OJS (Centro de Investigação em Artes e Comunicação)
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A writer looking for himself: A reading of Páginas (I), by Ruben A., in the light of studies in literature and tourism
Full text linkPáginas (I), livro de estreia do escritor português Ruben A., é um misto de diário e ficção em que se narram algumas viagens do autor pela Europa e pela América entre 1947 e 1949. Neste ensaio pretendo situar esse livro nos estudos em literatura e turismo, valendo-me de algumas categorias próprias desse campo de conhecimento. Primeiro, procuro justificar por que o Ruben A. de Páginas (I) reúne simultaneamente características de turista e viajante. Depois, analiso suas deslocações como turista cultural, ávido pelo contato com as produções artísticas dos maiores centros de cultura do Ocidente. Na sequência, dedico-me ao Ruben A. turista literário, na relação com Thomas Hardy, e peregrino literário, na relação com Shakespeare, explicitando, neste último caso, os efeitos que o contato com o autor-Deus produzem no discurso. Um segundo objetivo deste ensaio, além de situar Páginas (I) nos estudos em literatura e turismo, é investigar as motivações do viajante Ruben A., partindo da premissa de que suas deslocações têm um significado especial. É por isso que, ao final, procuro demonstrar a tese de que suas viagens decorrem de uma demanda ao mesmo tempo existencial e artística que resulta na produção de um livro, no desenvolvimento de uma expressão própria e na criação de um nome literário com o qual assina suas futuras obras autobiográficas e ficcionais.Páginas (I), the debut book by Portuguese writer Ruben A., is a blend of diary and fiction recounting the author’s travels across Europe and America between 1947 and 1949. In this essay, I aim to position this book within the realms of literature and tourism studies, utilizing certain categories intrinsic to this field of knowledge. Firstly, I seek to justify why Ruben A. in Páginas (I) simultaneously embodies characteristics of both a tourist and a traveler. I then analyze his journeys as a cultural tourist, eagerly engaging with the artistic productions of the major cultural centers of the Western world. Subsequently, I delve into Ruben A. as a literary tourist, exploring his relationship with Thomas Hardy, and as a literary pilgrim, examining his connection with Shakespeare. In the latter case, I elucidate the effects that the encounter with the author-Deity has on the discourse. A secondary objective of this essay, in addition to situating Páginas (I) within literature and tourism studies, is to investigate the motivations of the traveler Ruben A., operating on the premise that his movements hold a special significance. Therefore, I conclude by demonstrating the thesis that his journeys stem from an existential and artistic demand, resulting in the creation of a book, the development of a unique expression, and the establishment of a literary name under which he signs his future autobiographical and fictional works.Páginas (I), the debut book by Portuguese writer Ruben A., is a blend of diary and fiction recounting the author’s travels across Europe and America between 1947 and 1949. In this essay, I aim to position this book within the realms of literature and tourism studies, utilizing certain categories intrinsic to this field of knowledge. Firstly, I seek to justify why Ruben A. in Páginas (I) simultaneously embodies characteristics of both a tourist and a traveler. I then analyze his journeys as a cultural tourist, eagerly engaging with the artistic productions of the major cultural centers of the Western world. Subsequently, I delve into Ruben A. as a literary tourist, exploring his relationship with Thomas Hardy, and as a literary pilgrim, examining his connection with Shakespeare. In the latter case, I elucidate the effects that the encounter with the author-Deity has on the discourse. A secondary objective of this essay, in addition to situating Páginas (I) within literature and tourism studies, is to investigate the motivations of the traveler Ruben A., operating on the premise that his movements hold a special significance. Therefore, I conclude by demonstrating the thesis that his journeys stem from an existential and artistic demand, resulting in the creation of a book, the development of a unique expression, and the establishment of a literary name under which he signs his future autobiographical and fictional works
Ô Saisons, Ô Châteaux and Du Côté de la Côte: the touristic films of Agnès Varda
Full text linkThis paper explores Agnès Vardas’ first documentaries: Ô saisons, ô châteaux (1957) and Du côté de la côte (1958), two films that were commissioned to her by the Office de Tourisme de France. Taking the link between travel and film as a starting point – a link that is present in travelogues, exploration films and tourist films – our journey through these short films is based both on the analysis of the films themselves and on Varda’s speech about their creation. By closely analyzing these strikingly creative pieces, we can find trademarks of Vardian cinema, namely what would come to constitute the foundations of the cinematographic style claimed by Varda herself, that of cinécriture. The use of humor and a sociological and lyrical approach are some of the elements that display her uniqueness as a filmmaker, taking viewers on a geographic-tourist representation, that is also a cinematographic journey.This paper explores Agnès Vardas’ first documentaries: Ô saisons, ô châteaux (1957) and Du côté de la côte (1958), two films that were commissioned to her by the Office de Tourisme de France. Taking the link between travel and film as a starting point – a link that is present in travelogues, exploration films and tourist films – our journey through these short films is based both on the analysis of the films themselves and on Varda’s speech about their creation. By closely analyzing these strikingly creative pieces, we can find trademarks of Vardian cinema, namely what would come to constitute the foundations of the cinematographic style claimed by Varda herself, that of cinécriture. The use of humor and a sociological and lyrical approach are some of the elements that display her uniqueness as a filmmaker, taking viewers on a geographic-tourist representation, that is also a cinematographic journey.Cet article s’intéresse aux premiers documentaires d’Agnès Varda: Ô saisons, ô châteaux (1957) et Du côté de la côte (1958), deux films commandés par l’Office de Tourisme de France. En prenant pour point de départ le lien entre l’acte de voyager et celui de filmer- présents dans les récits de voyage, les films d’exploration et les films touristiques -, notre examen de ces deux courts métrages s’appuie à la fois sur l’analyse des films eux-mêmes et sur le discours de Varda au sujet de sa création. En regardant de près ces œuvres créatives sui generis, on peut y retrouver les empreintes du cinéma vardien, à savoir ce qui constitue les fondements du style cinématographique revendiqué par la réalisatrice elle-même, celui de la cinécriture. L’utilisation de l’humour et une approche sociologique et lyrique sont également quelques-uns des éléments qui mettent en avant la singularité de la cinéaste, emmenant le spectateur vers une représentation géo-touristique et celle d’un voyage cinématographique.This paper explores Agnès Vardas’ first documentaries: Ô saisons, ô châteaux (1957) and Du côté de la côte (1958), two films that were commissioned to her by the Office de Tourisme de France. Taking the link between travel and film as a starting point – a link that is present in travelogues, exploration films and tourist films – our journey through these short films is based both on the analysis of the films themselves and on Varda’s speech about their creation. By closely analyzing these strikingly creative pieces, we can find trademarks of Vardian cinema, namely what would come to constitute the foundations of the cinematographic style claimed by Varda herself, that of cinécriture. The use of humor and a sociological and lyrical approach are some of the elements that display her uniqueness as a filmmaker, taking viewers on a geographic-tourist representation, that is also a cinematographic journey
The trope of water in Ulysses used as a tool in reading the city of Roskilde
Full text linkThis article attempts a reading of Roskilde, a Danish provincial town with a long history as the former capital of the kingdom of Denmark. The city was founded with the aim of exploiting the unusually large number of springs – an exploitation both the church and kings and merchants benefited from. The reading of Roskilde is based on James Joyce’s Ulysses and to a particular extent on the water motif in this novel. Ulysses is used as an objective or a lens through which the importance of water for the development of the city becomes clear. Water is not simply a material element in the production of cities, but also a critical dimension to the social production of space and place and it continually interacts with political, socio-economical (in relation to gender, medicin, age, drink, power) or religious spheres, as the case of Roskilde shows. Joyce makes it clear that water is not just water. Water’s inherently ambiguous character, as well as its phenomenological dimensions, including its powerful affective and sensual features, makes this trope an effective tool in the study of the relationship between literature and place
Tuna traps in the Algarve: The literary vision of Raul Brandão, Sousa Costa and Manuel Teixeira Gomes
Full text linkA pesca do atum foi desde a Antiguidade até, pelo menos, à década de 70 do século XX, uma das grandes riquezas da região do Algarve. As armações de pesca colocadas anualmente em alto mar frente à costa algarvia, tiveram um significativo impacto político, económico, ambiental e social nesta região. Estas incentivaram a deslocação sazonal de grandes massas humanas para a linha de costa, onde construíam pequenas aldeias – arraiais – para dar apoio à pesca. A influência e beleza desta pesca ficaram registadas não só na documentação histórica, mas também em produções artísticas e culturais como na pintura e na literatura. Serão considerados os relatos de viagem de três autores, através da análise do conteúdo das suas obras que enquadram a sua experiência de observação da captura de cardumes de atuns em armações fixas na década de 1920. Os verdadeiros labirintos de redes, boias e âncoras que aprisionavam estes animais durante a sua migração biológica entre o Oceano Atlântico e o Mar Mediterrâneo e também depois no seu regresso ao Oceano, foram o cenário das suas observações e narrativas.
Os textos de Raul Brandão, Sousa Costa e Manuel Teixeira Gomes serão apresentados a partir das Humanidades Azuis, que consideram nas obras literárias as relações entre as sociedades humanas e o resto do mundo natural. Esta abordagem permite-nos revisitar um Algarve de outrora, em parte absorvido pelas construções no litoral e as consequências do turismo e da pressão imobiliária a que a região tem estado sujeita nas últimas décadas, no qual a relação entre as pessoas e o ambiente costeiro é o centro da história vivida e contada.
From ancient times until at least the 1970s, tuna fishing was one of the Algarve region’s greatest assets. The fishing traps set up every year on the high seas off the Algarve coast had a significant political, economic, environmental and social impact on the region. They encouraged the seasonal relocation of large masses of people to the coastline, where they built small villages – arraiais – to support the fishing. The influence and beauty of this fishing have been recorded not only in historical documentation, but also in artistic and cultural productions such as painting and literature. The travel accounts of three authors will be considered, by analyzing the content of their works, which frame their experience of observing the capture of schools of tuna in fixed traps in the 1920s. These veritable labyrinths of nets, buoys and anchors that trapped these animals during their biological migration between the Atlantic Ocean and the Mediterranean Sea, and then on their return to the ocean, were the setting for their observations and narratives.
The texts by Raul Brandão, Sousa Costa and Manuel Teixeira Gomes will be presented from the perspective of the Blue Humanities, which considers the relationship between human societies and the rest of the natural world in literary works. This approach allows us to revisit an Algarve of yesteryear, partly absorbed by construction on the coast and the consequences of tourism and real estate pressure to which the region has been subjected in recent decades, in which the relationship between people and the coastal environment is the center of the story lived and told.From ancient times until at least the 1970s, tuna fishing was one of the Algarve region’s greatest assets. The fishing traps set up every year on the high seas off the Algarve coast had a significant political, economic, environmental and social impact on the region. They encouraged the seasonal relocation of large masses of people to the coastline, where they built small villages – arraiais – to support the fishing. The influence and beauty of this fishing have been recorded not only in historical documentation, but also in artistic and cultural productions such as painting and literature. The travel accounts of three authors will be considered, by analyzing the content of their works, which frame their experience of observing the capture of schools of tuna in fixed traps in the 1920s. These veritable labyrinths of nets, buoys and anchors that trapped these animals during their biological migration between the Atlantic Ocean and the Mediterranean Sea, and then on their return to the ocean, were the setting for their observations and narratives.
The texts by Raul Brandão, Sousa Costa and Manuel Teixeira Gomes will be presented from the perspective of the Blue Humanities, which considers the relationship between human societies and the rest of the natural world in literary works. This approach allows us to revisit an Algarve of yesteryear, partly absorbed by construction on the coast and the consequences of tourism and real estate pressure to which the region has been subjected in recent decades, in which the relationship between people and the coastal environment is the center of the story lived and told.
 
Finding redemption by educating the masses: the shift in Portuguese intellectual discourses around silent cinema: A procura da redenção mediante a educação das massas: a mudança nos discursos dos intelectuais portugueses sobre o cinema mudo
Full text linkIn this article I aim to identify, among the various discourses that were elaborated about the effects of cinema during the first decades of the twentieth century, those that were central reactions of the Portuguese intellectual elite during the decade from 1914 to 1924. While in the mid-1910s, cinema was severely critiqued for its demoralizing effect on the masses, at the beginning of the 1920s a difference was coined between the cinema made abroad and the “typical Portuguese” cinema. The hypothesis that I develop is that the main reason that nuanced the discourse against cinema was the beginning of a precarious film production industry in Porto and Lisbon that lasted from 1918 to 1925. In this sense, cinema found redemption in its indoctrinating potential, reason why part of the intellectuality and bourgeoisie argued to work in cinema, despite its inherent contradictions. In addition, the modernist discourse in favor of mass culture imported from the United States and symbolized by cinema gained strength after the First World War. In this article, the dynamic between rejection and acceptance is exemplified by the writer and film producer Virgínia de Castro e Almeida’s trajectory, who, in 1922, created Fortuna Films and produced two feature films with a pedagogic and patriotic mission, although, in 1914, she had warned about the harmful effects of cinema in the masses’ moral
A representação das mulheres Invicta através dos seus figurinos: The representation of Invicta women through their costumes
Full text linkHá pouco mais de 100 anos, nasceu na cidade portuense uma das primeiras “fábricas de cinema” português. A Invicta Film produziu vários filmes mudos que marcaram os primórdios da indústria cinematográfica nacional. Este artigo visa analisar os figurinos utilizados pelas personagens principais femininas de três obras distintas da produtora: Os Fidalgos da Casa Mourisca; Barbanegra e As Mulheres da Beira. No intuito de permitir que o figurino fale por si, numa época em que os atores ainda não tinham voz. Berta, D. Rita e Anna são as personagens escolhidas pela sua aparente diferenciação, tanto na narrativa como visualmente. São compreendidas as representações da mulher dentro da tipologia do seu papel e a sua tradução, coerente ou não, com o guarda-roupa escolhido. Ao reconhecer também o seu estatuto social e estado psicológico, é proposto desmistificar a era/época a que pertencem e a tendência de moda favorecida. Pretende-se também verificar se o figurino possui alguma credibilidade histórica, recorrendo a exemplos complementares de ilustrações e pinturas. Para liderar a leitura do tempo do figurino, será compreendido o seu modo sincrónico ou diacrónico. Sendo o departamento de figurinos vítima de fraca creditação, a análise destas obras relata o enobrecimento da área desde os seus primórdios em Portugal
Jornalismo e redes sociais: estímulos à competência midiática no Instagram Stories: Journalism and social media: incentives for media competence in Instagram Stories
Full text linkO desenvolvimento tecnológico trouxe consigo a necessidade de expandir habilidades para lidar com as novas formas de se comunicar. Na década de 1970, surgiram estudos associados ao processo de educação que buscavam identificar os usos das novas mídias, bem como a compreensão dos conteúdos midiáticos por parte do público. O jornalismo também sofreu alterações ao longo das décadas e, como um dos principais detentores da informação, possui papel fundamental no desenvolvimento destas capacidades, especialmente porque o advento da internet mudou o modelo tradicional de comunicação de “um-todos” para “todos-todos”. Baseando-nos nos indicadores de Ferrés e Piscitelli (2015), procuramos investigar a atuação do jornalismo no ambiente digital para estimular a competência midiática. A partir de uma análise do Drops, noticiário no Instagram Stories do jornal O Estado de S. Paulo, buscou-se discutir sobre os elementos utilizados pelo veículo que possam contribuir para a formação de usuários críticos de mídia. Os indicadores são divididos em seis grupos: linguagem; tecnologia; processos de interações; processos de produção e difusão; ideologia e valores; e estética. Averiguamos que algumas dimensões são extremamente limitadas dentro da proposta de análise do Drops como incentivo ao desenvolvimento de competência midiática, mas, por outro lado, outras conseguem alcançar a complexidade que envolve o ambiente digital e suas interações.Technological development brought the necessity to expand skills to deal with new ways of communicating. In the 1970s, studies associated with the education process emerged and sought to identify the uses of new media, as well as the understanding of media content by the public. Journalism has also been through changes over the decades and, as one of the main information holders, it has a fundamental role in the development of these capabilities, especially because the advent of the internet has changed the traditional communication model from “one-to-many” to “many-to-many”. Based on the indicators of Ferrés and Piscitelli (2015), we seek to investigate the role of journalism in the digital environment to encourage media competence. Based on an analysis of Drops, a news program on Instagram Stories of the newspaper O Estado de S. Paulo, we wanted to discuss the elements used by the newspaper that can contribute to the formation of critical media users. Indicators are divided into six groups: languages; technology; interaction processes; production and dissemination processes; ideology and values; and aesthetics. We found that some dimensions are extremely limited within the Drops analysis proposal as an incentive to the development of media competence, but on the other hand, other dimensions manage to reach the complexity that involves the digital environment and its interactions
