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Journal articles on the topic 'History of Brazilian Art'

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

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1

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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Rodrigues, Fabio, Douglas Galante, Ivan G. Paulino-Lima, Rubens T. D. Duarte, Amancio C. S. Friaça, Claudia Lage, Eduardo Janot-Pacheco, Ramachrisna Teixeira, and Jorge E. Horvath. "Astrobiology in Brazil: early history and perspectives." International Journal of Astrobiology 11, no. 4 (July 18, 2012): 189–202. http://dx.doi.org/10.1017/s1473550412000250.

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AbstractThis review reports the Brazilian history in astrobiology, as well as the first delineation of a vision of the future development of the field in the country, exploring its abundant biodiversity, highly capable human resources and state-of-the-art facilities, reflecting the last few years of stable governmental investments in science, technology and education, all conditions providing good perspectives on continued and steadily growing funding for astrobiology-related research. Brazil is growing steadily and fast in terms of its worldwide economic power, an effect being reflected in different areas of the Brazilian society, including industry, technology, education, social care and scientific production. In the field of astrobiology, the country has had some important landmarks, more intensely after the First Brazilian Workshop on Astrobiology in 2006. The history of astrobiology in Brazil, however, is not so recent and had its first occurrence in 1958. Since then, researchers carried out many individual initiatives across the country in astrobiology-related fields, resulting in an ever growing and expressive scientific production. The number of publications, including articles and theses, has particularly increased in the last decade, but still counting with the effort of researchers working individually. That scenario started to change in 2009, when a formal group of Brazilian researchers working with astrobiology was organized, aiming at congregating the scientific community interested in the subject and to promote the necessary interactions to achieve a multidisciplinary work, receiving facilities and funding from the University de Sao Paulo and other funding agencies.
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Mannarino, Ana. "História escrita com imagens: as fotografias dos profetas de Congonhas do Campo por Marcel Gautherot." Revista Prumo 5, no. 8 (April 23, 2020): 32–45. http://dx.doi.org/10.24168/revistaprumo.v0i8.1244.

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The photographs by Marcel Gautherot documenting the sculptures of the Twelve Prophets, at Congonhas do Campo, attributed to Antonio Francisco Lisboa, the Aleijadinho, go beyond the purpose of recording the works. They also contribute to the writing of history, through the images produced. In accordance with the SPHAN orientation, which aimed to construct a Brazilian art history that valorized the artistic production of the colonial period, the images by Gautherot help in a decisive way to consolidate the Aleijadinho myth, not only for their documental significance and widespread circulation, but also for the regard the photographer develops about the works. The images direct the regard and build a discourse, through framing, lighting and point of views assumed, leading to the identity between the work photographed and its author.
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Souza, Alberto Carlos de. "The language of the art of music: an overview of its history in Brazil." Humanum Sciences 3, no. 1 (August 5, 2021): 32–40. http://dx.doi.org/10.6008/cbpc2674-6654.2021.001.0004.

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This study sought to re-visit the two conceptions of Art – pedagogical and reflective - forged throughout history and its relationship with the Brazilian aesthetic thought of resistance. From the 60's, such thinking has given a pedagogical purpose to art, charged with the task of social criticism and political engagement human emancipatory: in this scenario mainly determined by the Theater of the Oppressed, the new movies and the protest song by Milton Nascimento, , Caetano Veloso, Chico Buarque, Gilberto Gil, among many others.
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Fetter, Bruna. "O PAPEL DO MERCADO NA LEGITIMAÇÃO ARTÍSTICA E ALGUNS REFLEXOS PARA HISTÓRIAS DA ARTE EM CONSTRUÇÃO / The role of the market for artistic legitimation and some reflexes for art histories under construction." arte e ensaios 26, no. 40 (December 2, 2020): 173–83. http://dx.doi.org/10.37235/ae.n40.12.

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O mundo contemporâneo apresenta uma série de desafios para o sistema da arte. Mudanças econômicas, sociais, culturais e organizacionais na década passada produziram um mercado global de arte cuja influência já atinge desde a produção artística à programação de importantes instituições. O número de museus privados cresce, enquanto instituições públicas não possuem verba para investir em novas aquisições para suas coleções. Nesse cenário, nos perguntamos: em 50 ou 100 anos, o que estará legitimado nas coleções institucionais referentes à atualidade? Onde estarão as obras mais significativas dos artistas brasileiros contemporâneos? Quem serão os artistas brasileiros mais reconhecidos? Quais critérios estéticos estão sendo legitimados através dos mecanismos dessa nova institucionalização no Brasil? Quais narrativas acompanharão a historicizacão da arte contemporânea brasileira? Que papel o mercado e os colecionadores privados têm desempenhado na definição de histórias da arte em construção?Palavras-chave: Mercado de arte; Legitimação; Papel do colecionador; História da arte; Arte brasileira.Abstract:The contemporary world presents a series of challenges for the art system. Economic, social, cultural and organizational changes in the past decade have produced a global art market whose influence already reaches from artistic production to the programming of important institutions. The number of private museums grows, while public institutions do not have funds to invest in new acquisitions for their collections. In this scenario, we ask ourselves: in 50 or 100 years, what will be legitimized in the institutional collections for today? Where are the most significant works by contemporary Brazilian artists? Who will be the most recognized Brazilian artists? What aesthetic criteria are being legitimized through the mechanisms of this new institutionalization in Brazil? Which narratives will accompany the historicization of contemporary Brazilian art? What role have the market and private collectors been playing in shaping art histories under construction?Keywords: Art market; Legitimation; Collector's role; Art history; Brazilian art.
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Gotti, Sofia. "Popau, Pop, or an “American Way of Living”? An Introduction to Aracy Amaral's “From the Stamps to the Bubble”." ARTMargins 5, no. 2 (June 2016): 105–19. http://dx.doi.org/10.1162/artm_a_00150.

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The introductory text foregrounds the article “From the Stamps to the Bubble” (1968) by Brazilian historian and curator Aracy A. Amaral. It seeks to locate the primary document within a broader historiography of Brazilian art in the second half of the 1960s, and examine the ways in which the military dictatorship, along with certain cultural exchanges facilitated by Brazil's economic development in this period affected artistic production. Placing particular attention on the multiple terminologies that were in use when the article was written, the introduction focuses on the contiguities of Pop Art in the Brazilian cultural milieu. It argues that Pop was present inasmuch as it inspired artists to initiate a process of radical experimentation, which empowered them to depart from an avant-garde tradition founded on geometric abstraction.
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Amaral, Aracy. "From the Stamps to the Bubble." ARTMargins 5, no. 2 (June 2016): 120–25. http://dx.doi.org/10.1162/artm_a_00151.

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The introductory text foregrounds the article “From the Stamps to the Bubble” (1968) by Brazilian historian and curator Aracy A. Amaral. It seeks to locate the primary document within a broader historiography of Brazilian art in the second half of the 1960s, and examine the ways in which the military dictatorship, along with certain cultural exchanges facilitated by Brazil's economic development in this period affected artistic production. Placing particular attention on the multiple terminologies that were in use when the article was written, the introduction focuses on the contiguities of Pop Art in the Brazilian cultural milieu. It argues that Pop was present inasmuch as it inspired artists to initiate a process of radical experimentation, which empowered them to depart from an avant-garde tradition founded on geometric abstraction.
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Nelson, Adele. "The Bauhaus in Brazil: Pedagogy and Practice." ARTMargins 5, no. 2 (June 2016): 27–49. http://dx.doi.org/10.1162/artm_a_00146.

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This article analyzes the rhetorical and discursive resonance of the claims by artists and art professionals in Brazil in the 1950s of a connection to the Bauhaus. I examine the curricula of two new art schools established in São Paulo and Rio de Janeiro, emphasizing the role of central figures, including Mário Pedrosa, and the works by artists trained at the schools, and study paintings by Lygia Clark that in part elicited Alfred H. Barr, Jr. in 1957 to dismiss Brazilian contemporary art as “Bauhaus exercises.” Rather than a case of imitation, as Barr suggested, Brazilian actors transformed Bauhaus ideas, mediated by Cold War re-interpretations of the German school and its approaches to artistic education, to articulate tactics of citation and adaptation and to assert a non-derivative, radical conception of modernism.
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Marcondes, Guilherme. "CONEXÕES DE CURA NA ARTE CONTEMPORÂNEA BRASILEIRA / “Cure” connections in contemporary Brazilian art." arte e ensaios 26, no. 40 (December 2, 2020): 375–91. http://dx.doi.org/10.37235/ae.n40.26.

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As marcas da colonização são profundas no sul global, de modo que mesmo hoje, no Brasil, há indivíduos que, se autodenominando como parte de uma nova direita política, negam os efeitos da colonização, dentre os quais, o racismo. Assim, ao passo que há atores sociais fazendo um revisionismo da história a fim de manter classes dominantes no poder, há também pessoas buscando subverter as lógicas coloniais. Este processo de disputas tem se dado em diversos campos, como o da arte, objeto de interesse deste artigo. Artistas negrodescentes têm angariado atenção no mundo da arte questionando cânones e regras a regerem processos de legitimação, circulação e visibilidade na arte brasileira. Deste modo, objetiva-se aqui apresentar e compreender perspectivas de artistas negrodescentes, que vêm tratando, especialmente, do que chamam de “cura”.Palavras-chave: Arte contemporânea; Cura; Artistas negrxs; Epistemologias negras; Brasil.AbstractThe marks of colonization are profound in the global south, so that even today, in Brazil, there is some individuals, self called part of a new right policy, that act in deny about the effects of colonization, including racism. Thus, while social actors are revising history in order to keep the ruling classes in power, there are also people seeking to subvert colonial logics. This dispute process has taken place in several fields, such as art, which is the object of interest in this article. Thus, black artists have garnered attention in the art world by questioning the canons and rules that govern the processes of legitimation, circulation and visibility in brazilian art. In this way, the objective here is to present and understand the perspectives of black artists, who deal, especially, with what they call healing.Keywords: Contemporary art; Cure; Black artists; Black epistemologies; Brazil.
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Rosa, Marcos Pedro. "A TALE OF MASTERS AND ISLANDS: VOLPI CLAIMED BY MÁRIO PEDROSA." Sociologia & Antropologia 8, no. 3 (December 2018): 849–73. http://dx.doi.org/10.1590/2238-38752018v835.

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Abstract In the 1950s, Mário Pedro claimed Alfredo Volpi to be the greatest national painter and a master to be followed by younger artists. This was a conflict-ridden process, which put at stake the old canons of Brazilian modernism and also the way in which the history of national art was written. Following this process, we also come face-to-face with the mechanism responsible for mobilizing the presence of people, the persistence of national values and the importance of cities in the Brazilian artistic field.
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Padeski Ferreira, Ana Leticia, and Marchi Júnior Wanderley. "Concerning Abolitionism, Black People, and Capoeira in the History of Brazil: Social and Moral (Im)Balances." Physical Culture and Sport. Studies and Research 56, no. 1 (December 1, 2012): 33–40. http://dx.doi.org/10.2478/v10141-012-0021-4.

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Abstract The purpose of this article is to discuss the changes that took place in relation to the peculiarities of Capoeira within Brazilian society. This popular practice, which is considered a martial art, a dance and a game, developed during the 19th century, where it was practiced by individuals from the lower walks of life. Practicing Capoeira was a felony, as it posed a threat to public safety, order, and morality. Presently, it has been upgraded to a Brazilian cultural asset, which shows how the perception of its practice has changed. These changes follow the different views of the historical processes related to abolitionism and the perverse incorporation of blacks into society at that time, which have continued until present time, having undergone significant changes and grown as a valued physical expression
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Cardoso, Rafael. "Histories of nineteenth-century Brazilian art: a critical review of bibliography, 2000-2012." Perspective, no. 2 (December 31, 2013): 308–24. http://dx.doi.org/10.4000/perspective.3891.

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Petracco, Marcelo, Ricardo Silva Cardoso, Thais Navajas Corbisier, and Alexander Turra. "Brazilian sandy beach macrofauna production: a review." Brazilian Journal of Oceanography 60, no. 4 (December 2012): 473–84. http://dx.doi.org/10.1590/s1679-87592012000400006.

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The state of the art of the studies on the production of Brazilian sandy beach macrofauna was analyzed on the basis of the data available in the literature. For this purpose, the representativeness of the production dataset was examined by latitudinal distribution, degree of exposure and morphodynamic state of beaches, taxonomic groups, and methods employed. A descriptive analysis was, further, made to investigate the trends in production of the more representative taxonomic groups and species of sandy beach macrofauna. A total of 69 macrofauna annual production estimates were obtained for 38 populations from 25 studies carried out between 22º56'S and 32º20'S. Production estimates were restricted to populations on beaches located on the southern and southeastern Brazilian coast. Most of the populations in the dataset inhabit exposed dissipative sandy beaches and are mainly represented by mollusks and crustaceans, with a smaller number of polychaetes. The trends in production among taxonomic groups follow a similar pattern to that observed on beaches throughout the world, with high values for bivalves and decapods. The high turnover rate (P/B ratio) of the latter was due to the presence of several populations of the mole crab Emerita brasiliensis, which can attain high values of productivity, in the dataset. Most of the studies focus on the comparison of production and, especially, of P/B ratio according to life history traits in populations of the same species/taxonomic group. Despite the importance of life history-production studies, other approaches, such as the effect of man-induce disturbances on the macrofauna, should be undertaken in these threatened environments.
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Sterling, Cheryl. "The Art and Times of ABDIAS NASCIMENTO: QUILOMBOLA EXTRAORDINAIRE." Journal of Black Studies 52, no. 6 (April 22, 2021): 643–62. http://dx.doi.org/10.1177/00219347211006482.

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This paper explores the aesthetic trajectory of Abdias Nascimento in the context of his life’s work, arguing that he has to be apprehended as a Quilombola warrior figure, through his entwinement of political and artistic agency. More specifically, it explores how Nascimento harnesses the creative matrix found in the lived history, myth and figuration from candomblé as a dramatist and as a painter. First, it delves into his creation of the Teatro Experimental do Negro (TEN), the first black theater in Brazil and his use of candomblé as a template of dramaturgy in his play, Sortilégio. However, the main analysis centers on his paintings, which combines candomblé symbology, along with other African cultural forms, to create culturally meaningful aesthetic forms that affirmed Afro-Brazilian subjectivity and their historical belonging in the nation and connection to the larger Africana world.
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De Souza, Mateus Raynner André. "Entre o sêmen e o dendê: aproximações do orixá Exu na fotografia de Ayrson Heráclito." Arteriais - Revista do Programa de Pós-Gradução em Artes 3, no. 5 (December 29, 2017): 112. http://dx.doi.org/10.18542/arteriais.v3i5.5359.

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ResumoEste trabalho se propõe a pensar questões e símbolos ligados ao orixá Exú que estão presentes na fotografia Sêmem “EXU” de Ayrson Heráclito. A partir dos mitos do orixá e de sua história será possível se pensar questões que envolve a arte e a religiosidade afro-brasileira, a cultura brasileira, pensando narrativas possíveis através do corpo negro.AbstractThis work proposes to think of questions and symbols related to the orishá Exu that are present in the photography Semém “EXU” of Ayrson Heráclito. From the myths of the orishá and its history it will be possible to think about issues that involve Afro-Brazilian art and religiosity, Brazilian culture, thinking possible narratives through the black body.
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Souza, Mateus Raynner André de. "Entre o sêmen e o dendê: aproximações do orixá Exu na fotografia de Ayrson Heráclito." Arteriais - Revista do Programa de Pós-Gradução em Artes 3, no. 5 (December 29, 2017): 112. http://dx.doi.org/10.18542/arteriais.v3i5.5527.

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ResumoEste trabalho se propõe a pensar questões e símbolos ligados ao orixá Exú que estão presentes na fotografia Sêmem “EXU” de Ayrson Heráclito. A partir dos mitos do orixá e de sua história será possível se pensar questões que envolve a arte e a religiosidade afro-brasileira, a cultura brasileira, pensando narrativas possíveis através do corpo negro.AbstractThis work proposes to think of questions and symbols related to the orishá Exu that are present in the photography Semém “EXU” of Ayrson Heráclito. From the myths of the orishá and its history it will be possible to think about issues that involve Afro-Brazilian art and religiosity, Brazilian culture, thinking possible narratives through the black body.
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Giunta, Andrea. "Brazilian Art under Dictatorship: Antonio Manuel, Artur Barrio, and Cildo Meireles by Claudia Calirman (review)." Americas 69, no. 4 (2013): 533–36. http://dx.doi.org/10.1353/tam.2013.0026.

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Souza, Renata Junqueira de, Flávia Brocchetto Ramos, and Jeff Stevenson. "No words, just pictures to tell the history of humanity: an art case in Bocejo." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 71, no. 2 (June 5, 2018): 219–132. http://dx.doi.org/10.5007/2175-8026.2018v71n2p219.

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Wordless books are traditionally associated with illiterate children. However, many of them have fragmented and dense proposal, assuming skills and prior knowledge that a young reader would hardly have. Thus, in research whose focus is on books for children selected by the Brazilian – National Program of the School Library (PNBE), we chose to study Ilan Brenman and Renato Moriconi’s Bocejo. The book consists of apparent isolated scenes that, joined together, form a unique whole, dialoguing with stages that show the history of humanity – from bible’s Eve to the arrival of man on the moon or from the act of an individual reader to the interaction with the book. Lack of words that could guide the understanding of the reader, temporal gaps between scenes and the multiplicity of elements which compose each picture lead to structure and thematic fractures, that complicate the reception of the book by the beginning reader. The meanings of the story emerge by a picture and the articulation with the fact that the character represented is referring to. The proposal of the work prioritizes the emancipatory nature of the reader, however, in the case of young readers, mediation is necessary to help children in the process of comprehension, understanding the book and the art process involved in this humanity path.
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Villefort, Wisrah. "Digital Art on the Internet: the limits of the Brazilian Legal System and the Global Contemporary Thinking." Brazilian Journal of Operations & Production Management 15, no. 3 (July 25, 2018): 405–12. http://dx.doi.org/10.14488/bjopm.2018.v15.n3.a7.

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This study aims at reaching the emerging global thinking around the relations of access to digital artistic content available on the internet. Through the appointments of the intersection between the knowledges of the law, anthropology, philosophy, physics and art - organized in a multidisciplinary way - the present scientific narrative is build. Initially, a brief history of the idea of constructing copyright in the global context is presented. Subsequently, the digital object is analyzed as material to produce art in the contemporary context. Then, the post-internet cultural phenomenon is observed, so that the current Brazilian Copyright Law System can be inquired due its limits and openings. Finally, the 'Creative Commons' is presented analytically in the face of current demands in the follow of the contemporary understanding around copyright.
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Maroja, Camila. "The Persistence of Primitivism: Equivocation in Ernesto Neto’s A Sacred Place and Critical Practice." Arts 8, no. 3 (August 29, 2019): 111. http://dx.doi.org/10.3390/arts8030111.

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During the 2017 Venice Biennale, the area dubbed the “Pavilion of the Shamans” opened with A Sacred Place, an immersive environmental work created by the Brazilian artist Ernesto Neto in collaboration with the Huni Kuin, a native people of the Amazon rainforest. Despite the co-authorship of the installation, the artwork was dismissed by art critics as engaging in primitivism and colonialism. Borrowing anthropologist Eduardo Viveiros de Castro’s concept of equivocation, this article examines the incorporation of both indigenous and contemporary art practices in A Sacred Place. The text ultimately argues that a more equivocal, open interpretation of the work could lead to a better understanding of the work and a more self-reflexive global art history that can look at and learn from at its own comparative limitations.
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Armstrong, Piers. "The creative constraints of tradition: Ethnic art and social intervention in the Afro-Brazilian context." Atlantic Studies 2, no. 1 (January 2005): 44–64. http://dx.doi.org/10.1080/1478881052000341710.

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31

Melvin, Jo, and Luke Skrebowski. "Introduction to Hélio Oiticica's “The Senses Pointing Toward a New Transformation” (1969)." ARTMargins 7, no. 2 (June 2018): 115–28. http://dx.doi.org/10.1162/artm_a_00211.

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Hélio Oiticica's “The Senses Pointing Towards a New Transformation” was written between June 18 and June 25, 1969, in London and submitted to the British art magazine Studio International, but never appeared in print. The essay negotiates art after objecthood and contextualises Oiticica's project to effect a definitive radicalization of anti-art, one that the artist held to be necessary in light of the impasse reached by the longstanding conflict between formalist art and its various neo-avant-garde negations (both within the Brazilian and the international neo-avant-gardes). For Oiticica, after both Neoconcretism and Minimalism, it was now the process of art making itself that had to be rethought. Oiticica did so by developing what he called “crebehavior,” a practice that revealed the routinized character of everyday life and proposed an immanent transformation of the same via a change in everyday behavioral patterns. Such a transformation opened up the possibility of bringing about “creleisure,” a condition that Oiticica understood to involve both the realization and the dissolution of art.
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Oiticica, Hélio. "The Senses Pointing Toward a New Transformation." ARTMargins 7, no. 2 (June 2018): 129–35. http://dx.doi.org/10.1162/artm_a_00212.

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Hélio Oiticica's “The Senses Pointing Towards a New Transformation” was written between June 18 and June 25, 1969, in London and submitted to the British art magazine Studio International, but never appeared in print. The essay negotiates art after objecthood and contextualises Oiticica's project to effect a definitive radicalization of anti-art, one that the artist held to be necessary in light of the impasse reached by the longstanding conflict between formalist art and its various neo-avant-garde negations (both within the Brazilian and the international neo-avant-gardes). For Oiticica, after both Neoconcretism and Minimalism, it was now the process of art making itself that had to be rethought. Oiticica did so by developing what he called “crebehavior,” a practice that revealed the routinized character of everyday life and proposed an immanent transformation of the same via a change in everyday behavioral patterns. Such a transformation opened up the possibility of bringing about “creleisure,” a condition that Oiticica understood to involve both the realization and the dissolution of art.
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Murad, Mauricio. "Do jogo das imagens às imagens do jogo - Análise do livro." Revista de Artes Marciales Asiáticas 11, no. 2 (December 30, 2016): 122. http://dx.doi.org/10.18002/rama.v11i2.4777.

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Review of the book <em>Do jogo das imagens às imagens do jogo</em>, written by professors Paulo Coêlho de Araújo and Ana Rosa Fachardo Jaqueira and published in 2008 by the Centro de Estudos Biocinéticos of the Faculdade de Ciências do Desporto e Educação Física, Universidade de Coimbra. The book studies the cultural history of capoeira through images and is a valuable contribution to the historical and sociological study of this popular Brazilian martial art.
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Schmidt, Christopher. "Vik Muniz's Pictures of Garbage and the Aesthetics of Poverty." ARTMargins 6, no. 3 (October 2017): 8–27. http://dx.doi.org/10.1162/artm_a_00187.

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This essay focuses on Brazilian–American artist Vik Muniz's 2008 Pictures of Garbage and the pendant 2010 documentary on their making, Waste Land, directed by Lucy Walker. Muniz enlists a group of Brazilian garbage pickers as subjects and participants in the construction of their own portraits, using garbage picked from a landfill outside of Rio de Janeiro. The use of garbage as a material draws attention to global patterns of exploitation that produce both the waste itself and the poverty of the garbage pickers. However, this essay argues that Muniz's social aims are undermined by formal incoherences within the portraits and their subsequent recommodification on the global art market. Using Michael Fried's theories, the essay identifies a tension in Pictures of Garbage between the theatricality of the subjects' poses, drawn from canonical European paintings, and the absorptive qualities of the garbage itself. This dissonance reflects Muniz's own split position as a cosmopolitan global artist compelled to represent Brazilian identity through associations with base materiality.
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Underwood, David K. "Alfred Agache, French Sociology, and Modern Urbanism in France and Brazil." Journal of the Society of Architectural Historians 50, no. 2 (June 1, 1991): 130–66. http://dx.doi.org/10.2307/990590.

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The 1930 master plan for Rio de Janeiro, drawn up by the French architect-urbanist Alfred Agache, had an important impact on Rio and on the development of modern planning in Brazil. Reflecting the socioscientific methods of Edmond Demolins and the Musée Social in Paris as well as the sociological ideas of Gabriel Tarde and Emile Durkheim, the plan exemplifies the ambitions and techniques of the urbanism of the Société Française d'Urbanistes (SFU). Agache, a leading theorist, teacher, and practitioner of SFU urbanism, developed a sociological urbanisme parlant that evolved out of his Beaux-Arts training and his background in French sociology. Agache's ideas on the fine arts and urban planning were synthesized and refined in the courses on social art history and urbanism, the first of their kind in France, that he taught at the Collège Libre des Sciences Sociales in Paris. In defining theoretically and expressing artistically the Brazilian capital's urban program in terms of the fine art of applied sociology, Agache provided the Brazilians with a blueprint for socioeconomic and moral reform on the levels of both urban and national development. Situated chronologically between the international expositions of 1925 and 1937 in Paris, Agache's project reflects as well the larger purposes and methods of the two expos and, in so doing, clarifies the historical evolution of SFU urbanism.
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Rowell, Charles H. "African Brazilian Literature, Culture and History: a Selective Bibliography." Callaloo 18, no. 4 (1995): 10–12. http://dx.doi.org/10.1353/cal.1995.0113.

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Small, Irene V. "Insertions into Historiographic Circuits." October 161 (August 2017): 69–88. http://dx.doi.org/10.1162/octo_a_00305.

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This article establishes the context for the original publication of Ronaldo Brito's pioneering 1975 essay, “Neo-concretism Apex and Rupture of the Brazilian Constructive Project” in the third and last issue of the Rio de Janeiro-based art journal Malasartes. It argues that Brito's text was a concerted effort to intervene within the determining logic of what the author and others termed “the circuit,” that is, the conjunction of protagonists, operations, and effects that produce and reproduce “the art world.” In this sense, Brito's essay was nothing less than a discursive rejoinder to the provocation of Cildo Meireles's seminal conceptual work Insertions Into Ideological Circuits (1970–75), likewise published in Malasartes. Brito not only provided the first political and structural analysis of the Neo-concrete movement as a localized response to a transnational field of constructive practices, he advanced a model of critical art history that realigned theoretical production with ideological critique.
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Moriconi, I. "Does Literature Still Matter? (Working Notes on the States of the Art of Brazilian Literature)." Luso-Brazilian Review 40, no. 2 (December 1, 2003): 83–88. http://dx.doi.org/10.3368/lbr.40.2.83.

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Diniz, Thais Flores Nogueira. "Três versões de Orfeu." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 34–41. http://dx.doi.org/10.17851/2317-2096.8..34-41.

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Resumo: Ao se analisarem três criações intertextuais cujo tema é o mito de Orfeu retratam-se três momentos da história brasileira, levando-se em conta elementos do mito e rubricas da peça que serviu de “origem” para os dois filmes. Conclui-se que não só a música e a arte brasileira são louvadas, mas também, através delas, a identidade nacional é retratada.Palavras-chave: mito; Orfeu; Vinicius de Moraes; Marcel Camus; Carlos Diegues.Absctract: On analysing three intertextual texts on the theme of the Orpheus myth, this paper argues that they project three moments in Brazilian history. Some elements of the myth and some stage directions by the author of the play that served as “origin” of the other two films are taken into consideration. The conclusion is that not only Brazilian art and music are praised, but, through them, national identity is portrayed.Keywords: myth; Orpheus; Vinicius de Moraes; Marcel Camus; Carlos Diegues.
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Morethy Couto, Maria de Fátima. "Brazilian Art and the Dilemma of Globalization: Strategies of Internationalization and Cultural Affirmation in Two 1990s Biennials." Arts 8, no. 4 (October 18, 2019): 136. http://dx.doi.org/10.3390/arts8040136.

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This paper will address specifically the 24th edition of the São Paulo Biennial (1998), which took up Oswald de Andrade’s concept of anthropophagy as a guiding axis, but it will also bring to light the first edition of the Mercosul Biennial, which was held in 1997 in the city of Porto Alegre, situated in the south of Brazil, with the intention of establishing itself as a space for promotion of Latin American art. Both biennials are private entities, supported by autonomous foundations, but which require public funds to carry out their shows. It is noteworthy that those two shows were held a few years after the third edition of the Havana Biennial, which is widely recognized as a landmark in the history of the biennials based on South–South dialogue. I will point out the connections between the proposals of these exhibitions as well as relate them to the Brazilian economic situation at the time and the dilemma of globalization.
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Halperin, Paula. "Between Politics and Desire." Radical History Review 2020, no. 136 (January 1, 2020): 156–67. http://dx.doi.org/10.1215/01636545-7857332.

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Abstract In 1994, Tomás Gutiérrez Alea’s Fresa y Chocolate (1993) swept the awards at Brazil’s Gramado Film Festival. Founded in 1973, the festival was not only a platform for art-house films; Gramado had functioned as a space of creative freedom and resistance to censorship during the worst years of Brazil’s military regime (1964–85). Fresa y Chocolate was highly anticipated; it foregrounded a cluster of sensitive issues such as homosexuality, freedom of speech, and censorship, in a Cuba immersed in the so-called Special Period. This article examines the debates provoked by Fresa in Brazil, which had recently emerged from a long authoritarian regime and was confronting the implementation of neoliberal policies. Through Alea’s film, Brazilian critics and journalists discussed the themes advanced by “the Cuban case,” which struck a chord and ignited debate with the local public.
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Vitturi, Bruno Kusznir, and Wilson Luiz Sanvito. "What do Flaubert, Dostoevsky and Machado de Assis have in common with neurology?" Arquivos de Neuro-Psiquiatria 75, no. 12 (December 2017): 892–94. http://dx.doi.org/10.1590/0004-282x20170145.

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ABSTRACT The Frenchman Gustave Flaubert, the Russian Fyodor Dostoevsky and the Brazilian Machado de Assis are known for their immeasurable contributions to literature. However, what most people do not know is that all three authors suffered from epilepsy and were affected by their neurological condition in different ways. We offer a short description of how epilepsy influenced their lives, how they dealt with it and how their neurological condition was present in their novels and correspondence. Their lives are excellent examples of how intimately neurology can be entwined in art and history, and provide an important perspective on patients with epilepsy.
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Nascimento, Victor Wladimir Cerqueira. "A reading hypothesis of Escola Nova." JOURNAL OF RESEARCH AND KNOWLEDGE SPREADING 1, no. 1 (December 30, 2020): e11886. http://dx.doi.org/10.20952/jrks1111886.

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This article examines the representations of Escola Nova in the History of Brazilian Education, specifically the relations between liberalism and biopower. The production of consensus around the Escolanovista movement lies not only in the fact that it is a privileged periodization by historians of education, but also, and mainly, by the theoretical-interpretative matrices adopted in the studies, especially Marxism and the theory of representations. It starts here from the assumption that the “enthusiasm for education” of the Escolanovista movement implies an art of governing populations and its “pedagogical optimism” is guided by the idea of forming a New Man, a Homo oeconomicus.
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de Santana, José Carlos Barreto. "Natural Science and Brazilian Nationality: Os sertões by Euclides da Cunha." Science in Context 18, no. 2 (June 2005): 225–47. http://dx.doi.org/10.1017/s0269889705000463.

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Os Sertões (Rebellion in the Backlands), by the engineer Euclides da Cunha, is one of the most important books in Brazilian literature, with more than 50 local editions and translations in at least nine languages. Published in 1902 after four years of writing, it is a book about nationality in Brazil that sparked a debate regarding the subject of national consciousness and the connection between a nation's physical landscape, its people, and its culture. The book draws from a wide spectrum of knowledge that synthesizes science and art as the pinnacle of human thought. Cunha was a man of great culture and learning and in this work his professional activities and scientific writings merge to celebrate Brazilian culture in different realms of knowledge. The author worked as an engineer and had connections with the scientific community and the world of natural science. His explicit references to naturalists, travelers, geologists, and botanists reflect the historical moment of scientific knowledge in Brazil in the late nineteenth and early twentieth century, and no less than that, Cunha's personal connections with the local scientific community.
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Assy, João Guilherme Pontes Lima, Renato do Carmo Said, Olivia Campos Pinheiro, Alisson dos Santos Brandão, David R. Boulware, Francisco Oscar de Siqueira França, and José Ernesto Vidal. "High prevalence of Cryptococcal antigenemia using a finger-prick lateral flow assay in individuals with advanced HIV disease in Santarém Municipality, Brazilian Amazon Basin." Medical Mycology 59, no. 9 (April 28, 2021): 909–15. http://dx.doi.org/10.1093/mmy/myab021.

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Abstract There is scarce information about HIV-related cryptococcosis in the Brazilian Amazon basin where laboratory infrastructure is limited. The serum cryptococcal antigen (CrAg) lateral flow assay (LFA) has simplified diagnosis of cryptococcosis and is recommended for screening in advanced HIV disease. We evaluated the prevalence of cryptococcal antigenemia using finger-prick CrAg LFA in the Brazilian Amazon basin. We enrolled a prospective cohort of outpatients and hospitalized individuals with advanced HIV disease at two centers in Santarém Municipality, Northern Brazil. All individuals were &gt; 18 years old with advanced HIV disease, regardless of antiretroviral therapy (ART) status and with no prior or current history of confirmed cryptococcal meningitis. We tested CrAg LFA on finger-prick whole blood using an exact volume transfer pipette. From August 2018 to October 2019, 104 individuals were enrolled (outpatients 62 [60%] and hospitalized 42 [40%]). Median age was 38 years (interquartile range [IQR] 30–46), and 84 (81%) were male. Sixty-five (63%) individuals were ART-naïve. Prevalence of finger-prick CrAg LFA-positive was 10.6%; 95% CI, 5.4 to 18.1%. Prevalence of finger-prick CrAg LFA-positive among individuals without neurological symptoms was 6.0%; 95% CI, 1.7–14.6%. The number needed to test to detect one CrAg-positive individual was 9.4 persons (95% CI, 5.5–18.5). Prevalence of cryptococcal antigenemia using finger-prick whole blood CrAg LFA was high. Point-of-care approach was important for the diagnosis and screening of cryptococcosis in resource-limited settings. Screening and preemptive therapy strategy should be urgently implemented in individuals with advanced HIV disease in the Brazilian Amazon basin.
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Vidal, Diana, and José Cláudio Sooma Silva. "Interpreters of the past and of the present: the art of historians of education and archivists." History of Education in Latin America - HistELA 3 (May 19, 2020): e20951. http://dx.doi.org/10.21680/2596-0113.2020v3n0id20951.

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Interpreting former times is not the sole province of historians. It is a constitutive act of the arts performed by writers, exhibition curators, docufilm directors, film writers and scenographers, re-enactors. But not only, it is also an element of the practice of historians of education and archivists, of people who throughout their lives collect records, of the exercise of patrimonial education on the part of teachers and of the organizers of school museums. Framing the discussion on the craft of historians of education and archivists, we structured the article into two parts. The first part focuses on the historiographical narrative in education, taking an example from the Brazilian history of education. The second part deals with some of the dimensions present in the acts of archiving, focusing on particularly the materiality of the documents.
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Al Houri, Ausamah, Ahed Habib, Ahmed Elzokra, and Maan Habib. "Tensile Testing of Soils: History, Equipment and Methodologies." Civil Engineering Journal 6, no. 3 (March 1, 2020): 591–601. http://dx.doi.org/10.28991/cej-2020-03091494.

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Tensile strength of soil is indeed one of the important parameters to many civil engineering applications. It is related to wide range of cracks specially in places such as slops, embankment dams, retaining walls or landfills. Despite of the fact that tensile strength is usually presumed to be zero or negligible, its effect on the erosion and cracks development in soil is significant. Thus, to study the tensile strength and behavior of soil several techniques and devices were introduced. These testing methods are classified into direct and indirect ways depending on the loading conditions. The direct techniques including c-shaped mold and 8-shaped mold are in general complicated tests and require high accuracy as they are based on applying a uniaxial tension load directly to the specimen. On the other hand, the indirect tensile tests such as the Brazilian, flexure beam, double punch and hollow cylinder tests provide easy ways to assess the tensile strength of soil under controlled conditions. Although there are many studies in this topic the current state of the art lack of a detailed article that reviews these methodologies. Therefore, this paper is intended to summarize and compare available tests for investigating the tensile behavior of soils.
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Jones, Caroline A. "Anthropophagy in São Paulo's Cold War." ARTMargins 2, no. 1 (February 2013): 3–36. http://dx.doi.org/10.1162/artm_a_00031.

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The first biennial founded outside Venice opened in São Paulo Brazil in 1951, providing a fulcrum between “dependency” and “developmentalism” (to use economic terms). In terms of art history, it presents a useful anomaly in which an international style (“concrete abstraction,” a European import) was used simultaneously to eradicate local difference and to declare a cosmopolitan, up-to-date Brasilidade (Brazilianness). More crucially, I argue that the São Paulo Bienal was the precondition for the newly rigorous conceptualism that followed, as Brazilian artists in the late ′60s rejected “Concretismo” to craft a new world picture, radically transforming margin and center through the profoundly theoretical practice of antropofagia — cultural cannibalism.
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Ikeda, Marcelo. "The Ambiguities of Bacurau." Film Quarterly 74, no. 2 (2020): 81–83. http://dx.doi.org/10.1525/fq.2020.74.2.81.

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Bacurau is the name of a city in Brazilian hinterland whose inhabitants fight to survive a foreign invasion. The struggle of native populations for the right to remain on their land is a common motif not only in the history of cinema, as in classic Westerns, but also in Brazilian culture and history, In this article, Ikeda proposes that Bacurau’s originality lies in how it seeks to establish a balance between genre film and political cinema, eschewing the commodified exotic spectacle of Sérgio Rezende’s The Battle of Canudos (1997) and Glauber Rocha’s radical political allegory in Black God, White Devil (1964), in order to offer a more complex commentary on the current Brazilian historical moment.
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Cleveland, K. "Afro-Brazilian Art as a Prism: A Socio-Political History of Brazil's Artistic, Diplomatic and Economic Confluences in the Twentieth Century." Luso-Brazilian Review 49, no. 2 (December 1, 2012): 102–19. http://dx.doi.org/10.1353/lbr.2012.0045.

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