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November 10th, 2019, there was another coup d’ etat in Bolivia. Evo Morales was forced to step down his presidential term after losing the “battle of the streets” due to to country's political oppositions. The fateful outcome came after the suggestion of abdication made by the commander of the Armed Forces, General Williams Kaliman. Political instability after the presidential election on October 20th decisively contributed to this event. These events promoted several debates trough universities circles and journalistic analyzes. At the same time, examinations on the subject were carried out by researchers dedicated to latin american history. We aim to contribute to debates in this article. Will we reflect on Bolivian history between 2006 and 2019. Will we evaluate Evo Morales' nearly 14 years of office and the motivations for the coup that ended with the Bolivian democratic and cultural revolution.

The interventional experience in rural communities of Ceará, based on the work with the Participative Inventory methodology and the debate around categories such as memory, patrimony and identity, constitutes a privileged stand to reflect on the present uses of the past in the production of narratives by social movements. The first part of the article identifies and analyzes problems concerning the Middle Jaguaribe region in Ceará, focusing on rural communities in the municipality of Potiretama. Afterwards, scrutinizing the problems rising from the construction of the Figueiredo Dam, we question the possibilities surrounding the historian's craft, with the following axial inquiry: is it possible to move from an analytical posture to a propositional one in the historical/historiographic field? Considering the contribution of cultural heritage as a variant of appropriation of the past and its transmission, we demonstrate the possibilities of public uses of history and its forms of presentation which, in this case, have helped in the struggle and resistance processes of countryside populations, such as: the construction of a community museum, the creation of historical and archaeological trails, painting and audiovisual workshops, and others.

This article discusses some practices of popular science and digital curation performed by the project Theory of History on Wikipedia. Since 2018, a group of college graduates and undergraduates has been editing entries on the Portuguese-speaking Wikipedia aiming to qualify Theory of History’s articles onthe online encyclopedia. In the first part, we systematize the practice of editing carried out by the group and its changes in face of the encountered difficulties. In the second part we analyze the entries in the category Theory of History, proposing to see Wikipedia as an outreach platform through the notion of digital curation. Finally, we point out some obstacles to be overcomed in order for the project to fulfill its mission of popularization of historical knowledge through Wikipedia.

Nicanor Parra’s thought and work can be read as an incisive expression of the Latin American critic thought: a critique of the efficacy of modernity’s greats projects and narratives. They also represent an attempt of vitalize and subvert the means and models of the public debate about the policy, the history, the art and the life through the poetic expression, even if it has to become anti-poetic. Using various documentary supports (literary production, speeches, interviews and witnesses), this article aims to explore the paths and functions assumed by the anti-poetry in the cultural arenas (Chileans and Latin Americans) and link the work of Nicanor Parra to certain catalysing means of social and political demands of the present time.

This article examines discursive languages that the Regional Museum of Iguaçu built for itself and for its public, associated with the preservation of the environment and cultural heritage. In the second approach, the public of the museum exhibitions on social networks and forms of interaction with the Regional Museum of Iguaçu are analyzed. Based on the concepts and practices of public history, the objective is to contribute to the planning of exhibitions and to study the relationship between museum collections and audiences.

The article discusses experiences of the Laboratório de Imagem e Som, based at the Departament of Social Sciences at the Federal University of São João del-Reil, by focusing on its connections with Public History, therefore, it highlights two of its nuclear projects: the Memorial Clara Nunes and the Carrancas’ Slave Rebellion. Theeoretical and methodological dimensions of narratives regarding memories and black cultures are nuanced, as the experiences of these projects with related communities are addressed. Acoordingly, the centrality of sharing and the development of historical consciousness in the process of interaction with the public was highlighted, both in the realm memory and through new digital media.

The article analyzes two projects proposed and implemented in 2019, on the occasion of the beginning of the commemoration of the seventy years of University of the State of Rio de Janeiro (UERJ): the preparation of the book 70 years UERJ: 1950 - 2020 and the thematic exhibition ESQUELE7O - 70 years of UERJ. The connections of these experiences with Public History were based on their relationship with historiography and memory and thought on three fronts: the collaborative character of the book and the exhibition, which involved teachers, scholarship students, technicians and, in the case of the exhibition, artists, in a shared authorship; the search to build an institutional history that was not laudatory, escaping from narrating a trajectory guided by the succession of administrators and their achievements, a criterion that guided both the writing of texts and the choice of photographs; and the assumption of the “Favela do Esqueleto” (Skeleton Slum) as a symbolic landmark of the university's commitment to fighting social injustices, making it possible to rethink the relationship between the public university and the publics who enjoy the services emanating from this institution, as well as the urban landscape in Rio.

This article explores the collection of the Project History in Quarantine, a public history initiative disseminated through the internet. Practiced during the Covid-19 pandemic as part of the Public History repertoire, the experience left a legacy of approximately 150 hours of recorded material made available on Facebook and Youtube. The content produced highlights the project's potential for teaching and historical research on socially alive issues. Based on this logic, we selected the video series “Myths of the Dictatorship” in Brazil. Our approach consisted of systematizing the main “myths” that appear in the debate and how historiography has contributed to its problematization. In addition, we reflect on the research agendas raised by the discussions. The Project History in Quarantine is a laboratory for reflection on the possibilities and dilemmas of scientific dissemination and its connection with public history.

História em Quarentena was a public history project designed to deal with the uncertainties generated by the health crisis resulting from the pandemic of covid-19, proposing to reflect on issues related to the dissemination of historical knowledge. Based on the theoretical-methodological parameters of public history, this article analyzes the main guidelines that marked the História em Quarentena project, in addition to narrating its development and evaluating its results. In this discussion, the perception of success and failure, the importance of public history as a tool to expand the insertion of historical knowledge in the public sphere in times of crisis, and also the challenges of developing such an enterprise in the face of the difficulties created by the pandemic, gain special relevance. The transformations of the initial proposal of the project, which occurred during its development, can act as a key to understand the difficulties that public history has in attracting a wide audience. It is also indicated the need for historians to be careful about the questions posed by the present to facilitate the establishment of dialogues with the society, preventing historiographic productions from circulating only among their equals

History magazines have become tools for disseminating representations of the past that reached a wider audience than the academic community. In a diversity of printed media in contemporary culture, some publications have been the target of criticism for escaping the rules of history constituted in the strictness and routines of historiographic methods, whereas other publications have been recognized for the dissemination of college researches to the general public, promoting debates about the social place of historical production. In Brazil, in what has been understood as the social demand for history at the beginning of the 21st century, beyond isolated editorial projects, historical dissemination magazines became part of a set of similar productions from other countries. Thus, this article proposes a mapping of journals considering the implications of the history of mass dissemination in the historiographic field and the Brazilian experience of printed matter that has strengthened the debate about mediations of the past among scholarly historians and the non-specialized public.

After the Brazilian independence, liberal ideas were adopted and the hierarchical models of the Old Regime began to be rethought. Although the nobility was incorporated into the new Empire it was not in a peaceful and unchallenged way. Some political groups questioned the existence of the nobility in opposition to the hierarchical model of the liberalism, where there would be primacy of merits, capacities and virtues. In the search for a deep incorporation of liberal criteria, certain political actors, called "exalted" and radical liberals, have incorporated terms such as equality and democracy into their vocabulary. The purpose of the article is to analyze the uses of these terms present in the newspaper Nova Luz Brasileira, attributed to this radical and exalted liberal current in order to establish the views on the social hierarchies present in it.

The brazilian integralism can be considered the greatest Latin American fascist expression movement. In Brazil, through integralists flags, it reached a significant expansion in practically all states. In Minas Gerais, it was actively present in several cities, promoting an authoritarian and conservative speech in a society seen as insecure. With such scenario in view, using the documentation produced by the Department of Political and Social Order of Minas Gerais (DOPS-MG) and the integralist press, the purpose of this article is to analyze the integralist performance in the traditional town of São João del-Rei, highlighting two central references still unknown to historiography: the Integralist University Congress cancellation and the integralist politics introjection in the town’s society, which marked political personalities such as the councilman at the time, Tancredo de Almeida Neves.

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In this essay we try to demonstrate that the present and the future are also history and must be dimensions of historiography. For that, we return to episodes from our book Almanac da COVID-19 and some of our readings of key moments of this year in order to reflect on what we have called updatist historicity. In some moments we use the retrospective as a tool, in others we choose to maintain the anachronistic effect of certain passages in order to highlight the contingent aspect of all representation of time. We divided the text into three main parts. The first presents the most recent shifts in the hypothesis about an updatist historicity. In the second, we gathered some episodes from 2020 as a way to elucidate what we are calling updatism in its relations with politics and history and, finally, we point out preliminary paths for action with counter-updatist effects.

Entrevista com Maria Odila Leite da Silva Dias

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.