Repositório RCAAP

Myrthes de Campos (1875-1965) is widely acknowledged as the first woman to have worked as a lawyer in Brazil. She received her law degree in 1898 and made her debut in a jury court the following year. Even though she often published in major newspapers and legal journals and presented contributions to academic conferences, her trajectory has received scarce attention from the point of view of intellectual history. This article presents an analysis of a group of texts in which she discussed the civil capacity of women, abortion, and jury courts. It argues that “the first woman lawyer” acted in ways that were more complex, contradictory, and challenging than depicting her as a pioneer or as an exceptional subject may suggest. By putting Myrthes de Campos’s writings in dialogue and in tension with her contemporaries, it aims to contribute to the study of women as intellectuals, as well as to the understanding of the changes legal practices and discourses underwent throughout the first decades of the twentieth century.

This work presents evidences of the Sigrid Pôrto de Barros trajectory in the museum field as a museum conservator. It is centered in the 1950s, when she became a National Historical Museum's employee, until the 1970s, time when she was head of Research and Pedagogical Museographic Assistance Section of the Museum's Educational and Cultural Activities Division. Although she is a professional with little recognition in the field's historiography, her performance evidences a career that faced towards the consolidation of the museums educative role, with emphasis in receiving school children public through implementation strategies in museums of Active School principles. For this investigation there were analyzes of reports, the professional's writing and other sources that assist the comprehension of Museum Education debates back in that time. The concept of intellectual mediator (GOMES; HANSEN, 2016) bases the argumentative construction in this research. The analysis shows that professionals of the museum field, expressively composed by women in Brazil, were up to date in debates about education and its possible links to museums, and that their actions legitimized those institutions as a learning space, which now is considered to be an expressive mark in the role of contemporary museums.

The article discusses the role and place of Harriet Martineau in the history of sociology, her life, works and contributions to the birth of this science of society that, in her time, was detaching from the philosophy plan. In addition, he discusses his legacy and initiates a dialogue between Martinian work and the sociological canon. Finally, she discusses themes central to the author and concludes that a persistent resumption of a research agenda on Harriet Martineau and her social studies is necessary, given the institutionalization and history of sociology. The article reiterates that the erasure of the sociology classics is a form of gender violence and epistemological violence that needs to be combated.

The article proposes a reflection on the pedagogical mediation practices configured in teaching, based on the experience of Professor Rosa. She worked at a school located in a slum complex in the city of Rio de Janeiro: Maré. Based on the statements given by the teacher, we will highlight a set of issues related to the place of gender and social belonging that intersect with the survival tactics of a northeastern migrant in the city of Rio de Janeiro, as well as with the repertoire of practices cultural / pedagogical mediation elaborated and put into action in the referred school institution. It is divided into five sections: the first develops a brief reflection on teaching, issues of gender, class and prejudice of place; the second addresses Professor Rosa's personal and formative trajectory; the third highlights some of its pedagogical mediation practices at Maré school; the fourth reflects on the symbolic dimensions that permeate teaching as a profession associated with the female gender, analyzing its repercussions on representations about the domestic / private space and the public space of the school; the fifth section indicates some of the mediation practices that the teacher, then acting as Principal, established with the outside school community and the Final Considerations take up some key ideas presented in the article.

María Rosa Lida (1910-1962) was a brilliant scholar and sagacious researcher, author of monumental books that became an inescapable reference. However, she did not reach to work as a teacher except sporadically, which prevented her from forming disciples. This circumstance was due in part to the fact that her teachers –Amado Alonso, Américo Castro– believed that the disciple's wisdom corresponded earlier to the silent environment of libraries and archives (and to hyper-specialized production for connoisseurs) than to the daily work of awakening interest in students. Another reason was that the rules of the University of Berkeley, where her husband Yakov Malkiel worked, prevented her from taking a tenure. Surrounded by men who could not compete with her gifts and did not need to do so for immediate benefits, she was overshadowed by the way in which she related to them and in which she bowed to the conditions of an intellectual world and a domestic primer that recommended that she be kept in a discreet background. The investigation of the correspondence that he had with Castro over fifteen years proposes a specific clipping on the ancillary condition that a woman of such extraordinary importance occupied.

The article examines the intervention of a group of female intellectuals in the field of children’s and Young Adult literature during the 1960s and the 1970s. It goes over the historical and cultural context of these intellectuals. It explores these intellectuals’ intervention in the cultural industry for children and young people and the censorship that they suffered throughout the dictatorial period. It examines a selection of stories and poems written by them in which there is an antiauthoritarian horizon for social justice, in which children are protagonists of social transformation. Finally, it reveals that these texts showcase unconventional women characters, who transgress gender parameters and ways to think femininity. It demonstrates that these authors turned into emblems of democracy and anti-authoritarianism in Argentina.

Resenha do livro MAUAD, Ana Maria; SANTIAGO, Ricardo; BORGES, Viviane Trindade. Que história pública queremos?: What Public History do we want? São Paulo: Letra e Voz, 2018.

This investigation analyzes two polkas published in the magazine A Estação (Rio de Janeiro, 1879-1904) as musical supplements; one of them was attributed to a recognized composer, while the other remained anonymous, which opens up to speculations on its possible female authorship. Music is contextualized throughout the magazine itself as both an object and a theme over dialogues with articles, narratives and it visual language. Using the concept of imagéité as suggested by Jacques Ranciére, our goal is to approach the intersection between the visible, the legible, and the audible layers in 29 compositions issued in the said magazine. The topic of female visibilities is addressed as well, and how they can be understood through women figures on the covers of musical scores, along with the public portrayal of the female composers of seven scores. It is also brought into discussion the subsequent erasure of these women, an analysis based on feminist criticism towards traditional musicology, which overestimates a “serious” repertoire over ballroom dances.

The text reviews the work Public history and history teaching, bringing together research results in the convergence between the two fields, with a significant presence of history teachers of basic education in continuing education. It argues that, if the expansion of public history has been seeking dialogue with teaching of history, not only has this dialogue recursively become one of the main threads in the weaving of the network itself, but also research and practices in teaching of history have renewed their meanings in dialogue with public history. Thus, being situated in a bubbling area of themes, problems, approaches, references and contexts, the work offers an important contribution to the configuration of a language in which the possibilities of articulation and encounter between the teaching of history and public history are expressed.

The article analyzes the trajectory and projects of Afro-Brazilian identity managed by Lygia Santos. Black woman and intellectual, daughter of musicians Donga and Zaira de Oliveira, her relationship with cultural production in Rio de Janeiro was investigated in the period between 1934 to 1980, from the analysis of her social position contextualized in three socio-political configurations: in your family, at Renascença Clube and at “Casa de Lygia Santos”. Through these spaces, the formation of identities built by the character is understood, as well as she became a mediator of cultural projects associated with black memories and identities in Rio de Janeiro. The article makes use of oral testimonies, searches in newspapers and public archives to build a profile of the trajectory and projects of the black intellectual.

This article seeks to give visibility and historical intelligibility to forms of intellectual demotion and ways of life experienced by a psychiatric patient admitted to the Psychiatric Hospital of Juquery between the 1940s and 1950s. Using her medical record, we can access part of her life experiences inside and outside the hospital. The patient in question has in common with others hospitalized there the fact of having elaborated works of art in the Painting Section of that Hospital, in addition to having her hospitalization marked by the indication of psychosurgery due to her “rebellious” behavior. In this sense, his case is quite representative of other hospitalization processes of female patients undergoing psychosurgery, the most radical psychiatric therapy of the time. Considering the production of works of art by this patient, who was even recognized at the Psychopathological Art Exhibition in Paris in 1950, a point of evidence for the disregard of her intellectual capacity rests on her artistic activity. This is because her indication for psychosurgery demonstrates the intentionality of her behavioral control through therapy to the detriment of her mental capacity, since the therapy involved risks of psychological and motor sequelae, in addition to the possibility of personality change. Through her medical record, we also recovered the patient's search for autonomy, recognition strategies inside and outside the hospital, in addition to forms of resistance against the intellectual demotion that the notion of mental pathology attributed to her.

This article analyzes the works of the writer Carmen Dolores – pseudonym of Emília Moncorvo Bandeira de Mello – in debates in regard to the rights of Brazilian women in early times of the Brazilian republic, using chronicles published in the Rio de Janeiro newspaper O Paiz as a privileged documentary base and in the book “Ao esvoaçar da ideia”, between 1905 and 1910. In a dialogue between cultural history and the history of intellectuals, the study focuses on the role of the author, known as a producer of cultural wealth in her literary work involving diverse genres, also as a cultural mediator, mainly exercised in the press, through her regular work as a chronicler. Thus, while commenting on light and varied subjects in her columns, she sought to enhance the awareness of readers in general, femail readers and society, in a broader sense, in favor of feminism, education and work, in the area of women’s rights, and in defense of divorce, in the direction of what she understood as social progress.

The article aims to address a new pattern of gendered sociability forged in the educational and scientific environments of the city of Rio de Janeiro in the 1940s and 1950s, where cultural mediation practices directed to science education and scientific dissemination were institutionalized. In those spaces emerged opportunities for recruiting students and professionals for scientific careers in institutions that after World War II began to offer professionalization opportunities for women. These issues are addressed in light of the relationship between Newton Dias dos Santos (1916-1989) a scientist cultural mediator and Dyrce Lacombe (1932-) a young student of whom he was a teacher, and guided to follow a scientific career.

Beatriz Roquette Bojunga (1911-1999) worked for 30 years at the National Institute of Educational Cinema or INCE, in the Portuguese acronym (1936-1966). Throughout that period she went from secretary to director of the film library, and her activities involved the organization of production, and the release of films from the first official producer of movies in Brazil. Being Humberto Mauro’s right hand, in contrast to what was established in the bibliography, she even participated in shooting. Thus, much more than a ‘handyman,’ as she defined her job, she would have been what is today called a production director, and the  effective promoter of INCE, acting as a cultural mediator between the institution, experts and the public she helped develop. This paper aims to expose that context, taking into consideration the silence of Bojunga’s own report on her status at INCE – due to the irrelevance attributed to women’s professional activities, by men and women alike, and due to the scarcity of written documentation about her actions. However, if such interdict points to gender issues, these are pervaded and clouded by social belonging.

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The article studies the growth of authoritarian tendencies in the context of Russian revolutions and Soviet socialism. After a period of transition, between October 1917 and July 1918, these trends were consolidated during the civil wars, between 1918 and 1921, considered as a revolution in the revolution, consummating an authoritarian cycle, the true cradle of Soviet socialism. War communism and the incorporation of a nationalist perspective would also be integral aspects of civil wars, transforming the meaning of the democratic cycle (revolutions of 1905 and 1917 - February and October), reorienting it in an authoritarian sense that would last until the disintegration of the Soviet Union in 1991.

The years 2020 and 2021 brought significant changes to our lives. New habits were introduced in everyday life from the need for social isolation and the way we face death was also radically affected. The article seeks to reflect on the fundamental role of the historian in recording the pandemic, based on the presentation of four works produced in this period that directly related the archive, memory, and the Covid-19 pandemic. The debate revolves around the possibility of reflecting on the "duty of memory" and the production of documents that may, in the future, help us understand how Brazil reached the level of more than half a million deaths from the disease in so little time.

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This article follows the trajectory of cultural policies in Brazil from its initial configurations to the present moment. The starting point is a brief discussion on the delimitation of the concept of cultural policies, whose distinctive aspects represent relevant theoretical-methodological assumptions for the proposed path. In addition to this conceptual discussion, and an extensive literature review, document analysis is used as a resource, in order to exemplify the decisive role of the interpretive activity of policy protagonists through speeches, official documents, interviews, letters and other primary sources. Given the relevance of the role of the State, the outlined itinerary emphasizes public policies for culture, without losing sight of their necessary interactions with the market of symbolic goods in the country over the years. 

This paper aims to analyze in a panoramic view how public policies destined to the audiovisual sector in Brazil were elaborated throughout the 20th and 21st century, and in which way they collaborated to develop a market in this area. We will start from the cinema’s small-scale stage in the beginning of the century, going through the first public policies for culture created in Vargas administration. During the civilian-military Dictatorship, we will see the centralization of the administration of culture, along with Brazilian cinema’s golden age with the creation of Empresa Brasileira de Filmes Sociedade Anônima (Embrafilme), a cycle that ended in Collor administration. We will expose how the incentive laws were fundamental to restore the national film market and generate Brazilian cinema’s retomada. Finally, we will discuss the Audiovisual Law, a decisive factor for a new stage of development for this sector, subsequently put into practice with the creation of Agência Nacional do Cinema (Ancine); and the most recent public policies for the area – the Audiovisual Sectoral Fund and the Cable TV Law.