Gotowa bibliografia na temat „José e Annexos (Lisbon, Portugal)”

On April 2016, Ana Tostões interviewed Professor José-Augusto França, the Portuguese modern art researcher of reference on the contemporary era, in order to discuss the key modern structure that made the shift towards a Modern Lisbon. José-Augusto França (b. 1922, Tomar) is historian, sociologist and critic of art. He has a graduation in Historical and Philosophical Sciences (1944, Faculty of Letters, University of Lisbon), a PhD in History (1962, Paris-Sorbonne University, Une Ville des Lumères: la Lisbonne de Pombal), a diploma on Sociology of the Art (1963, L'Art et la Société Portugaise au XXè siècle) and a PhD in Letters (1969, Paris-Sorbonne University, Le Romantisme au Portugal). He is professor emeritus of the Nova University of Lisbon, where he created the first Art History masters of the country (1976). He was Director of the Portuguese Cultural Center of the Calouste Gulbenkian Foundation in Paris (1983), President of the National Academy of Fine Arts (1985) and member of the UNESCO Comité du Patrimoine Mondial. He is a reference author in the field of visual and cultural arts in Portugal, being the first one identifying and presenting modern architecture in Portugal in his Arte em Portugal no Século XX (1974). Among his works stand out studies on art in Portugal in the 19th and 20th centuries, as several volumes of essays on historical, sociological and aesthetic reflection on contemporary art issues. He has received the Medal of Honor of the City of Lisbon (1992), the Grand Officer (1991) and the Grand Cross (2006) of the Infante D. Henrique Order and the Grand Cross of the Order of Public Instruction (1992).

The “International Topical Conference on Plasma Science: Advanced Plasma Concepts” was hosted by Instituto Superior Técnico, Lisbon and the University of Algarve, Faro, Portugal, during the period 24–28 September 2012. The conference was organized by Padma Kant Shukla, (Ruhr University Bochum, Germany), Robert Bingham (RAL, United Kingdom) and José Tito Mendonça, (IST, Portugal). The scientific activity belongs to a series of successful meetings, which started at the Abdus Salam International Centre for Theoretical Physics, Trieste, in 1989, and which has also been taking place at various other locations, including Faro and Lisbon in Portugal, and Santorini in Greece.

In the words of José-Augusto França, Lisbon is the last of the old European cities and the first of the modern cities, as confirmed by the 1758 Baixa Pombalina plan undertaken for the reconstruction of the city destroyed by the 1755 earthquake, as a pioneering example of modern urban planning. Following the avant-garde plan, modern architecture in Portugal may be envisaged through three main moments according to specific policies undertaken during the long Estado Novo dictatorship (1926-1974).

Sr. José do capote, a worker and an opera lover, is the monad contemplated in this article. He is a theatrical figure, the protagonist of the one-act burlesque parody Sr. José do capote assistindo a uma representação do torrador (Sr. José of the Cloak attends a performance of The Roaster, 1855), but also an idea that expresses in abbreviated form the urban environment of nineteenth-century Lisbon, the theatrical and operatic sensibility of its citizens, and the politics of their engagement with the stage. This article is a history of Il trovatore and of bel canto claimed for a nascent culture of democracy in nineteenth-century Portugal.

This paper analyzes aspects of a little-known work in the context of grammar and history of Spanish language teaching in Portugal, the Gramática espanhola para uso dos portugueses (Oporto, 1947) by Julio Martínez Almoyna: the possible reasons for its publication in Portugal in the mid-twentieth century, the structure of the lessons and its didactic characteristics. Regarding the first aspect, the writing of the work is framed in the Luso-Spanish socio-political context of the time. Regarding specifically methodological issues, we analyze in detail the microstructure of the lessons and the underlying didactic criteria. In order to examine the didactic characteristics of the manual, we put it in contrast with other works published in Portugal for the teaching of Spanish; specifically, the Gramática elemental de la lengua española(Lisbon, 1947), by Pablo Gayán Hernanz, and Español para lusitanos. Método práctico de lengua española (Coimbra, 1952), by José María Viqueira Barreiro.

This paper provides an overview of the organization and first decades of the Zoological Section of the Museu Nacional de Lisboa (National Museum of Lisbon), under the leadership of José Vicente Barbosa du Bocage (1823–1907), a Portuguese zoologist who attained international recognition. The article discusses the contributions made by a small community of zoologists, who joined transnational networks and gave projection to the institution by founding and disseminating the first Portuguese journal exclusively devoted to scientific research, the Jornal de sciencias mathematicas, physicas e naturaes, in which they published their original research. The animal collections of the Zoological Section were unique in that they had numerous specimens of previously unknown Southwestern African birds and reptiles, most of which were sent by José de Anchieta, who extensively travelled across the Angolan hinterland. From its inception, the museum was tied to a higher education institution, the Escola Politécnica de Lisboa (Lisbon Polytechnic School), and also fulfilled a pedagogical function. Although the Zoological Section survived the death of its founder, being renamed Museu Bocage (Bocage Museum) in 1905, it failed to gain more autonomy in subsequent decades, becoming a constrained institution that lacked premises and personnel to meet its rising demands. After a fire that destroyed almost all its specimens in 1978, the recently reformed Museu Nacional de História Natural e da Ciência (National Museum of Natural History and Science) is trying to write a new chapter by honouring its long history.

Abstract In 1730, the Inquisition of Lisbon arrested José Francisco Pereira, a man raised in West Africa and enslaved in Brazil then Portugal, who had learned along his transatlantic journeys the art of making amulets known in the eighteenth century Portuguese-speaking world as bolsas de mandinga. Mixing European esoteric material into objects of Afro-Atlantic agency, bolsa-makers such as José Francisco created objects of trustworthy might that brought empowerment and security of body and mind to a diverse clientele. The bolsas, as well as similar empowered objects created in Atlantic Africa reveal the deep and mutually transformative spiritual and material connections that the slave trade engendered between Europeans and Africans in the early modern period. Common concerns produced similar answers, not least newly defined or redefined notions of witchcraft and fetish and, more broadly, conceptions about the nature of power and its multivalent entanglements with the material world.

Abstract The equestrian statue of D. José I, in Lisbon, Portugal, stands on an elegant and decorated plinth fashioned in a very dense limestone. The sculptor, Joaquim Machado de Castro, designed the pedestal with colossal stone pieces and selected one of the best Portuguese stones for this purpose, the Lioz limestone. The same stone was also used for the flanking sculpture groups and the base This stone is a very pure reef limestone, rich in fossils and a low porosity <1 %. It is extremely compact and highly resistant, even in the harsh environment of a busy metropolis and within the impact of marine winds. The generalized deterioration is surface erosion caused by direct runoff water, with some incipient black crusts and soiling incrustations occurring in sheltered places. In some areas copper stains originating from the metal statue were also found. An extensive network of cracks was found, mostly at or near the top of the plinth, which could be ascribed to the presence of iron rods and clamps left inside the structure to hold the stone pieces together. During the intervention, these cracks were sealed with a multi-barrier system, given the impossibility to access the interior to remove or directly passivate the iron inclusions. Inoperative joints were cleaned out and repointed. Black deposits could be eliminated by nebulized water and soft brushing while the copper stains required the application of poultices with ammonium carbonate, in some cases requiring the addition of a complexing agent.

Abstract The equestrian statue of D. José I, in Lisbon, is a masterpiece of the sculptor Joaquim Machado de Castro. It weights over thirty eight tons and was made in a single casting by Bartolomeu da Costa in a copper alloy (brass). After over two centuries exposure, the statue presented an unappealing heterogeneous appearance and showed some deterioration features that required attention. Preliminary studies showed that the deterioration phenomena were typical of copper alloys exposed to outdoor urban environments. The proximity of the seacoast also contributed to some specific decay mechanisms. The highly contrasting patterns of the superficial patinas consisted of black dense deposits covering an original cuprite layer side by side with the common green deposits of basic copper sulfates, hydroxides and chlorides. The highly corrosive nantokite was present in sheltered areas, where chlorides are able to accumulate. The conservation intervention included cleaning, mostly carried out with low pressure jets of round glass beads. Onsite tests were made to select the cleaning levels required to match the areas of black and green patinas. A reddish brown cuprite layer was found underneath most of the areas with black dense deposits, while it could only be perceived by transparency on the green covered areas. When a high contrast remained between the two areas, these were mitigated with the application of water colors during the final protection phase. Nantokite active areas were passivated with sodium oxalate after the entire statue was first washed with clean water and treated with lime water to leave an alkaline reserve to slow down the eventual corrosion process, and the sculpture rinsed with ethanol to accelerate its drying. The final protection was made with Paraloid B44 and microcrystalline waxes.

More than two and a half centuries after the 1755 earthquake, Sebastião José de Carvalho e Melo is a name still indissociable from the history of the Portuguese capital. Few Lisboners will know, however, that the date of his birth (May 13th) was once a municipal holiday. When this happened, in 1926, by decision of the City Council, the figure of the Marquis of Pombal had been the object of political worship since the early days of the constitutional monarchy and, when it came to electing the date for the municipal holiday, the City Council chose the man who was considered the «rebuilder of Lisbon». This option was only one of several municipal initiatives that culminated in an 19th century spirit strongly related to Pombal. Over 100 years and spanning three different regimes, the Marquis was considered to be a heroic figure and one who unified an idea of Portugal. 1926 was a destiny-year for such historical reverence to the minister of King José, a moment as decisive as it was ephemeral in the management of this controversial figure’s public memory.

Os textos produzidos na denominada América Portuguesa (1500-1822) abrangem os mais variados campos das letras ocidentais – lírica, épica, dramaturgia, historiografia, epistolografia, parenética, lexicografia, etc. – e seguem um modelo retórico-poético e teológico-político comum, próprio das Letras do Ancien Régime. Manuscritos e impressos escritos em várias línguas (português, principalmente, mas também em latim, castelhano, francês, italiano, tupi-guarani, língua geral, etc.), por um número de autores considerável (Pero Vaz de Caminha, José de Anchieta, Antônio Vieira, Francisco Manuel de Melo, Gregório de Matos, Manoel Botelho de Oliveira, Sebastião da Rocha Pita, Basílio da Gama, Antônio da Costa Peixoto, Francisco Alves de Sousa, etc.), corriam com avidez entre os leitores. São justamente esses textos, esses autores e esses leitores os que conformam o sistema cultural das Letras na América Portuguesa. A historiografia brasileira, portuguesa e inclusive internacional tem se debruçado há já vários decênios no estudo dos Estados do Brasil e do Maranhão e Grão-Pará, tanto de um ponto de vista micro-histórico como macro-histórico, salientando-se nos últimos tempos a sua relação com o resto do mundo, no âmbito próprio da global history. Nos últimos decênios, ao mesmo tempo, a literatura vem perdendo, paulatinamente, o seu poder de conhecimento legitimador das elites culturais de uma nação. Esse esquecido «Parnaso Brasileiro» mantinha, no entanto, um fluido diálogo cultural com Lisboa assim como com outras cidades europeias, diálogo esse que os processos de formação das literaturas exclusivamente nacionais, brasileira e/ou portuguesa, vieram apagar ou até mesmo ignorar. No espaço hermenêutico próprio dos Atlantic Studies, recuperam-se, neste livro, as Letras escritas e lidas na América Portuguesa, estudam-se seus autores, interpretam-se textos escolhidos e indaga-se tanto sobre seus primeiros leitores, como sobre seus leitores de ontem e de hoje. Um conjunto de docentes do Brasil, de Portugal, da Alemanha e da Espanha discute textos de Vaz de Caminha, Ambrósio Fernandes Brandão, Antônio Vieira, Botelho de Oliveira, Basílio da Gama, Antônio da Costa Peixoto e Santa Rita Durão, entre outros. Die in der sogenannten »América Portuguesa« (1500-1822) entstandenen Texte gehören zu verschiedensten Diskursformen der westlichen Literatur und Kultur: Lyrik, Epik, Dramaturgie, Historiographie, Epistolographie, Homiletik, Lexikographie usw. Sie folgen einem gemeinsamen rhetorisch-poetischen und theologisch-politischen Modell, das charakteristisch für die Texte des Ancien Régime war. Manuskripte und Drucke in verschiedenen Sprachen (hauptsächlich Portugiesisch, aber auch Latein, Spanisch, Französisch, Italienisch, Tupi-Guarani, Língua Geral etc.) von einer beachtlichen Anzahl von Autoren (Pero Vaz de Caminha, José de Anchieta, Antônio Vieira, Francisco Manuel de Melo, Gregório de Matos, Manoel Botelho de Oliveira, Sebastião da Rocha Pita, Basílio da Gama, Antônio da Costa Peixoto, Francisco Alves de Sousa usw.) fanden eine umfassende Leserschaft. All diese Elemente - Texte, Autoren und Leserschaft – bilden das System der »Letras« in der »América Portuguesa«. Die brasilianische, portugiesische und sogar die internationale Geschichtsschreibung konzentriert sich seit mehreren Jahrzehnten auf das Studium der Kolonialstaaten Brasil und Maranhão e Grão-Pará sowohl aus mikro- als auch aus makrohistorischer Sicht. Gleichzeitig verliert die Literatur in den letzten Jahrzehnten allmählich die Funktion, das Wissen der kulturellen Eliten einer Nation zu legitimieren. Der aktuell wenig beachtete »Parnaso Brasileiro« unterhielt einen intensiven kulturellen Dialog mit Lissabon wie auch mit anderen europäischen Städten, einen Dialog, der der Ausbildung ausschließlich nationaler Literaturen, brasilianischer und/oder portugiesischer, wenig Stellenwert einräumte oder sie sogar ignorierte. Im hermeneutischen Raum, den die Atlantic Studies eröffnen, erschließt dieses Buch die in der »América Portuguesa« geschriebenen und gelesenen Texte, beschäftigt sich mit ihren Autoren, interpretiert ausgewählte Texte und fragt nach ihren ersten Lesern sowie nach ihren Leserinnen und Lesern gestern und heute. Eine Gruppe von Wissenschaftlerinnen und Wissenschaftlern aus Brasilien, Portugal, Deutschland und Spanien diskutiert Texte u.a. von Vaz de Caminha, Ambrósio Fernandes Brandão, Antônio Vieira, Botelho de Oliveira, Basílio da Gama, Antônio da Costa Peixoto und Santa Rita Durão. The texts produced in the so-called “América Portuguesa” (1500-1822) cover the most varied fields of Western Literature and Culture – lyric, epic, dramaturgy, historiography, epistolography, homiletics, lexicography, etc. – and follow a common rhetorical-poetic and theological-political model, typical for the Ancien Régime. Manuscripts and prints were written in various languages (Portuguese, mainly, but also Latin, Spanish, French, Italian, Tupi-Guarani, Língua Geral, etc.), by a considerable number of authors (Pero Vaz de Caminha, José de Anchieta, Antônio Vieira, Francisco Manuel de Melo, Gregório de Matos, Manoel Botelho de Oliveira, Sebastião da Rocha Pita, Basílio da Gama, Antônio da Costa Peixoto, Francisco Alves de Sousa, etc.) found a broad reception by readers. Precisely, these texts, these authors and these readers constituted the literary system in the “América Portuguesa”. Brazilian, Portuguese, and even international historiography has focused for several decades on the study of the colonial states Brasil and Maranhão e Grão-Pará, both from a micro-historical and macro-historical point of view, emphasizing recently their relationship with the rest of the world in the context of global history. Currently, literature is gradually losing its power of legitimising knowledge of the cultural elites of a nation. This forgotten “Parnaso Brasileiro” maintained, however, a fluid cultural dialogue with Lisbon as well as with other European cities, a dialogue that the formation of exclusively national literatures, Brazilian and/or Portuguese, came to neglect or even ignore. In the hermeneutic space opened up by the Atlantic Studies, this book deals with texts written and read in the “América Portuguesa”, studies its authors, interprets selected works and inquires both about its first readers and about its readers yesterday and today. A group of scholars from Brazil, Portugal, Germany and Spain discusses texts by Vaz de Caminha, Ambrósio Fernandes Brandão, Antônio Vieira, Botelho de Oliveira, Basílio da Gama, Antônio da Costa Peixoto and Santa Rita Durão, among others.

In December 1584, María de San José arrived in Lisbon, where she founded São Alberto, the first female Discalced Carmelite convent in Portugal. Soon afterward, São Alberto housed a group of Clarissas [Poor Clares], who had escaped the Low Countries. Brétigny was anxious to found a Discalced convent in Paris, with María as its prioress, but the moment was not propitious. María was a gentle and efficient prioress, yet she was a strict disciplinarian, and nuns were often whipped as a form of mortification. Throughout Europe and the Spanish colonies, self-mortification was common, as it was considered a means of helping individuals share Christ’s suffering and thereby bringing them closer to God.

Born in Tomar in 1864, graduated in medicine from Escola Médico Cirúrgica de Lisboa, José Vieira Guimarães died in Lisbon in 1939. During his life performed several actions to enhance cultural heritage from Tomar. He had participated in archaeological projects, publications and contacted with scholars like the archaeologist José Leite de Vasconcelos. José Vieira Guimarães was involved in associations and academies, was a member of Association of Portuguese Archaeologists, had participated in excavations, investigated, published articles and books, participated in congresses, confirmed the hypothesis of Seilium romana being located in Tomar. We present unprecedented content about his participation in a congress in 1923, as well as, we consider that he had fault with the potential proof of his work.

The search for El Dorado, the fabled land of gold, brought Spanish conquistadors north from New Spain into the harsh deserts of the North American Southwest. They were searching for the Seven Lost Cities of Cibola, cities said to have been founded as long ago as the eighth century by a legendary bishop who had fled west from Lisbon, Portugal, in fear of the Moors and Islam. When a Franciscan friar, Fray Marcos of Niza, returned to Mexico City from a preliminary expedition in 1539 with stories of a “faire citie with many houses builded in order” and gold and silver in abundance, the viceroy of New Spain quickly organized a major expedition under Francisco Coronado. The expedition ranged widely over the Southwest and far into the interior plains from 1540 to 1542. The disappointed Spaniards found no gold, however, just crowded pueblos “looking as if [they] had been crumpled all up together.” Coronado and his men visited Zuñi pueblos, as well as Pecos in what is now northern New Mexico, where the pueblo was “square, situated on a rock, with a large court or yard in the middle, containing the steam rooms. The houses are all alike, four stories high. One can go over the whole village without there being a street to hinder.” Coronado returned to Mexico City empty-handed from a seemingly desolate and unproductive land. The pueblos were largely forgotten until a sparse population of Catholic friars and then colonists moved northward into the arid lands about a century later. By the early nineteenth century, the great pueblos of Chaco Canyon and Mesa Verde were but vague memories, except to the Native Americans who claimed ancestry from them, and were never visited by outsiders. In 1823, José Antonio Vizcarra, governor of the Mexican province of New Mexico, rode through Chaco Canyon with a small military party during a campaign against the local Navajo. He was in a hurry and contented himself with the observation that the great houses were built by unknown people. Sixteen years later, an American government expedition against the Navajo descended into the Chaco Canyon drainage and sighted “a conspicuous ruin” on a low hill.

Social theatre and politically engaged theatre are two designations that gained acceptance amid a lively debate that went on throughout the late 19th century and consolidated in the 20th century. Its turning point lay in the structure of the relations between theatre and politics or even between theatre and propaganda. This text addresses what resistance and political-cultural protest meant to Grupo Teatro Moderno de Lisboa (TML), from Lisbon/Portugal, in the 1960s, based on the interviews and discourses about their collective creation processes, theoretical research, and social intervention. According to many interpreters, the Group broke with the theater establishment of 1960 and came out as one generation's great movement. It only lasted for 4 years, from 1961 to 1965. During this time, TML staged theatrical texts by Carlos Muniz, Dostoyevsky, Miguel Mihura, John Steinbeck, Luiz Francisco Rebello, William Shakespeare, and José Carlos Pires. These artists made up and remade different universes according to their purposes and wishes. By reading the above authors' texts in the 1960s, these Portuguese artists gave new meanings to the present and to the past itself – recalling here Brecht's "past and present in one". The political and aesthetic issues in the plays were updated through debates between the theater group and the audience —quite a difficult task in a period when a political-cultural protest against the "Estado Novo" dictatorship was increasingly strong and constant, and in which official censorship, always vigilant against heterodox artistic manifestations, was stifling. Being active in the politically engaged theater then meant looking for different staging places and other points of view on the years of lead. Utilizing its actions, it is a ground principle, and its practices, TML would sow the seeds of the independent theatre group movement, having taken the first steps in the pathway toward an intervention theater that, later on, these groups took upon themselves to continue with. Despite adversities, theatrical experiments that go against the grain of prevailing thoughts are still tenaciously current on the agenda. Doing theater amid commercial pressure is, undoubtedly, a form of provocation, of insubordination to the "hit parade" market, to which Comuna – Teatro Pesquisa, Teatro da Cornucópia, O Bando, Casa da Comédia, A Barraca, the Évora Culture Center and SeivaTrupestill resort.

An exemplar from the Ryūkyū Islands (Japan), this red lacquer circular box dates from c.1590 and is part of the collection of the National Museum of Ancient Art (MNAA) - Lisbon, Portugal [1-2]. The conservation and restoration intervention carried out at the José de Figueiredo Laboratory (LJF), considering its state of conservation with a high risk of lacquer detachment and consequent loss of a large part of the decorative elements, allowed the study and definition of methodologies, including in the treatment of chromatic reintegration [3]. Its condition, the type of intervention, as well as its subsequent placement on display, motivated the reintegration method chooses and its application, which aimed to improve the reading and decorative understanding of the box. The use of extra-fine quality gouache in the mimetic reintegration executed ensured the necessary compatibility and stability with its constituent materials.