CEM – Cultura, Espaço & Memória (E-Journal)
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Da musealização da arte como possibilidade da sua experiência estética. Uma leitura a partir das posições de Valéry, Proust e Theodor Adorno
Get PDFThe present article is devoted to the «musealisation» of art from an aesthetic point of view. By analysing the essay Museum Valéry Proust by Theodor W. Adorno, we propose to consider the process of «musealisation » of art as an effective condition of possibility for its aesthetic experience. The positions on the subject set forth by Paul Valéry in Le problème des musées and by Marcel Proust in A l’ombre des jeunes filles en fleurs, as presented by Adorno, are the touchstone of this article. Accordingly, it is our purpose to discuss the (subjective) experience of the artistic object as its potential «second life» [Zweites Leben], opposed to the processes of cultural neutralisation of such an object. The recent studies on Odilon Redon developed by Dario Gamboni – and his concept of art suggestif, which comprises a remarkable notion of aesthetic experience – will be analysed
Nunca me esqueci de ti: a fotografia como memória de um lugar
Get PDFRegarding the elaboration of this article, which results from an academic investigation in History of Photography, within the studies of Visual Culture, we selected a Portuguese photographic record, dating from the years 50/60 of the 20th century, whose thematic falls on the landscape of the area of Fontainhas (Porto).As the main goals, we intended to elaborate the analysis of the photograph, addressing technical and formal issues, as well as sketching a small study about the photographer, Jorge Henriques. Nevertheless, the image was mainly read from the point of view of the history of the place: one of the first public walks of the city, stage of festivities and memories
O documentário «Instituto Moderno do Porto»: quando imagens em movimento celebram a inovação pedagógica
Get PDFOporto’s Modern Institute was one of the most innovative educational institutions of the early 20th century in Portugal. Although it was opened only for a short period of time (1914‑1918), this school left us important sources so that its pioneering intention did not fall into oblivion. One of them is a documentary, of 1916, currently in the custody of the Portuguese Cinematheque. This set of moving images, crossed with other sources, iconographic and written, allow us to know the school spaces and its innovative educational practices, but also something rare in the study of the History of Education – see their teachers, their students and the educational activities that were developed there, making us go back in time and see a «living school»
A imagem do vinho: o caso da Quinta do Vesúvio (Região Demarcada do Douro – Douro Superior)
Get PDFAlongside the development of trade marks, following the Paris Convention (1883) and the Madrid Agreement (1891), the wine sector would develop actions to recognize and create legal mechanisms for defending the regional brand.After analyzing the evolution of the legal framework of brands and denominations of origin in the wine sector, from the end of the 19th century until today, we will reflect on the label as «construction of the image abroad»1.Based on a semiotic approach to the image of wines, a brief analysis is made of the Vesuvius brand of wines produced and marketed by Quinta do Vesuvio in the Upper Douro, from the observation of ideas, symbols and signs of composition of some images of their brand registers, stamps and labels, between 1847, 1863‑1902, 1913‑1936 and 2009. It is made a historical review of the famous wines, Moscatel and Porto, which remained in the local‑global history of this agro‑industrial exploration and presents the long history of this emblematicQuinta that gave its name to this wine brand of prestige and value to the important wine companies that owned it: D. Antónia A. Ferreira & Suc. and Companhia Agrícola e Comercial dos Vinhos do Porto, or still hold it today, since 1989, the Symington Family Estates
A Memória da Guerra civil espanhola no Cinema: o caso de El Labirinto del Fauno, de Guillermo del Toro
Get PDFBeing the collective memory a social construct and a factor of identity for any community, how are we supposed to live with oblivion? How are we to live upon the deletion of the past (de‑memorizing)? Amidst the dispute at what to remember, it is possible to think of underground memories that express the spoken word of the excluded and of the neglected from the official memory. Shaping a new perspective on History accounts, innumerous filmakers consecrated their art to the experience of memory and the uses of oblivion. Amongst the many possible, we call upon Guillermo del Toro and his Labirinto del Fauno from 2006
Imagens (des)contínuas: representações visuais do cangaceiro Antônio Silvino no cordel
Get PDFThis article carries out a study of visuality related to the cangaceiro Antônio Silvino in cordel literature. The paper studies pictures present in the covers of seven flyers about Antônio Silvino published in the first half of the 20th century. Besides the cordel’s, the article dialogues with pictures published in two magazines: O Malho and Flor de Liz. The paper adopts two theoretical concepts: visual culture and pathosformenl which are used with the main intention of observing the visual continuities and discontinuities around the image ofthe cangaceiro Antônio Silvino in cordel literature. It was possible to observe that certain elements, «gestures» and signs of a culture and society do not isolate and end in themselves in their historical time, but they overcomethe barriers of temporalities, establishing connections and interconnections with images of other supports, contexts and historical temporalities. Likewise, it is possible to understand that the reutilization of pictures follows interests that pervade the editorial field, where authors and editors transit in memories andplaces that offer a visual repertoire that is taken to the construction of representations and visual narratives present in cordel literature
