Wife, Mother, and Worker: The Decision to Work in Early-Twentieth Century São Paulo

2017 ◽  
Vol 29 (4) ◽  
pp. 109-132
Author(s):  
Molly C. Ball
Keyword(s):  
Twentieth Century ◽  
Sao Paulo ◽  
São Paulo ◽  
Early Twentieth Century

scholarly journals Inculcar a seriedade mediante a alegria: um estudo das comemorações escolares no campo educacional (finais do século XIX e início do XX)

2017 ◽  
Vol 1 (3) ◽  
pp. 30
Author(s):  
Renata Marcílio Cândido ◽  
Denice Barbara Catani
Keyword(s):  
Twentieth Century ◽  
Organizational Context ◽  
School Context ◽  
Sao Paulo ◽  
São Paulo ◽  
Consolidation Process ◽  
Educational History ◽  
Early Twentieth Century ◽  
Late Nineteenth ◽  
Educational Field

O artigo pretende analisar a construção do objeto festas no campo educacional, especialmente da história da educação, em sua multiplicidade de configurações, atentando não somente para a genealogia do evento no contexto escolar e a maneira pela qual o mesmo participou da organização de uma cultura própria da escola, mas também para as suas contribuições no processo de consolidação do campo em um contexto de organização do sistema público e estatal de ensino do Estado de São Paulo. A análise do evento beneficia-se de fontes como os periódicos educacionais da época (final do século XIX e início do XX) e da legislação de ensino. Opta-se por descrever aqui a articulação entre os festejos e os projetos formadores dominantes nas escolas, suas relações com outras áreas do saber e suas contribuições para o delineamento de questões de ensino.Instilling seriousness through joy: an essay about school celebrations on the educational field (late nineteenth and early twentieth-century). This article intends to analyse the construction of the object school celebrations on the educational field, especially the educational history, regarding its multiplicity of configurations. Thus, not only is this work aimed to focus on the event genealogy in school context, and its participation in the organization of a school culture, but also on its contributions to the field consolidation process in an organizational context of the state public teaching system of São Paulo. The analysis of the event in the educational field benefit from studies sources such as late nineteenth- and early twentieth-century educational journals and education legislation as well. Seeing that, it is opted to describe the articulation between festivities and educational projects in particular which are dominant at schools, their relations with other knowledge areas, and also their contributions to framing teaching issues. Keywords: Celebrations; Educational field; History education.

scholarly journals Análise de projetos arquitetônicos modernistas com interferências visuais no Brasil / Analysis of Modernist Architectural Projects with Visual Interference in Brazil

2014 ◽  
Vol 1 (2) ◽  
Author(s):  
Marco Antonio Rossi ◽  
Eliane Patricia Grandini Serrano
Keyword(s):  
Twentieth Century ◽  
Sao Paulo ◽  
Modern Architecture ◽  
São Paulo ◽  
Mario De Andrade ◽  
Avant Garde ◽  
Early Twentieth Century ◽  
Visual Interference

ABSTRACTModernism was a movement that began in the 1920s through the critical activities of Oswald de Andrade, Menotti del Picchia, Mário de Andrade and others who warned against the appreciation of national roots. Thus exposed their ideas of renovating groups of artists who begin to unite around a new aesthetic proposal. Modern architecture in Brazil had their origins in European avant-garde in the early twentieth century as well, represented by architect Antonio Moya. In 1923 arrives in São Paulo Warchavchik the architect, who always insisted on the character while "modern" and "Brazilian" in its architecture. Following years: architects assert themselves fully, influencing young architects. This research aims to analyze the projects executed by some architects who rewrote and reshaped the architecture in Brazil with modernism and artistic / visual interference paneled walls and details inside these buildings.RESUMOO modernismo foi um movimento que se iniciou por volta dos anos 1920 através das atividades críticas de Oswald de Andrade, Menotti del Picchia, Mário de Andrade entre outros, que alertaram para a valorização das raízes nacionais. Assim expuseram suas idéias renovadoras de grupos de artistas que começam a se unir em torno de uma nova proposta estética. A arquitetura moderna no Brasil teve suas origens na vanguarda européia no início do século XX assim, representada pelo arquiteto Antônio Moya. Em 1923 chega a São Paulo o arquiteto Warchavchik, o qual Insistia sempre no caráter ao mesmo tempo “moderno” e “brasileiro” na sua arquitetura. Anos seguintes: arquitetos se afirmam integralmente, influenciando os novos arquitetos. Esta pesquisa tem o objetivo de analisar os projetos executados por alguns arquitetos que reformularam ou reescreveram a arquitetura no Brasil com o modernismo e as interferências artísticas / visuais com painéis nas paredes e detalhes inseridos nestas construções.

The Argentine Allusion: On the Significance of the Southern Cone in Early Twentieth-Century São Paulo

2021 ◽  
Vol 78 (1) ◽  
pp. 61-87
Author(s):  
James P. Woodard
Keyword(s):  
Twentieth Century ◽  
Latin American ◽  
Southern Cone ◽  
Sao Paulo ◽  
Spanish America ◽  
São Paulo ◽  
Periodical Press ◽  
Home State ◽  
American Intellectual ◽  
The Difference

AbstractThis article examines a much cited but little understood aspect of the Latin American intellectual and cultural ferment of the 1910s and 1920s: the frequency with which intellectuals from the southeastern Brazilian state of São Paulo referred to developments in post Sáenz Peña Argentina, and to a lesser extent in Uruguay and Chile. In books, pamphlets, speeches, and the pages of a vibrant periodical press—all key sources for this article—São Paulo intellectuals extolled developments in the Southern Cone, holding them out for imitation, especially in their home state. News of such developments reached São Paulo through varied sources, including the writings of foreign travelers, which reached intellectuals and their publics through different means. Turning from circuits and sources to motives and meanings, the Argentine allusion conveyed aspects of how these intellectuals were thinking about their own society. The sense that São Paulo, in particular, might be “ready” for reform tending toward democratization, as had taken place in Argentina, Uruguay, and Chile, was accompanied by a belief in the difference of their southeastern state from other Brazilian states and its affinities with climactically temperate and racially “white” Spanish America. While these imagined affinities were soon forgotten, that sense of difference—among other legacies of this crucial period—would remain.

scholarly journals Silva Freire: o barroco na poesia visual do Cerrado brasileiro

2018 ◽  
Vol 23 (1) ◽  
pp. 99
Author(s):  
Vinicius Carvalho Pereira
Keyword(s):  
Twentieth Century ◽  
Minas Gerais ◽  
Sao Paulo ◽  
Lexical Item ◽  
São Paulo ◽  
Visual Poetry ◽  
Mato Grosso ◽  
Rhetorical Figure ◽  
Concrete Elements ◽  
Do So

Resumo: Os mais recentes estudos sobre a poesia visual brasileira da segunda metade do século XX têm reiteradamente ressaltado as influências barrocas nos textos de artistas como Haroldo de Campos, Augusto de Campos e Décio Pignatari. No entanto, o estudo das vanguardas poéticas dos anos 1950 aos anos 1970 ainda se limita excessivamente à produção literária do eixo Rio-São Paulo, com algumas exceções (como as dos estudos sobre Ferreira Gullar). Contudo, artistas de Mato Grosso, ainda que hoje pouco conhecidos pela academia fora do estado, tiveram participação ativa e intensa nas formulações teóricas e estéticas das imbricações entre o ler e o ver na poesia visual dessa época. Nesse contexto, o presente artigo destaca a obra do poeta mato-grossense Silva Freire, o qual releu os elementos neobarrocos e concretos da arte de sua época à luz de sua cultura local, evidenciando uma outra possibilidade de entender a poesia visual: sob a lente regional de Cuiabá. Para tanto, analisa-se aqui como o barroco se revela tema, figura retórica e até mesmo item lexical na poesia freireana, mas apartado do eixo Bahia-Minas Gerais do século XVII e transmutado para o Mato Grosso do século XX.Palavras-chave: Silva Freire; barroco; regionalismo; Cuiabá.Abstract: The most recent studies about Brazilian visual poetry from the second half of the twentieth century have highlighted baroque influences on poems by Haroldo de Campos, Augusto de Campos and DécioPignatari. However, research studies on poetic avant-gardes from the 1950 to the 1970 are still excessively limited to the poetry from Rio-São Paulo, with few exceptions (such as the studies on Ferreira Gullar). Nevertheless, artists from Mato Grosso, still disregarded by scholars from other states, actively and intensively contributed to the theoretical and aesthetical discussions on the reading and seeing of visual poetry at that time. This paper highlights the work of a poet from Mato Grosso, Silva Freire, who reinterpreted the neo-baroque and concrete elements of the poetry from his time under the lenses of his local culture. Thereby, he evidenced another way to understand visual poetry: from the regional perspective of Cuiabá. To do so, we herein analyze how baroque can be considered as a theme, a rhetorical figure and a lexical item in Freire’s poetry; and how that poetry detaches baroque from the seventeenth century in Bahia and Minas Gerais and brings it to the twentieth century in Mato Grosso.Keywords: Silva Freire; baroque; regionalism; Cuiabá.

scholarly journals NEW HORIZONS IN BRAZILIAN CONTEMPORARY MUSIC: GRUPO NOVO HORIZONTE DE SÃO PAULO, 1988–99

Tempo ◽  
2018 ◽  
Vol 72 (284) ◽  
pp. 52-67 ◽  
Author(s):  
Christopher Dromey
Keyword(s):  
Twentieth Century ◽  
Classical Music ◽  
Contemporary Music ◽  
Sao Paulo ◽  
São Paulo ◽  
Pierrot Ensemble ◽  
New Horizons ◽  
Contemporary Classical Music ◽  
Late Twentieth ◽  
Late Twentieth Century

AbstractBrazil's foremost ensemble of the late twentieth century, Grupo Novo Horizonte de São Paulo, transformed Brazilian contemporary music by cultivating a new mixed-chamber repertory and giving sustained support to a generation of emerging composers. That this cosmopolitan group took, then outgrew, the Pierrot ensemble as its cornerstone signals the medium it forged: a localized, evolving spectacle with a richly internationalist heritage. This article offers a panoramic view of the musical, intercultural and historical contexts that underpin Grupo Novo Horizonte's practices and legacy. Analysing landmark works by Sílvio Ferraz, Harry Crowl and others allows us to draw further connections between the group, the Brazilianness of late twentieth-century compositional aesthetic, and the realities of contemporary classical music-making in Brazil.

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