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A Imagem dos Navegadores Portugueses na Literatura Inglesa Setecentista: Robinson Crusoe, Captain Singleton e Gulliver na Senda das Rotas Marítimas Portuguesas
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War Abroad and War Within: a British Military Officer’s View of Portugal’s Revolution of 1917
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What's in a title?: Sonnets from the Portuguese (1850), de Elizabeth Barrett Browning enquanto Pseudotradução (Camoniana) e Pseudo-antologia de Cariz Anglo-Português
No full textIn 1850, the poet Elizabeth Barrett Browning (née MoultonBarrett, 1806–1861) published, in her anthology Poems, the series of sonnets entitled “Sonnets from the Portuguese”, which would later be published in a single volume. The series’ title suggests the exercise of an Anglo-Portuguese pesudotranslation, a fictional device that I analyze in this article, alongside the ‘anthologization’ of Portuguese poems supposedly translated by Browning. The sonnets were fictionally attributed to the ‘Portuguese’ Catarina (loved by Camões) to whom Browning had previously attributed a voice and amorous agency in her famous poem “Catarina to Camoens”, and therefore I also analyze the cult of Camões’ sonnets in England, especially after the publication of the anthology edited and translated by Lord Langford, Poems from the Portuguese of Luis de Camoens (1803
Visual Perceptions and Written Impressions of the First World War at the Time of Portuguese Modernism: Anglo-Portuguese Military Intervention
No full textThe first conflict on a world-wide scale broke out just as the Modernist Movement in Portugal was taking its first steps. Britain’s resistance towards Portuguese participation in the War, and the exacerbated positions of those in favour and those against it, were reflected in both illustrations and articles published in the periodical press of the day, as well as in later accounts written by the members of the Portuguese Expeditionary Force (CEP). In certain cases, these written and visual narratives deconstructed stereotypes, whilst in others new cultural imagotypes of British allies were created. This article attempts to compare and contrast such deconstructions appearing in memoirs, with visual perceptions and written impressions of the conflict, published in the periodicals of the time. For the purpose of this paper, two, amongst them, have been selected: A Águia, in which Fernando Pessoa made his literary debut and to which several of the collaborators of Orpheu, the emblematic journal of Portuguese Modernism, also contributed; and Ilustração Portugueza, an important record of Portuguese life in the first quarter of the twentieth century, in which Stuart Carvalhais was one of most distinguished contributor
Intermedialidad y activismo: Artistas, hackers y produsuarios
No full textIn the post-digital age, the new dynamics of collective knowledge and cocreation grow to give visibility to unknown realities, unreported by mass media. From Protest Art to Investigatory Art, along the second half of the twentieth century there has been a long number of artistic proposals aimed to expand Investigative Journalism to create public awareness and instigate action against unfair realities. In the third decade of the 21st century, with the introduction of the term “media artivism” the aim is to emphasize the importance of activist Media Art practices. Along with a contribution of epistemological innovation within the framework of media archaeology, we explore the evolution in the artistic use of new media and the Internet as instruments of social consciousness and protest facing the new challenges that threaten the fifth power. There will be paid special attention to the role of hacktivism from data visualization to immersive installations and interactive projects to fight against obstructionist practices and disinformation dynamics for social change. En la era (post)digital surgen nuevas dinámicas de conocimiento colectivo y cocreación para dar visibilidad a realidades desconocidas, aún no cubiertas por los medios de comunicación. Del arte de protesta al arte investigador, a lo largo de la segunda mitad del siglo XX ha habido un gran número de propuestas artísticas encaminadas a expandir el periodismo de investigación para crear una mayor conciencia pública y fomentar la puesta en marcha de acciones contra realidades injustas. En la tercera década del siglo XXI, con la introducción del término “artivismo mediático” se persigue enfatizar la importancia de las prácticas de Media Art de corte activista. Junto a una contribución de innovación epistemológica en el marco de la arqueología de los medios, exploramos la evolución en el uso artístico de los nuevos medios e Internet como instrumentos de conciencia y protesta social frente a los nuevos desafíos que amenazan al quinto poder. Se prestará especial atención al papel del hacktivismo desde la visualización de datos a las instalaciones inmersivas y los proyectos interactivos en la lucha contra las prácticas obstruccionistas y las dinámicas de desinformación para favorecer el cambio social