{"id":11390,"date":"2025-11-20T14:57:29","date_gmt":"2025-11-20T14:57:29","guid":{"rendered":"https:\/\/gi-imperios.org\/blog\/?p=11390"},"modified":"2026-01-09T18:04:38","modified_gmt":"2026-01-09T18:04:38","slug":"images-of-history-material-and-visual-culture","status":"publish","type":"post","link":"https:\/\/gi-imperios.org\/blog\/images-of-history-material-and-visual-culture\/","title":{"rendered":"Images of History: Material and Visual Culture | Semin\u00e1rio Imp\u00e9rios & Mem\u00f3ria, Hist\u00f3ria e Sociedade"},"content":{"rendered":"
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\"\"No <\/span>dia 24 de novembro, das 10h \u00e0s 13h,<\/b><\/span> ter\u00e1 lugar um semin\u00e1rio conjunto do GI Imp\u00e9rios e do GI Mem\u00f3ria, Hist\u00f3ria e Sociedade, intitulado<\/span> Images of History: Material and Visual Culture<\/strong>, contando com a presen\u00e7a de investigadores visitantes do ICS-ULisboa. <\/span>O semin\u00e1rio decorrer\u00e1 na Sala 1, contando igualmente com a possibilidade de assist\u00eancia online atrav\u00e9s deste link<\/a> (ou utilizando o QR code dispon\u00edvel no cartaz).<\/span><\/span><\/div>\n<\/div>\n<\/div>\n
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Sobre os intervenientes e suas comunica\u00e7\u00f5es:\u00a0<\/span><\/div>\n<\/div>\n
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Andrea Flavio Rossi \u2013\u00a0Universit\u00e0 di Bologna<\/b><\/span><\/span><\/span><\/div>\n<\/div>\n
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Graphic Art as an instrument of Propaganda in the \u201830\u2019s and \u201840\u2019s Estado Novo<\/b><\/span><\/span><\/div>\n<\/div>\n
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Through the use of a comparative approach of analysis between the aesthetic and ideological implications of the Portuguese SPN propaganda campaigns and other countries known for their prolific propaganda ministries, this research aims to tackle, in addition to the better-known forms of inspiration that Fascist Italy has provided to the Estado Novo, a subtle conceptual common ground between Salazar\u2019s regime and other countries that fall under a different, and at the same time opposed, political ideology: such as the USA and USSR. Thanks to semiotics and the\u00a0<\/span>homology approach<\/i><\/span>\u00a0studied and developed by Renato Barilli as a way to analyze similar, yet different, cultural phenomena, it is possible to present, through a scientific approach, a systematic and interpretive framework to reveal underlying ideological parallels that transcend conventional political divides.<\/span><\/span><\/div>\n<\/div>\n
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Am\u00f3s del Castillo Petidier \u2013\u00a0<\/b><\/span><\/span>Universidad Complutense de Madrid<\/span><\/span><\/span><\/div>\n<\/div>\n
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Breaches of Consensus in the City of Exception: Politics and Policies in the Making of Expo \u201998 and Expo \u201992<\/b><\/span><\/span><\/span><\/div>\n<\/div>\n
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Expo \u201998 in Lisbon and Expo \u201992 in Seville are widely regarded as watershed moments in projecting a modern, European image of Portugal and Spain. Yet both events extended far beyond their celebrations, becoming exceptional development projects with lasting impacts. Emerging amid globalization and European integration, they reflected the drive to make cities more competitive and served as flagship initiatives of urban transformation.<\/span><\/span><\/div>\n<\/div>\n
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Despite their divergent outcomes, with Lisbon often praised as a model of urban planning and Seville still facing challenges of integration, both expos were grounded in a strong political consensus that continues to shape their legacy. This paper explores the breaches within that consensus during the planning phase, arguing that the scale of investment and innovation produced tensions with local realities. Focusing on the role of ad hoc organizing companies endowed with exceptional urban powers,\u00a0<\/span>Parque Expo 98<\/i><\/span>\u00a0and\u00a0<\/span>Sociedad Estatal Expo 92<\/i><\/span>, it shows how these dynamics shaped the future of both cities.<\/span><\/span><\/div>\n<\/div>\n
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Marcus Vinicius de Oliveira<\/b><\/span>\u00a0 –\u00a0IFRJ e LABHOI\/UFF<\/span><\/span><\/div>\n<\/div>\n
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\u00a0<\/span>\u201cO corpo e a alma de Portugal\u201d: Fotografia, Arquivos e Colonialismo portugu\u00eas<\/b><\/span><\/span><\/div>\n<\/div>\n
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A presente comunica\u00e7\u00e3o busca apresentar como o regime salazarista estruturou uma rede de compartilhamento e arquivamento de fotografias a fim de controlar e difundir determinadas imagens visuais do seu imp\u00e9rio colonial e, consequentemente, refor\u00e7ar sua propaganda pol\u00edtica em torno do Ultramar Portugu\u00eas. Nesse sentido, focaliza-se nas cole\u00e7\u00f5es fotogr\u00e1ficas do Arquivo Hist\u00f3rico Ultramarino e da Ag\u00eancia Geral do Ultramar para tra\u00e7ar o circuito social desses objetos a partir de seus agenciamentos e seu arquivamento. A estrutura\u00e7\u00e3o desses arquivos fotogr\u00e1ficos, os engajamentos para a sua amplia\u00e7\u00e3o e a diversidade de provas fotogr\u00e1ficas indicam o peso da evid\u00eancia visual dentro do colonialismo portugu\u00eas, notoriamente durante o per\u00edodo da Guerra Fria e o processo de descoloniza\u00e7\u00e3o do continente africano. Nesse sentido, ao analisar essas cole\u00e7\u00f5es, busca-se construir um panorama de reflex\u00e3o das fotografias em contexto colonial e suas possibilidades para al\u00e9m da estrutura colonial que as formatou, orientou e consolidou seu papel dentro do arquivo colonial. As din\u00e2micas sociais se inscreveram nesses objetos visuais que, produzidos no bojo do colonialismo portugu\u00eas, atravessaram o per\u00edodo e delinearam circuitos sociais diversos a partir de variados usos e fun\u00e7\u00f5es, os quais n\u00e3o permitem limit\u00e1-los a meros instrumentos da propaganda.\u00a0<\/span><\/span><\/div>\n<\/div>\n
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Ana Maria Mauad\u00a0<\/b><\/span>–\u00a0Universidade Federal Fluminense<\/span><\/span><\/div>\n<\/div>\n
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Dos arquivos \u00e0s exposi\u00e7\u00f5es: reflex\u00f5es sobre os usos p\u00fablicos da hist\u00f3ria<\/b><\/span><\/span><\/div>\n<\/div>\n
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Em 2024, eu permaneci por dois meses e meio junto ao ICS da Universidade de Lisboa, como pesquisadora visitante s\u00eanior CAPES. Ao longo do per\u00edodo, busquei aliar a minha pesquisa em curso ao projeto intitulado “Dos arquivos \u00e0s exposi\u00e7\u00f5es: itiner\u00e1rios da fotografia p\u00fablica no Brasil contempor\u00e2neo\u201d, \u00e0s condi\u00e7\u00f5es de pesquisa oferecidas pela institui\u00e7\u00e3o e pelo contexto de celebra\u00e7\u00e3o dos 50 anos da Revolu\u00e7\u00e3o dos Cravos.<\/span><\/span><\/div>\n<\/div>\n
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O projeto, conclu\u00eddo em julho de 2025, inscrevia-se nos dom\u00ednios da hist\u00f3ria visual do tempo presente e da hist\u00f3ria da mem\u00f3ria, tendo como objetivo incorporar, \u00e0 orienta\u00e7\u00e3o das reflex\u00f5es em curso, o debate sobre os usos p\u00fablicos da hist\u00f3ria por meio da fotografia. Organizava-se metodologicamente em torno do estudo da vida social das imagens, tra\u00e7ando os itiner\u00e1rios da fotografia p\u00fablica nos espa\u00e7os sociais, onde se produz e se debate a pr\u00e1tica fotogr\u00e1fica, passando pela sua presen\u00e7a nos acervos hist\u00f3ricos e, finalmente, chegando aos quadros das exposi\u00e7\u00f5es. Assim, no per\u00edodo em que permaneci em Lisboa, pude investir na compreens\u00e3o dos usos p\u00fablicos da fotografia nas celebra\u00e7\u00f5es da Revolu\u00e7\u00e3o, bem como das hist\u00f3rias poss\u00edveis articuladas ao passado colonial portugu\u00eas. Trata-se, portanto, de levantar quest\u00f5es sobre os usos p\u00fablicos da hist\u00f3ria e de suas imagens. Em vista desse objetivo, organizei a minha apresenta\u00e7\u00e3o em tr\u00eas frentes, buscando compartilhar os resultados preliminares das atividades desenvolvidas no per\u00edodo de perman\u00eancia em Lisboa.<\/span><\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Semin\u00e1rio Images of History: Material and Visual Culture, 24 Novembro, entre 10h e 13h, um evento conjunto do GI Imp\u00e9rios e do GI Mem\u00f3ria, Hist\u00f3ria e Sociedade<\/p>\n","protected":false},"author":8,"featured_media":11394,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_cbd_carousel_blocks":"[]","_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[32],"tags":[97,282,124,108,285],"class_list":["post-11390","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-encontro","tag-archive","tag-colonialism","tag-memory","tag-fotografia","tag-visual-culture"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"en","enabled_languages":["en","pt"],"languages":{"en":{"title":true,"content":true,"excerpt":true},"pt":{"title":true,"content":true,"excerpt":true}}},"_links":{"self":[{"href":"https:\/\/gi-imperios.org\/blog\/wp-json\/wp\/v2\/posts\/11390","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gi-imperios.org\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gi-imperios.org\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gi-imperios.org\/blog\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/gi-imperios.org\/blog\/wp-json\/wp\/v2\/comments?post=11390"}],"version-history":[{"count":4,"href":"https:\/\/gi-imperios.org\/blog\/wp-json\/wp\/v2\/posts\/11390\/revisions"}],"predecessor-version":[{"id":11513,"href":"https:\/\/gi-imperios.org\/blog\/wp-json\/wp\/v2\/posts\/11390\/revisions\/11513"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/gi-imperios.org\/blog\/wp-json\/wp\/v2\/media\/11394"}],"wp:attachment":[{"href":"https:\/\/gi-imperios.org\/blog\/wp-json\/wp\/v2\/media?parent=11390"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gi-imperios.org\/blog\/wp-json\/wp\/v2\/categories?post=11390"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gi-imperios.org\/blog\/wp-json\/wp\/v2\/tags?post=11390"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}