Repositório RCAAP

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Many books and articles were written about the thought of Karl Marx, but much fewer were written about Marx´s life per se. This article aims at providing an overview of the biographies of Marx written so far, covering from the first ones in the nineteenth-century to the ones in the twenty-first century. We will analyze the evolution of these biographies both in terms of formal-methodological quality and in terms of new factual evidence provided by them about Marx´s life.

According to historian Robert Darnton, in past societies with low literacy rates, poetry created communication networks that functioned as chronicles of everyday life. Based on this assumption, this article analyzes the poems of two monologues interpreted and published in Rio de Janeiro between 1892 and 1894, whose theme is the jogo do bicho. Our goal is to understand how their authors used them to enter into a broader debate of criticism of the process of modernization through which Rio de Janeiro passed in the late nineteenth century, which saw the criminalization of certain popular practices, Among them the game of the jogo do bicho.

Examining how philosophy operates the human/animal distinction throughout its history, Giorgio Agamben concluded that any concept of humanity should both exclude and include animal nature. He called this metaphysical device “anthropological machine” – the historical process that produces separations and reconciliations between humanity and animality (such as the relations between body and soul, for example). Inside this machine, there would be a zone of indetermination where it is possible to perceive the tension between people and animals, where the movement of separation is suspended and the machine itself exhibits its clunking gear. Could this moment be caught? Is it possible to visit this place? The premise of this research is that the photographic camera, as an anthropological machine, has its anthropogenic role particularly visible when humans are photographed accompanied by dogs. Discussing works by painters such as Velasquez and Rembrandt and photographers such as Robert Capa and William Wegman, this essay aims to justify this premise.

Isidro Velázquez is known as the last “insurgent gaucho” of the northeast of Argentina. In 1967 he was shot by the police in the Chaco province. His mutilated body, andthat of his friend Vicente Gauna, were exhibited in public in several cities and photographs reproduced the bodies, those that circulated around provincial and national media. This paper analyzes the construction of devices of spectacularization of death and violence settled down by the State. It argue the way in which the photographs of Velázquez’s body are based onto ways of seeing death bodies. It comes from certain iconographies firmly setted like paradigmatic representations in the history of universal art and Latin American´s visual culture. This work also make an approach on the role of these public images and its photographic recreations in the process of mythification and popular sanctification of Isidro Velázquez. It is an interdisciplinary analysis with tools of art history, cultural history and visual studies.

In September of 2015, the photograph of the corpse of the Syrian boy Aylan Kurdi by Nilüfer Demir caused a world commotion. The child was drowned in the Aegean Sea during an attempt to flee the civil war in Syria. His body was found on a tourist beach in Turkey. The present case study seeks to answer a question: why this and no other images of children in very similar situations, the closest example being that of his brother Galeb, killed in the same way and on the same beach have become a symbol of the tragedy that struck those who, between 2015 and 2016, moved towards Europe in search for survivalor a better life. For the answer, it will be necessary to identify the iconic potential of the image, to establish the relationships between photographic materiality and its index value, the power of agency and the new paths of the circulation that today the images have thanks to digital social networks. Without the ambition to be a historiographic contribution to better know the event, the article intends to contribute to a methodological discussion about the image in contemporary culture. And, to do so, it Aligns with the perspective of analysis carried out in 2002 by the historian Ulpiano Bezerra de Meneses on the photograph of Robert Capa, which records the moment of the death of the young militian Federico Borrell García, in September 1936, hit by a shot, being surprised by the Franco forces in the open fields of Cerro Muriano, near Cordoba. The aim is not a comparative study between Aylan and Borrell Garcia photographs, but the adoption of the methodological script proposed by Meneses, now applied to the photojournalistic image made by Demir, and with that to understand what new can be said about the circuit of type of images in digital networks.

We analyze the second era of Tía Vicenta, the Argentinian satirical magazine founded and edited by Landrú (Juan Carlos Colombres). The magazine had a groundbreaking first period of publication between 1957 and 1966. The second era of the magazine spanned from November 1977 to July 1979, during the most recent military dictatorship of Argentina, the  self-appointed “Process of National Reorganization”. We reconstruct its publishing history alongside the general shape of Argentinian graphic humor in the seventies. Through the analysis of Landrú’s links to the military, his ideology, and the images and texts that appeared in it, we isolate two coexisting points of view within it: a respectful position regarding the dictatorship’s project of order and political oppression, and a heavy critique regarding its economic program. The explanation for this lies both in the personal politics of Landrú as well as in the context in which the magazine appeared. We conclude by stating that the same type of absurd humor and impartial political position that had allowed Tía Vicenta to prosper in the sixties was anachronic and even reactionary in the changed landscape of seventies’ Argentinian graphic humor, which may explain its demise and erasure from most recollections of the period.

The objective of this article is to understand how Mexico made use of a visual discourse, more precisely photographic, as a strategy of diplomatic, cultural and political propaganda in Brazil. For that I will use as a source and object the book “México sus recursos naturales, su situación actual: homenaje al Brasil en ocasión del primer centenario de su independencia 1822-1922”. This book, edited by the Secretaría de Industria Comercio y Trabajo, has 320 pages. The construction of his narrative is largely anchored in photographs, which demonstrates the importance that the image had for the Mexican authorities. This publication is part of the Mexican participation in the exhibition commemorating the Centennial of Independence of Brazil, held in Rio de Janeiro in 1922. The book is part of a wide Mexican participation in this exhibition that had a pavilion, murals, films and other visual devices.

After the death of Benjamin Constant in 1891, his image of Founder of the Republic was manufactured by a fraction of the political elites and, above all, by the Brazilian positivists. This heroic image materialized in pictures that migrate from place to place, in different formats and sizes, from the private to the public. This text tries to analyze the historical meanings of this process through the mapping of the trajectories of the pictures, their migrations, resignifications and limits. Positivist republicanism of the late nineteenth century sought to generate a citizen-observer, an individual of the belief in secular and heroic images. To this end, the image of Benjamin Constant was instrumentalized and projected, through his death, into the public space. Thus, his pictures circulated in the press, appeared in monuments, in the fine arts and in the museum that, to this day, preserves his documents and promotes his biography. Finally, the text evaluates the importance and limits of the resumption of the discussion around the mobilization of national images and pictures in times of political crisis.

MRAZ, John; MAUAD, Ana Maria. Fotografía e historia en América Latina. Montevideo: Intendencia de Montevideo/Centro de Fotografia de Montevideo, 2015. 262 p.

The city of Rio de Janeiro and the themes that interweave its history have been covered by the most diverse types of photographic books, launched in Brazil and abroad, for over a century. Considering the complex and multifaceted nature of textual and visual narratives presented in these works, as well as the requirement of a multidisciplinary approach to the theme of inequality within a history of concepts, this article seeks to problematize the visuality of poverty in the representation of the so called “Carioca landscape”, taken here as a symbolic and patrimonial construction. The current research is premised on the polysemy of landscape and inequality and their multiple epistemological dimensions, as concepts that cross philosophy, law, sociology and history, as well as literature and the arts in general. The article deals more closely with the life and work of German photographer Hans Mann (?-1966) and the photo books heproduced on South America, published between the 1940s and 1960s, specially the one dedicated to Rio de Janeiro (Zauberhaftes Rio/Strolling through Rio, 1958).

Fashion photography, especially after the 1960s, has freed itself from the task of representing fashion as commodity, becoming experimental or unconventional, and further, narrowing its relations with art. It also characterizes fashion photography, the fact that, today, in addition to its commercial purposes, it has a consent to discuss issues that other types of images do not present.The aim of this article is to discuss the possibilities of using fashion photographs in academic research and the issues they generate in terms of beauty, gender and age.

LAIS. Tejedores de imágenes. Propuestas metodológicas de investigación y gestión del patrimonio fotográfico y audiovisual. México, DF: Instituto Mora, 2014. 311 p.

This article employs the concepts of genre and function as a contribution toward developing methodologies for analyzing photographs from a historian’s perspective. The genre of photojournalism is examined in terms of the different functions carried out by what are defined as press photography, photojournalism, photoessays, and documentalism. It indicates that the misunderstandings generated by practitioners of the genre are a product of thinking that the rules of one function apply to the entire genre. It is hypothesized that historical analysis may be facilitated by establishing photographic genres, and distinguishing between the different functions therein.

This article analyses the way in which the Presidents of the Portuguese Republic have been using the Order of Freedom, an honorific order created after the break down of the dictator ship to honor those who fought for freedom and democracy, based on the 501 decorations awarded between 1977 and July 2017. The question that this article ask sis: Is the Order of Freedom used as a political reward or merely symbolically? The results show that the symbolic dimension prevails but the analysis of the profile of the decorated and of the presidential mandates reveals patterns that do not allow us to abandon the hypothesis of the instrumentalization of the order.

BATTISTELLA, Dario. Théories des relations internationales. 5. ed. Mise à jour et augmentée. Paris: Presses de la Fondation Nationale des Sciences Politiques, 2015.

The goal of this paper is to analyze the representations of the Stroessner dictatorship and its opponents in the Paraguayan novel Asunción Bajo Toque de Siesta (2007), by Hermes Giménez Espinoza. We believe that these representations constitute a criticism of testimonies about the dictatorship because point to a “emptying” of public space and a disbelief in partisan and institutional politics as transforming instruments of society. In the novel, the disappointment with partisan and institutional politics triggers memory processes not only of stronista period, but also of the entire Paraguayan history. Based on the Paraguayan history and literature, we aim to possible explanations about these memory processes and their political and identity implications.

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