Society of Mechanical Engineers, 2014. http://dx.doi.org/10.1115/pvp2014-28716.

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Modern state-of-the-art fatigue monitoring approaches gain in importance as part of the ageing management of conventional and nuclear power plant components (NPP) and particularly in the context of lifetime extension projects and new plants. A key feature of qualified fatigue monitoring is the measurement of realistic loads based on plant instrumentation and/or local temperature measurement. The major prerequisites for any subsequent fatigue assessment are the accurate component stress analysis and the identification of relevant cycles, using highly qualified and efficient cycle counting methods. In the framework of the paper the pertinent cycle counting methods such as rain flow and peak-valley, are evaluated and allocated to the relevant design codes. The peculiarities of a nuclear power plant typical one year operational thermal load time history is discussed in terms of the resulting stress-time history. The peak-valley and the rain flow methods are applied to that typical power plant operational load sequence and compared to the reference methods. Both idealized model transients without knowledge of the exact sequence in time and the processing of real load time histories are compared and considered. Design data and actual data for a given annual cycle of a Brazilian nuclear power plant (NPP) constitute the basis for a design code conforming (ASME Section III) fatigue assessment (calculation of partial usage factors for a reference piping component). Conventional and more advanced methodologies are subsequently applied for comparison purpose. The influence of the cycle counting method applied on the resulting partial fatigue usage factors are elaborated based on the given realistic plant data.
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Link, John. "Electronic art history." In the 22nd annual ACM SIGUCCS conference. New York, New York, USA: ACM Press, 1994. http://dx.doi.org/10.1145/196355.196503.

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Tan, LiQin, Roberta K. Tarbell, and Robert Wuilfe. "Animating art history." In Educators program from the 30th annual conference. New York, New York, USA: ACM Press, 2003. http://dx.doi.org/10.1145/965106.965118.

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Finnegan, John, Richard Kopp, Carley Augustine, Jerry Banik, Adam Carver, Chad Rajski, Randy Lehman, Lisa Amick, and Students. "Modeling art history." In ACM SIGGRAPH 2006 Educators program. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179295.1179343.

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Xu, Daisy Yangyang. "Dreams in Art History." In 2nd International Conference on Language, Art and Cultural Exchange (ICLACE 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210609.013.

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Federico, Heitor Honda, Izeds Bassetto, and José Eduardo Módica. "Performance/Cost Assessment of a Variable Frequency Drive (VFD) Control Applied to a Brazilian Long Pipeline." In ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-70121.

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All through the last decade, the Brazilian pipeline industry has invested heavily in controlling long pipeline’s inventory, leak detection systems and in energy efficiency, the latter being object of study of this paper. A sensitive area to such investments can be perceived in the efforts made to control the energy supply to pumping stations. Nevertheless, one can clearly observe the weight of tradition pending over Brazilian projects resulting in a tendency toward the use of control valves as means of pump controlling. This solution is generally believed to be simpler, more reliable and less costly than the common alternatives. Still and all, as the Brazilian pipeline industry modernizes its facilities and procedures, particularly due to economic and environmental concerns, new strategies for traditional problems are considered and assessed in engineering projects. Throughout this paper, the authors assess one such project in which the engineering staff chose to apply a variable frequency drive (VFD) instead of the traditional process automated control valve. The company that operates the system made available the necessary process data and project parameters in order to conduct a thorough assessment both from the financial and the technical points of view. Hydraulic data as well as electrical motor parameters were made available to this research as well as a yearlong worth of process instrumentation data. Brazil has a long history investing and developing technology to replace gasoline for ethanol as automotive fuel. The pumps studied, located at the city of Ribeirão Preto, are responsible for pushing ethanol through a pipeline all the way to the Refinery of Paulínia, delivering fuel to be consumed in São Paulo’s metropolitan area, the most populated location in the country. As a basis of comparison, the authors estimated the capital and operational expenditure as well as the energy consumption of a fictional control valve system for the same pipeline and then put them against actual data made available by the company. As a conclusion, the paper brings to light that, although variable frequency drive systems indeed demand a higher capital expenditure, when the operational costs are considered, they can compensate that initial investment by presenting the facility with more energy efficient operation. Furthermore, after carefully assessing the provided data, the variable frequency drive seems to result in a more continuous and smooth operation maintaining a higher occupation rate of the pipeline. Suggestions are also proposed and assessed as a guide to further investments and operational procedure changes aiming at optimizing the company’s process.
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Hatanaka, Tomoko. "Integrating digital art practice and art history studies." In ACM SIGGRAPH 2007 educators program. New York, New York, USA: ACM Press, 2007. http://dx.doi.org/10.1145/1282040.1282051.

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Reports on the topic "History of Brazilian Art"

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Orenstein, Harold S. Selected Readings in the History of Soviet Operational Art. Fort Belvoir, VA: Defense Technical Information Center, May 1990. http://dx.doi.org/10.21236/ada231842.

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Ashdown, Susan P., and Kimberly A. Phoenix. Half Scale, Full Engagement: Uniting Art, History and Technology to Teach Patternmaking. Ames: Iowa State University, Digital Repository, November 2016. http://dx.doi.org/10.31274/itaa_proceedings-180814-1342.

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Carlin, P. W., A. S. Laxson, and E. B. Muljadi. The History and State of the Art of Variable-Speed Wind Turbine Technology. Office of Scientific and Technical Information (OSTI), March 2001. http://dx.doi.org/10.2172/776935.

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Galenson, David. Anticipating Artistic Success (or, How to Beat the Art Market): Lessons from History. Cambridge, MA: National Bureau of Economic Research, February 2005. http://dx.doi.org/10.3386/w11152.

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Wiel, S. The science and art of valuing externalities: A recent history of electricity sector evaluations. Office of Scientific and Technical Information (OSTI), May 1995. http://dx.doi.org/10.2172/503480.

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Ferrari, Maria-Aparecida, and Ana-María Durán. El estado del arte de las Relaciones Públicas y Sustentabilidad en organizaciones brasileñas y ecuatorianas / The state of the art of public relations and sustainability in Brazilian and Ecuadorian organizations. Revista Internacional de Relaciones Públicas, December 2018. http://dx.doi.org/10.5783/rirp-16-2018-08-129-150.

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McGowan, Kevin M. A Great War More Worthy Of Relation Than Any That Had Preceded It: Thucycides History of the Peloponnesian War as a Rosetta Stone for Joint Warfare and Operational Art. Fort Belvoir, VA: Defense Technical Information Center, June 2006. http://dx.doi.org/10.21236/ada463540.

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Webb, Philip, and Sarah Fletcher. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing. SAE International, November 2020. http://dx.doi.org/10.4271/epr2020024.

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This SAE EDGE™ Research Report builds a comprehensive picture of the current state-of-the-art of human-robot applications, identifying key issues to unlock the technology’s potential. It brings together views of recognized thought leaders to understand and deconstruct the myths and realities of human- robot collaboration, and how it could eventually have the impact envisaged by many. Current thinking suggests that the emerging technology of human-robot collaboration provides an ideal solution, combining the flexibility and skill of human operators with the precision, repeatability, and reliability of robots. Yet, the topic tends to generate intense reactions ranging from a “brave new future” for aircraft manufacturing and assembly, to workers living in fear of a robot invasion and lost jobs. It is widely acknowledged that the application of robotics and automation in aerospace manufacturing is significantly lower than might be expected. Reasons include product variability, size, design philosophy, and relatively low volumes. Also, the occasional reticence due to a history of past false starts plays a role too. Unsettled Issues on Human-Robot Collaboration and Automation in Aerospace Manufacturing goes deep into the core questions that really matter so the necessary step changes can move the industry forward.
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