Academic literature on the topic 'History of journalistic criticism in Portugal'
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Journal articles on the topic "History of journalistic criticism in Portugal"
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Gomes, Marco. "The Portuguese press at the service of revolutionary language: A case study of Diário de Notícias and Esquerda Socialista (1974–75)." International Journal of Iberian Studies 33, no. 2-3 (September 1, 2020): 209–25. http://dx.doi.org/10.1386/ijis_00029_1.
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In the immediate post-25 April scenario, the Portuguese media adopted revolutionary language as the foundation of a journalism oriented towards political-ideological combat and social criticism. This hegemonic discourse derived from a reality characterized by daily changes and conflicts, became itself an instrument of political and social change. The primary goal of this work is to carry out a discourse and content analysis having as objects of study an informative newspaper and another of a propagandistic nature in the biennium 1974–75, based on a sample of words gathered from headlines within these publications. The studied media are the informative Diário de Notícias and the doctrinal weekly Esquerda Socialista. In the context of the transition to democracy in Portugal, we conclude that informative and doctrinal journalism merged within a single body guided by the commitment of journalists to the revolutionary cause.
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Orzełek, Ariel. "The journalistic reaction to the first edition of The History of Stupidity in Poland. The historiographic pamphlets by Aleksander Bocheński." Przegląd Nauk Historycznych 17, no. 3 (December 13, 2018): 205–25. http://dx.doi.org/10.18778/1644-857x.17.03.08.
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The History of Stupidity in Poland. The historiographic pamphlets [Dzieje głupoty w Polsce. Pamflety dziejopisarskie] was the most important publication by Aleksander Bocheński. The book was also one of the most representative reflections on the post-war trend of political realism in Poland. The journalistic reaction to the first edition of the book in the forties of the 20th century proved that the theses included in it were highly unpopular. The author’s criticism of insurrection trends in Polish politics met with opposition from Marxists as well as non-party intellectuals, both at home and abroad. Although motives of Bocheński’s concepts were usually understood, they were rejected as they served communists, were contrary to Marxist doctrine or had no moral foundations. Those opinions constitute an important contribution to the views of Polish intelligentsia on political realism at the beginnings of the Polish People’s Republic.
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Majer-Bobetko, Sanja. "Between music and ideologies: Croatian music criticism from the beginning to World War II." Muzyka 63, no. 4 (December 31, 2018): 55–64. http://dx.doi.org/10.36744/m.344.
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As the Croatian lands were exposed to often aggressive Austrian, Hungarian, and Italian politics until WWI and in some regions even later, so Croatian music criticism was written in the Croatian, German and Italian languages. To the best of our knowledge, the history of Croatian music criticism began in 1826 in the literary and entertainment journal Luna, and was written by an anonymous author in the German language.A forum for Croatian language music criticism was opened in Novine Horvatzke, i.e. in its literary supplement Danica horvatska, slavonska i dalmatinska in 1835, which officially started to promote the Croatian National Revival, setting in motion the process of constituting the Croatian nation in the modern sense of the word. However, those articles cannot be considered musical criticism, at least not in the modern sense of the word, as they never went beyond the level of mere journalistic reports. The first music criticism in the Croatian language in the true sense of the word is generally considered a very comprehensive text by a poet Stanko Vraz (1810-51) about a performance of the first Croatian national opera Ljubav i zloba (Love and malice) by Vatroslav Lisinski (1819-54) from 1846. In terms of its criteria for judgement, that criticism proved to become a model for the majority of 19th-century and later Croatian music criticism. Two judgement criteria are clearly expressed within it: national and artistic.Regardless of whether we are dealing with 1) ideological-utilitarian criticism, which was directed towards promoting the national ideology (Franjo Ksaver Kuhač, 1834-1911; Antun Dobronić, 1878-1955), 2) impressionist criticism based on the critic’s subjective approach to particular work (Antun Gustav Matoš, 1873-1914; Milutin Cihlar Nehajev, 1880-1931; Nikola Polić, 1890-1960), or 3) Marxist criticism (Pavao Markovac, 1903-41), we may observe the above mentioned two basic criteria. Only at the end of the period under consideration the composer Milo Cipra (1906-85) focused his interest on immanent artistic values, shunning any ideological utilitarianism, and insisting on the highest artistic criteria.
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Moreira, Luís Miguel. "A República e a Monarquia em confronto: a Guerra Civil portuguesa na raia galega (1911- 1912) = The Republic and the Monarchy in confrontation: the Portuguese Civil War on the Galician border (1911-1912)." REVISTA DE HISTORIOGRAFÍA (RevHisto) 30 (May 28, 2019): 97. http://dx.doi.org/10.20318/revhisto.2019.4745.
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Resumen: La progresiva radicalización ideológica del régimen republicano, instaurado en Portugal en octubre de 1910, provocó una oposición conservadora y monárquica que se organizó en el exilio, sobre todo en el sur de Galicia. Entre octubre de 1911 y junio de 1912, estacionados en varios pueblos y villas gallegas en la raya con Portugal, los monárquicos hicieron dos incursiones en territorio portugués —el primero en Vinhais y el segundo en Chaves— con el fin de fomentar la rebelión contra régimen instaurado. Sin embargo, las tropas republicanas, más numerosas y mejor equipadas, vencieron todos los combates. En la época, este episodio de guerra civil mereció amplia cobertura periodística, particularmente por la prensa afecta al régimen republicano. Los mapas y las fotografías de la frontera fueron ampliamente utilizados para localizar e ilustrar los acontecimientos. En este texto, pretendemos reconstituir estos movimientos, proponiendo una lectura geográfico-histórica de la raya luso-gallega, en el contexto de este episodio.Palabras clave: República portuguesa, incursiones monárquicas, raya galaico-portuguesa, cartografía propaganda.Abstract: The ideological radicalisation of the republican regime, established in Portugal in October 1910, gave rise to the forming of a conservative and monarchical opposition in exile, in the south of the Spanish historic region of Galicia. Between October 1911 and June 1912, from several Galician villages not far from the Portuguese border, the monarchists made two incursions into the north of the country - the first to Vinhais and the second to Chaves - with the aim of fuelling popular uprisings and a military rebellion against the new regime. However, the Republican troops, more numerous and better equipped, won all the battles. At the time, this episode of civil war received extensive journalistic coverage particularly from the newspapers close to the republican regime. Maps and photographs of the border were widely used to locate and illustrate the events. From the historic-geographical perspective of the Portuguese-Galician border, this paper reconstitutes these movements in the broader historical context.Key words: Portuguese Republic, monarchical incursions, Portuguese-Galician border, propaganda maps.
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Vieira Machado, Adelaide Muralha. "A Goan reading of the cultural impact of the Colonial Act: Introducing intellectuals and periodic press through the Anglo-Lusitano of July 7, 1934." Revista de História das Ideias 38 (February 6, 2020): 119–53. http://dx.doi.org/10.14195/2183-8925_38_6.
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The Portuguese colonial legislation summarized in the segregating measures of the Colonial Act of 1930, the year that inaugurated Salazar's dictatorship in Portugal after the 1926 military coup, had unavoidable consequences. Our goal is to demonstrate the importance of this political measure through the journalistic production of the Goan intellectuality, that is, the political culture that arose from the clash between the defenders of the regime and those who advocated solutions of freedom and democracy in autonomy or independence. After a comprehensive Goan press survey, the choice of a special issue of O Anglo-Lusitano to present as historical foundation in this study was due to the fact that owing to its broad spectrum of cultural and political participation, it served as medium for ascertaining the existence of a crossroad of visions of the imperial whole, in the construction of intellectual networks of opposition and resistance, both from Goa and exile, enunciating the end of the Portuguese empire.
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Pires, Leonardo Aboim. "The intellectual scales of environment: Agricultural pests and public sphere in 19th century Portugal." Historia Agraria Revista de agricultura e historia rural, no. 82 (November 3, 2020): 141–69. http://dx.doi.org/10.26882/histagrar.082e07p.
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Studies and research on biological invasions have acquired increasing attention in environmental history. However, the acknowledgement of certain specific cultural markers –such as the press– has been hitherto limited in such works. In light of this, this paper seeks to evaluate the importance of regional Portuguese newspapers in studying plant pests and agricultural diseases through a substantial corpus of publications produced between the 1850s and 1910s. This article looks at three newspapers Jornal de Penafiel (1890-1914), the Damião de Goes (1886-1914) and the O Elvense (1880-1904) in order to establish the informative potential gleaned from these types of sources in different regions in the north, centre and south Portugal respectively. The results highlight the importance of vine diseases (phylloxera, mildium, oidium) in the examined journalistic narratives. Nevertheless, other pests (potato blight, chestnut blight, brown rot) or bioinvaders (locust) were also important parts of these discourses. The results of this research reveals just how closely directed periodical press and diffusion of technical knowledge were in the strategies and attitudes against agricultural pests, showing that science was incorporated into the relationship between State and the rural communities.
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PAUL, SUBIN, and DAVID DOWLING. "Gandhi's Newspaperman: T. G. Narayanan and the quest for an independent India, 1938–46." Modern Asian Studies 54, no. 2 (September 5, 2019): 471–501. http://dx.doi.org/10.1017/s0026749x18000094.
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AbstractThe expansion of the colonial public sphere in India during the 1930s and 1940s saw the nation's English-language press increasingly serve as a key site in the struggle for freedom despite British censorship. This article examines the journalistic career of T. G. Narayanan, the first Indian war correspondent and investigative reporter, to understand the role of English-language newspapers in India's quest for independence. Narayanan reported on two major events leading to independence: the Bengal famine of 1943 and the Second World War. Drawing on Michael Walzer's concept of the ‘connected critic’, this research demonstrates that Narayanan's journalism fuelled the Indian nationalist movement by manoeuvring around British censors to publicize and expand Mahatma Gandhi's criticism of British rule, especially in light of the famine and war. His one departure from the pacifist leader, however, was his support of Indian soldiers serving in the Indian National Army and British Army.
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Schönfeld, Dorothea. "Tilting at Windmills? The European Response to Violations of Media Freedom in Russia." Review of Central and East European Law 37, no. 2-3 (2012): 233–90. http://dx.doi.org/10.1163/092598812x13274154886827.
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AbstractThis article is a study about the measures that European organizations take in response to violations of media freedom in Russia. Despite vigorous efforts, the media situation has not improved considerably. What are the reasons for the apparent inefficiency of the European enforcement mechanism? To overcome the tangle of sometimes contradictory historical, sociological, philosophical, and mere pragmatic explanations, one has to distinguish obstacles at the conceptual level from obstacles at the level of implementation. I will argue that insistence on a specific Russian mentality and another idea of freedom of expression in the Russian context is a mere rhetorical trick of the ruling political forces to hide the lack of democratic commitment in Russia and to avoid criticism from the West. Whereas these 'ideological' reasons—or, at least, their historical necessity—can be rejected, 'practical' reasons for the small impact of European measures cannot be denied. When exclusively addressing those responsible in the Russian government, European organizations underestimate not only reluctance by the Russian authorities but also the complexity of the whole situation. Without a change of journalistic behavior and some institutions closely connected with the work of journalists—and, most notably, a comprehensive alteration of public opinion—it is improbable that the situation of the media will change in the future.
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Ponsavady, Stéphanie. "Editorial." Transfers 11, no. 1 (March 1, 2021): 1–2. http://dx.doi.org/10.3167/trans.2021.110101.
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True to our original mission, this new issue of Transfers brings together a plurality of disciplines, from history to anthropology and literary criticism. It showcases reactions to the current pandemic as well as far-reaching reflections on the meanings of mobility. Bracketing our issue, two articles engage with the history of mobility. Drawing our attention to the extent of the automobility system, in “The Freeway Journey: Landscape and Mobility in the Southern Auto Industry,” John E. Mohr questions the economic and social costs of developing the I-85 highway corridor through the American South. Hugo Silveira Pereira interrogates “The Past, Present, and Future of Peripheral Mobilities in Portugal” through a history of the Portuguese narrow-gauge railway system that spans over a century.
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Krikh, S. В. "ANCIENT HISTORY AND NEW PUBLICISM: ABOUT SEARCHING FOR A NARRATIVE IN THE SOVIET HISTORIOGRAPHY OF THE STALIN TIME." Вестник Пермского университета. История, no. 1(52) (2021): 94–103. http://dx.doi.org/10.17072/2219-3111-2021-1-94-103.
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The article discusses the features of the genesis and functioning of a special type of historical narrative in Soviet scholarship, which gained particular strength in the 1930s and gradually exhausted by the late 1940s. For convenience of characterization, the author focuses on Soviet works about ancient history and analyzes the main attitudes of their authors (“old” Marxists, scholars who coverted to Marxism, and the Soviet generation of historians), and the reasons and features of their appeal to the genre of historical and journalistic narratives about the past eras. This type of narrative is therefore associated with the formation and flowering of the Stalinist regime. The changes of the 1930s are all the more remarkable as we can compare the style of historians who wrote before and after this time. Using the examples of A. Tyumenev or B. Bogaevsky, the reader can see how respectful and loyal attitude to foreign scholarship was replaced by loud criticism of the limitations of “bourgeois” historians, in whose works Soviet historians certainly found features of “reactionary”. On the example of the books by N.I. Nedelsky and A.V. Mishulin, the author shows how historians who did not engage in scholarship before the revolution took the same path. In conclusion, the author gives the general characteristics of the genre, as well as an explanation of why it was doomed to gradual self-exhaustion, not only because it depended on external (political) but also because it was influenced by internal reasons.
Dissertations / Theses on the topic "History of journalistic criticism in Portugal"
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Rodrigues, Bruno Silva. "As micronarrativas em Portugal : de Almada Negreiros a Ana Hatherly : a brevidade literária narrativa em Portugal no século XX." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:bcb0c981-3c78-4cf8-8ef6-c3a04ec1a05f.
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Literary works and other manifestations that demonstrate, disseminate or stimulate the practice of extremely brief narrative texts have increasingly been gaining ground in the 21st-century. This phenomenon, which varies in intensity depending on the country - seemingly more substantial in the American continent and more timid in European countries - has ramifications more or less on a global scale. Naturally, there has been, over the last few decades, a greater awareness of the dissemination of this type of productions, thanks to the visibility that new information technology, above all the Internet, has afforded. This tendency, however, just like any other human activity, is bound to have antecedents. To analyse its roots may help us to understand its relevance today. The research carried out here has as its object of study extremely brief narrative texts produced in Portugal. It focuses on a period of time which, it will be argued, is of utmost importance for the presence of micro-narratives in the Portuguese literary landscape: the period situated between the dawn of modernism at the beginning of the 1910s and the post-revolutionary moment when Ana Hatherly publishes the third volume of her overarching project entitled Tisanas, in 1980.
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Park, Simon. "Diogo Bernardes and 'O Lima' (1596) : poetry, patronage, and print in early modern Portugal." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:cc5da494-8e61-4e94-abbc-2093396352ba.
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This thesis examines how the fortunes of poets and the status of poetry were changing at the end of the sixteenth century in Portugal. Centring on the long-neglected verse epistles in Diogo Bernardes's 'O Lima' (1596), I re-evaluate our sense of what it meant to be a poet when writing verse was not a sure-fire way to earn a living and when lyric poetry was regularly lampooned as trifling and immoral. Bernardes's surprisingly forthright cartas, I argue, offer new insights into the protagonists and procedures of literary patronage in Portugal. I use a combination of close readings and sociological methods to illuminate the practical strategies and rhetorical brinkmanship that Bernardes deployed in his quest for favour and highlight the frustrations and moral dilemmas of seeking the support of powerful, but fickle, patrons. Bernardes was a particularly remarkable writer for having printed his verse during his lifetime, and so I also trace how lyric verse was slowly legitimated as a cultural product during the sixteenth century and offer a case study of how an author's reputation was forged in the collaborative enterprise of print, then re-formed by the work of readers, thereby shedding light on the complex mechanisms of early modern canon formation. Paradoxically, I demonstrate that unequivocal praise of a writer's work can harm, rather than help, their chances of remaining in the canon. Although Bernardes's work is an echo chamber for these deep reverberations from the broader history of literature, this thesis also listens closely to Bernardes's distinctive poetic voice and allows it to speak out. Playful, candid, mercurial, it is a poetic voice that here seeks a wider audience.
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Litron, Fernanda Félix 1981. "Poesia marginal e a antologia "26 Poetas Hoje" : debates da critica antes e depois de 1976." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270075.
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Orientador: Maria Betania AmorosoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-10T06:38:08Z (GMT). No. of bitstreams: 1 Litron_FernandaFelix_M.pdf: 4421948 bytes, checksum: 0c55b10659620775bbe3ecc3b680cee3 (MD5) Previous issue date: 2007
Resumo: Este trabalho ocupa-se em examinar atentamente a atuação da crítica em seu papel de mediadora e qualificadora de um fenômeno cultural e poético conhecido como ¿poesia marginal¿ que, segundo a percepção de seus críticos, surge de maneira repentina durante a década de 70. De certa forma, tal poesia foi legitimada através da antologia intitulada 26 Poetas Hoje. Para realizar a análise, foram coletadas ¿ e são reproduzidas em anexo como parte integrante de nossa pesquisa ¿ as fontes primárias dessa discussão, isto é, os artigos, reportagens, resenhas e entrevistas publicadas durante a década de 70. Vale ressaltar a importância assumida pela imprensa nos conturbados anos da ditadura militar no Brasil. Muitas vezes a ela coube instigar ou manter acesas discussões e debates culturais em meio a um clima geral de sufocamento das manifestações, fossem elas políticas ou individuais. Nas décadas de 60 e 70, especificamente, tem-se uma modalidade jornalística bastante peculiar tratada como imprensa alternativa ou nanica. Assim, serão principalmente esses jornais e revistas que darão espaço para maiores debates e apresentações da poesia marginal e da cultura alternativa do período
Abstract: This dissertation aims to examine attentively the criticism performance in its mediation and qualification role of a poetic phenomenon known as ¿poesia marginal¿ (¿marginal poetry¿) which, according its critics¿ perception, ppeared in a sudden way during the 1970¿s. In certain way, this poetry has been legitimized through an anthology entitled 26 Poetas Hoje (26 Poets Today). For this analysis, they were collected ¿ and are presented here as a final result of our research ¿ the primary sources of this discussion, that is the articles, newspaper reports, summaries and interviews published during the 1970¿s, apart from our exam on such journalistic criticism. It¿s worth emphasizing that the journalistic gender stands out in a time of repression and censorship, once it assumes a questioning function about the Brazilian culture in a period politically disturbed. Then, specifically in the 1960¿s and 1970¿s, a peculiar journalistic "modality¿ emerges treated as alternative press or ¿nanica¿ (¿tiny press¿). Therefore, it is mainly this journalist modality that will give space for larger discussions and presentations of the marginal poetry and alternative culture of its period
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Nelson, Bernadette. "The integration of Spanish and Portuguese organ music within the liturgy from the latter half of the sixteenth to the eighteenth century." Thesis, University of Oxford, 1987. https://ora.ox.ac.uk/objects/uuid:b736ca8f-0bb7-47a4-9ac4-2102b6cc3acb.
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Spanish and Portuguese organ music still remains a relatively unchartered area escaping the attention of most general assessments of European musical history. The work which has been done in this field has tended towards stylistic appreciations of the published large-scale compositions and the compilation of short biographies of prominent musicians. No extensive investigation has yet been undertaken which deals with such fundamental issues as the role of the organist and the origins and function of the extant organ repertory, of which a large proportion lies dormant in manuscripts, within the liturgy. Indeed, there is no monograph about organists and organ music in the Iberian peninsula as a whole. The overall aim of this thesis is to provide a musical background and liturgical context for short organ pieces called versos which were thoroughly integrated within a musical celebration of the Offices. For this end, a variety of musical and documentary material has been examined: practical sources of organ music; plainchant manuals; ceremonials and musical treatises. To an enormous extent this organ music was subject to long-standing liturgical customs and legislation, as well as to strongly defined traditions of musical composition. The prescriptions to the organist given in the ecclesiastical constitutions and how these may have been realized in the Canonical Hours and in the Mass constitutes the essence of part two of this thesis. This interpretation of musico-liturgical practices has entailed an examination of the relationship between plainchant and the organ verset and the technicalities of mode and tranposition which were involved when alternating the organ with choral plainchant. An analysis is also made of the musical development of versets based on the psalm-tones, organ hymns (the Pange lingua in particular) and the 'organ mass'. An anthology of transcriptions complementing this discussion is contained in a separate volume. As a counterbalance to the analytical discussion in part two, part one provides an historical and cultural background to the subject. An assessment is made of the contribution made by individual organists and organ 'schools' and some consideration is made of the extent to which both royal and ecclesiastical patronage was responsible for the livelihood of music and the arts.
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Botton, Flavio Felício. "Entre Clio e Calíope: literatura e história no teatro de Miguel Franco." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-11012016-130449/.
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Miguel Franco nasceu em Leiria em 1918, atuou no teatro amador de sua cidade, sendo varias vezes premiado como encenador e como ator. Na década de 60, em plena ditadura salazarista, Franco leva ao Teatro Avenida de Lisboa, por meio da consagrada Companhia Companhia Rey Colaço Robles Monteiro sua mais importante peca de teatro histórico, O motim, que retoma os eventos ocorridos após o levante do povo da cidade do Porto contra a Companhia dos Vinhos do Alto Douro, criada pelo ministro de d. José, o Marques de Pombal. A peca, após poucos dias em cartaz, é brutalmente retirada de cena pelo aparelho de repressão do regime salazarista. Este trabalho tem por objetivo analisar a peça de Franco, como exemplo do subgênero dramático do teatro histórico, procurando compreender como e por que se dão as relações que se estabelecem entre o tempo da ação da peça (século XVIII) e o tempo de sua escrita (segunda metade do século XX).Miguel Franco was born in Leiria in 1918, acted in amateur theater of his city, and several times was awarded as director and as an actor. In the 60s, during the Salazar dictatorship, Franco leads to Teatro Avenida de Lisboa, with the consecrated Company Company Rey Colaco - Robles Monteiro his most important play of historical theater, O Motim, which incorporates the events that occurred after the uprising of the people of Porto against the Companhia dos Vinhos do Alto Douro, created by d. José minister, Marques de Pombal. The play, after only a few days on stage, was brutally removed from the scene by the Salazar regime repression apparatus. This paper aims at examining the Franco play as an example of the dramatic subgenre of historical theater, trying to studying how and why occur the relations established between the time of action of the play (XVIII century) and the time of its writing (second half of the twentieth century).
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Melo, Maria da Assunção Gil Correia de. "António Dacosta e o sentido de pertença na pintura. Motivações, resistências e inovações." Doctoral thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/30073.
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Nesta tese pretende-se fazer uma releitura crítica da obra de António
Dacosta, muito mais ampla, para além da fase surrealista. Para tal, foi
necessário compreender como o lugar, a identidade e o sentido de pertença
podem influenciar a vontade e a expressão do artista. Neste caso mais
específico, como a ilha e a sua cultura própria influenciaram a sua iconografia,
embora sempre com uma intencionalidade universalista. As questões de
memória e identidade poderão ser mais determinantes do que as tendências ou
correntes artísticas em vigor. O desconhecimento que existia sobre a
iconografia das ilhas foi por vezes confundido com o surrealismo. Compete,
assim, fazer uma destrinça.
O contexto histórico e espiritual que está na origem do despertar da
identidade, bem como o papel dos agentes culturais, importa nesta análise. Foi
também relevante perceber como o surrealismo foi apreendido pelos artistas
portugueses, que o prolongaram para além da primeira metade do século XX,
sob a égide da necessidade de uma reforma temática.
António Dacosta, frequentemente associado a duas fases distintas, foi
um pintor, mesmo quando, aparentemente, esteve em silêncio, mesmo quando
se confundiu com um poeta e com um crítico de arte. Na verdade, Dacosta
continuou a pintar. Foi sempre esse o seu desígnio. A vontade de ser dos
Açores, em Lisboa ou em Paris foi tão forte que as suas visões míticas de uma
religiosidade pagã são uma constante. Nesse sentido, analisou-se o que fez, a
relação entre o artista e o lugar de origem, como um produtor de uma imagética
muito própria transposta para a tela: a busca um significado nas paisagens, nos
lugares, nas pessoas e nos seus rituais promovendo um debate interdisciplinar,
entre arte, antropologia e etnografia.
A modernidade, o choque e um modo muito próprio de ser ilhéu, sem
forçar, sem ter pressa, podem tê-lo agrilhoado a uma vontade de fazer nem
sempre consistente. São dinâmicas próprias que estão na origem das
motivações da pintura de Dacosta O ensinamento e a lucidez de nunca se ser velho de mais para
recomeçar são também lições que se tiram desta obra, deste percurso que
importa compreender; ABSTRACT
António Dacosta and the Sense of Belonging in Painting. Motivations,
Resistances and Innovations
This thesis intends to make a critical reinterpretation of António
Dacosta's work, much broader, beyond the surrealist phase. For this, it was
necessary to understand how the place, the identity and the sense of belonging
can influence the artist's will and expression. In this more specific case, how the
island and its own culture influenced its iconography, although always with a
universalist intention. The issues of memory and identity may be more decisive
than current trends or artistic trends. The ignorance that existed about the
iconography of the islands was sometimes confused with surrealism. It is
therefore up to you to make a difference.
The historical and spiritual context that is at the origin of the awakening
of identity, as well as the role of cultural agents, matters in this analysis. It was
also relevant to understand how surrealism was understood by Portuguese
artists, who extended it beyond the first half of the 20th century, under the aegis
of the need for a thematic reform.
António Dacosta, often associated with two distinct phases, was a
painter, even when, apparently, he was silent, even when he mistook himself for
a poet and an art critic. In fact, Dacosta continued to paint. That was always his
purpose. The Azores' desire to be in Lisbon or Paris was so strong that their
mythical views of pagan religiosity are constant. In this sense, we analyzed
what he did, the relationship between the artist and the place of origin, as a
producer of his own imagery transposed to the canvas: the search for meaning
in landscapes, places, people and their rituals promoting an interdisciplinary
debate, between art, anthropology and ethnography.
Modernity, shock and a very unique way of being an islander, without
forcing, without being in a hurry, may have tied you to a desire to do not always
consistent. These are dynamics that are at the origin of the motivations of
Dacosta's painting. The teaching and the lucidity of never being too old to start over are also
lessons that can be learned from this work, from this journey that is important to
understand.
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Menezes, Hugo Lenes. "A formação da prosa moderna em lingua portuguesa : o lugar de Garrett e Herculano." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270154.
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Orientador: Paulo FranchettiTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: O presente trabalho estuda as origens da prosa moderna em língua portuguesa, a emergência do gênero romance em terras lusas e, de modo mediato, o impacto do discurso prosístico de Almeida Garrett e Alexandre Herculano na narrativa lusófona subseqüente. Diferentemente do que dá a entender a tradição crítica, que privilegia somente algumas facetas da obra dos dois autores acima referidos, num campo valorativo especificamente literário, Garrett ocupa um lugar fundador não apenas por inaugurar a narrativa de atualidade em Portugal, e sim por ser um dos instauradores da prosa burguesa. Do mesmo modo, a importância de Herculano não pode reduzir-se ao fato de ele introduzir a ficção histórica no seu país, pois o seu papel, assim como o de Garrett, é decisivo na elaboração da prosa moderna em vernáculo. Outro ponto enfocado nesta tese é a constituição do público do romance, na primeira fase do romantismo lusitano, para o que Garrett e Herculano, acompanhando a valorização, ao longo dos séculos XVIII e XIX, da função educativa da forma romanesca, contribuíram com uma verdadeira pedagogia da leitura por meio da construção da narrativa ficcional
Abstract: The present work studies the origins of modern prose in the Portuguese language, the emergence of the novel as a genre in Lusitanian lands, and, as mediation, the impact of the discourse of Almeida Garrett and Alexandre Herculano on subsequent Lusiphone narrative. Differently from what comes to light in the critical tradition, which privileges only some facets of the oeuvre of the two above cited authors within a specifically evaluative literary field, Garrett occupies a founding place not only for inaugurating the narrative of the present time in Portugal, but also as one of the founders of the bourgeois prose. In a similar way, the importance of Herculano cannot be reduced to the fact that he introduces the historical fiction in his country, as he plays a decisive role, as well as Garrett, in the elaboration of modern prose in the vernacular. Another point focused on here is the creation of a reading public for the novel during the first phase of the Portuguese Romanticism, to which Garrett and Herculano, by means of the construction of fictional narrative, contribute a true pedagogy of reading, which accompanies the valorization of the educational function attributed to the Romanesque form throughout the eighteenth and the nineteenth centuries
Doutorado
Literatura Portuguesa
Doutor em Teoria e História Literária
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Matos, Miguel Pedro Quadrio Ferro de. "Dispositivo crítico : condições de possibilidade da crítica jornalística de teatro em Portugal." Doctoral thesis, 2014. http://hdl.handle.net/10400.14/16696.
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Em Dispositivo crítico: condições de possibilidade da crítica jornalística de teatro em Portugal
problematiza-se o lugar da crítica de teatro no interior do polissistema teatral português.
Tal programa baseou-se na hipótese de que a crítica jornalística de teatro não encontrou ainda,
entre nós, uma inserção adequada nos Estudos de Teatro, sendo vulgarmente sujeita ou à total
omissão ou a uma utilização pontual e difusa, que se tem concretizado através de uma estratégia
paradoxal de (sub)figuração, v.g., a ela se recorre como exemplo ‘autorizado’, ao mesmo tempo
que a sua citação truncada – por conveniência do argumento que deveria ilustrar – não só a descontextualiza
do seu continuum cultural e ideológico, como inviabiliza, também, a aferição da relevância
sistémica que a mesma assumira à data da publicação.
Desta desqualificação da crítica jornalista resultam duas consequências ponderosas: o
enfraquecimento do espaço público, afectado pela exclusão de uma das práticas que o vem constituindo
desde o século XIX; e a rasura da memória performativa, fonte indispensável para a escrita
de uma efectiva, que não apenas literária, história do teatro.
Para tornar sustentável a visibilidade da crítica jornalística propõe-se, então, uma tese que se
desenvolve em duas vias. A primeira delas visa estatuir a crítica jornalística não apenas como um
epifenómeno, irrelevante porque transitivo, de provocação inconsequente da ordem sociocultural
instalada, mas, sobretudo, como possibilidade teórica que, para além das suas realizações concretas,
possui os instrumentos necessários para intervir na modelação do sistema teatral e, desse modo,
«contribuir para reforma de práticas e de ânimos» (cf. Leone, 2005a: 105). Tal desígnio impôs a
desconstrução do conceito de crítica (não somente de teatro), em cujo processo se determinam os
traços distintivos que permitem impor a noção de ‘crítica jornalística’, ponderando-se, ainda, os recentes
enquadramentos teóricos e metodológicos que a integraram no discurso académico (europeu
e norte-americano) como problema autónomo.
Assim firmada como questão pertinente, a ‘crítica jornalística’ é sujeita – na segunda via – à
sua experimentação no caso concreto da academia portuguesa, concluindo-se pela sua ‘extemporaneidade’.
Face aos resultados obtidos, ilustram-se as ‘condições de possibilidade’, estabelecidas na
primeira via, através do estudo da intervenção do crítico de teatro português Eduardo Scarlatti
(1898-1990) nas décadas de 20 e de 30 do século XX, nomeadamente quanto ao seu importante
contributo para uma discussão moderna do conceito de crítica (e, nele, de crítica de teatro).Critical Device: conditions of possibility in journalistic theatre criticism in Portugal (Dispositivo crítico: condições de possibilidade da crítica jornalística de teatro em Portugal) analyses the place of theatre criticism within the Portuguese theatrical polysystem. Such a programme was based on the hypothesis that journalistic theatre criticism hasn’t yet found an adequate insertion within Portuguese Theatre Studies, as it has been consistently subjected to either absolute omission or a punctual and diffuse use through a paradoxical strategy of (under-)figuration. That is, it is “allowed” as an example whilst its truncated quotation – for the convenience of the argument it should illustrate – not only decouples its practice from the cultural and ideological continuum, but also renders unachievable the measurement of the systemic relevance it assumed at the time of its original publication. This disqualification of journalistic criticism has two important consequences: the weakening of public space, affected by the exclusion of one of the practices that has constituted it since the 19th century; and the erasure of performative memory, an indispensable source for writing an effective history of theatre that isn’t simply literary. In order to achieve a sustainable visibility of journalistic criticism the dissertation follows two strategies. First, it aims to define journalistic criticism not as an irrelevant and transient epiphenomenon – an inconsequential provocation of the installed sociocultural order – but, instead, as a theoretical possibility that, in addition to its tangible achievements, also possesses the necessary tools to intervene in modelling the theatrical system and, thereby aims to, “contribute to a reform of practices and moods” (Leone, 2005a: 105). Such an enterprise implies a deconstruction of the concept of criticism (not merely in its theatrical vent) in order to determine the distinctive traits that allow for the notion of “journalistic criticism,” whilst also considering the recent theoretical and methodological frameworks that have enabled its integration in (European and North-American) academic discourse as a stand-alone problem. Secondly, and after having been established as a pertinent question, “journalistic criticism” is examined in the context of Portuguese academia, from where it emerges with a mark of “extemporaneity.” Given the obtained results, the “conditions of possibility” established beforehand are then illustrated through a study of the intervention of the Portuguese theatre critic Eduardo Scarlatti (1898-1990) during the 1920s and 1930s, particularly with regard to his important contribution to a modern discussion of the concept of criticism (and, within it, of theatre criticism).
Books on the topic "History of journalistic criticism in Portugal"
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Keeble, Richard, and John Tulloch. Global literary journalism: Exploring the journalistic imagination. New York: Peter Lang, 2012.
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Ryan, Karen L. Russian publicistic satire under glasnost: The journalistic feuilleton. Lewiston [New York]: Edwin Mellen Press, 1993.
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Rocha, Andrée Crabbé. A epistolografia em Portugal. 2nd ed. [Lisboa]: Imprensa Nacional-Casa da Moeda, 1985.
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Marinho, Maria de Fátima. O surrealismo em Portugal. [Lisbon]: Impr. Nacional-Casa da Moeda, 1987.
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Silveira, Jorge Fernandes da. Portugal maio de Poesia 61. [Lisbon]: Imprensa Nacional-Casa da Moeda, 1986.
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Maria do Socorro Fernandes de Carvalho. Poesia de agudeza em Portugal. São Paulo: Humanitas, 2007.
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Monteiro, George, writer of preface, ed. Pessoa, Portugal e o futuro. Lisboa: Gradiva Publicações, S. A., 2014.
Find full textBook chapters on the topic "History of journalistic criticism in Portugal"
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de Castro, Paulo F. "Music Criticism in Portugal: Towards an Overview." In The Cambridge History of Music Criticism, 317–30. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.017.
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Karshan, Thomas, and Kathryn Murphy. "Introduction." In On Essays, 1–30. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198707868.003.0001.
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The Introduction addresses problems in the history of the essay, and criticism and scholarship on it. Although the essay’s origin is easy to date—Montaigne’s Essais (1580) was the first book of that title—it is notoriously difficult to define, and there is remarkably little scholarship and criticism on it. This introduction asks why, offering a prehistory in Plutarch, Seneca, miscellaneous writing, and commonplacing; examining the metaphorical range of the term ‘essay’, and various other names for the form; exploring the transformation of Montaigne’s legacy in England; surveying criticism on the essay; and exploring the contradictions in its use in pedagogy. Rather than attempting a definition, the Introduction explores how the essay resists one, exposing a sequence of contradictions which anticipate the subsequent chapters: that the essay can be institutional or amateurish; methodical or anti-methodical; artistic or scientific; detached or polemical; intimate or formal; sociable or isolated; journalistic or philosophical; poetic or novelistic.
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Pirina, Giorgio, and Luca Onesti. "The Natural and Cultural Heritage of the Serra de Estrela, Between UNESCO Geopark and Lithium Mining." In Examining a New Paradigm of Heritage With Philosophy, Economy, and Education, 205–22. IGI Global, 2020. http://dx.doi.org/10.4018/978-1-7998-3636-0.ch015.
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With a review of the academic and journalistic literature, this chapter aims to further explore the shift toward a sustainable tourism in the context of UNESCO Natural Parks and Geoparks. Furthermore, the authors point out the persistence of a contradiction, that is, the presence of mining activities in the surrounding of above-mentioned UNESCO areas. After briefly reconstructing the socio-economic history of the mountain area of Serra da Estrela, located in the region of Beira Interior, in Central Portugal, the authors focus on the tension between two aspects: 1) the Post-Fordist model, concerning the transition to tourism development related to creation of UNESCO Natural Park and Geopark and 2) the reinforcement of lithium mining production and discovery of new deposits as an energetic and economic strategy for Portugal. In particular, the latter issue has given rise to various groups and movements of protest on a local basis. The claims of these groups suggest a radical paradigm shift in the development plans and in the conception of heritage in an ecological sense.