The Novel "O Guarani": a cultural multimedia product

Journalism and Mass Communication, 2018

This work starts from a brief chronological exposition about the emergence and evolution of magazines in Brazil as a means of communication and its subsequent segmentation until arriving at the specialized magazines. An overview of the constitution of the press will be drawn up, with the aim of understanding the historical context of the first periodicals, evolution and maturation until the 1960s and 1970s, which are the historical focus of this article, also considering the magazine Intervalo our object of study, which existed between 1962 and 1973. In Brazil, Editora Abril has marked the evolution of the Brazilian printed media and, to this day, is active with periodicals recognized nationally and internationally. Despite of the historical retrospective, our focus will be on the magazine Intervalo. At this point, it is necessary to emphasize that the history of the weekly has been lost over the years and, after a deep research, we verified the inexistence of a systematized references on the history or editorial characteristics of the publication. It is important to highlight that the magazine’s chronology was rescued by analyzing the digital archive and conducting interviews with journalists and former employees of Editora Abril and Intervalo. We are interested in not only rescuing its history, but also presenting its characteristics, formats, contents, editorial team, writing routine, its importance within the historical context and its contribution to the construction of the media scene of that time. The methodologies used were: bibliographic research, documentary analysis and interviews based on Oral History methodology, proposed by Paul Thompson (1992).

Open Cultural Studies

Scholarly studies on Alberto Blest Gana have generally disregarded the author’s production prior to his narrative cycle, begun with his novel La aritmética en el amor [Arithmetic in Love] (1860), awarded first prize in a literary contest sponsored by the Universidad de Chile. Nonetheless, the canonical cycle of his first narrative period (which includes his famous Martín Rivas and El ideal de un calavera) shares with his earlier fiction the fact that the novels were originally published in the press. Indeed, with the exception of the award-winning novel and Juan de Aria – published in the Aguinaldo of the newspaper El Ferrocarril – all the author’s production from his first narrative period was published in periodical publications, decisive in consolidating his narrative project. This essay analyses the mediation of the periodical press (and its subgenres, such as the folletín [newspaper serial] and the artículo de costumbres [a literary vignette of customs]) in the foundation of Bl...

Brazilian journalism research, 2024

Proceeding to a systematization carried out based on a bibliographical review, the article focuses on literary journalism, a practice situated at the confluence of journalism and literature, seeking to understand it in its manifestations. The conceptual possibilities and divergences that surround it, in the myriad of related terms, convey different notions and emphases. The background in Brazil, the U.S., and the world in general, and some ways to go deeper based on the guiding questions of the lead, according to Roberto Herrscher's methodology. The distancing of literary journalism from the hegemonic pyramid journalism, without intending to replace it, as well as the two facets with which it expresses itself: realist/empiricist (narrator as an observer of reality) versus modernist/phenomenologist (narrator as co-creator of reality).

2003

Machado de Assis, the Apprentice Journalist, 2015

Abstract. This paper analyzes Machado de Assis’ literary career from the standpoint of journalism. Machado followed the same strategy to find his path as other writer-journalists of color, such as Teixeira e Souza and Paula Brito, had already done. After all, how could a poor, young mulatto, an orphan and epileptic, come to be the most famous writer in slave-owning Brazil? Only by entering the great halls of literature through the service entrance of journalism.

Revista Lusófona de Estudos Culturais

Bernardo (Alberto Frey) Pinto de Almeida (Peso da Régua, 1954) é poeta e ensaísta com obra publicada em Portugal e no estrangeiro. Desde 1974 desenvolveu atividade poética, teórica, historiográfica e crítica. É investigador e professor catedrático de história e teoria da arte. A partir de uma relação próxima com alguns dos principais artistas portugueses da segunda metade do século XX, elaborou aproximações críticas às respetivas obras em cumplicidade de criação, diferenciando assim o seu de outros discursos críticos.

The stage or the word, the word of the word, the word of the stage some intonations and dynamics between dramaturgies and brasilian theatrical historiographies (1962-2017), 2023

O presente estudo tem como propósito observar alguns deslocamentos que a historiografia teatral brasileira sobre o século XIX vivenciou, por meio de usos e articulações que fizeram do elemento dramatúrgico. Se, no século XIX, a presença do encenador/diretor emerge como possibilidade de desvinculação entre o fazer cênico e o texto, isto é, texto e espetáculo se distinguem, o que em certa medida resultou em maior autonomia dos elementos da cena, como na história do teatro no Brasil observamos esse cruzamento entre teatro, dramaturgia e historiografia? Este artigo busca entender como alguns usos e articulações atribuídos à dramaturgia no interior da história do teatro podem indiciar sobre continuidades e rupturas do campo, bem como a superação da dicotomia texto/cena nas análises sobre manifestações teatrais oitocentistas. The present study aims to observe some displacements that the Brazilian theatrical historiography about the nineteenth century experienced, through uses and articulations that made the dramaturgical element. If, in the nineteenth century, the presence of the director/director emerges as a possibility of untying between the scenic and the text, that is, text and spectacle are distinguished, which to some extent resulted in greater autonomy of the elements of the scene, how in the history of theater in Brazil we observe this cross between theater, dramaturgy and historiography? This article seeks to understand how some uses and articulations attributed to dramaturgy within the history of theater can indicate about continuities and ruptures of the field, as well as the overcoming of the text/scene dichotomy in the analysis of nineteenth-century theatrical manifestations.

Romance Quarterly, 2016

This special issue of Romance Quarterly offers its readers a glimpse of the literary production by contemporary Brazilian writers in the last thirty years, with a special focus on narrative fiction. Additionally, readers will find here insightful discussions of questions regarding (self-) representation in literature and of issues affecting the publication and distribution of Brazilian authors and their works. The delimitation of what constitutes contemporary literature is somewhat arbitrary, and some scholars may understand the term to describe all literature written since the end of the Second World War, while others may opt for narrower defining parameters. For others still, contemporary literature may simply mean "the literature of our time, of the present" (Gupta 2)-notwithstanding the permanence and contemporary outlook we find in the works of timeless writers such as our own Machado de Assis, among others. In determining the focus of this issue, I have considered some key political, social, and cultural developments as markers to delimit the body of works to be discussed in these essays. The opening political event is the 1964 military coup d'état that inaugurated twenty-one years of a dictatorship in Brazil, a period that has drastically impacted all aspects of Brazilian society and continues to have repercussions in the country. The fact that those events are still addressed in our literature today attests to their impact in the life stories of so many Brazilians and in the history of our nation. On the other hand, considering the cultural and historical developments of the past thirty years in Brazil, we have witnessed the country's return to a democratic state and have seen it suffer through years of hyperinflation and drastic economic measures in the late 1980s and early 1990s-leading a considerable number of Brazilians to emigrate from the country in search of better living conditions-and later its emergence as a leader in hemispheric politics and a strong player in the world economy, only to see it face new political and economic crises in the last several years. These developments have been formally and thematically reflected in literature and other arts, specifically in the literary production of the late 1960s through the current decade of the twenty-first century. 1 Another development, this one of global dimensions, has been the dissemination and availability of new information and communication technologies, a process that began some thirty years ago and that has profoundly changed our perception of reality. Furthermore, these new technologies have altered how we access, produce, and share information and cultural production. It has also led to a relative democratization of knowledge and the circulation of literature and other artistic endeavors, allowing writers and artists to disseminate their works without the need of an intermediary-that is, an editor, a publisher, or a bookstore. In other words, the new information and communication technologies have intervened in an exchange between producers and consumers of culture that many Brazilian writers and intellectuals believe favors a small, select group of names, and commercial profit over literary quality and cultural diversity. 2 This is certainly not a new phenomenon, but one that has particularly affected writers and artists from minority groups, from Lima Barreto (1881-1922) at the beginning of the twentieth century to the Afro-Brazilian writers who in the late 1970s initiated the publication of Cadernos negros as an alternative to the mainstream publishing venues. What has changed, however, is that today the Internet, blogs, and various social media more easily allow for self-publication and for the expression of more diverse voices and perspectives.