As disputas regionais no Brasil do ponto de vista de São Paulo

Resenha de: WEISTEIN, Bárbara. A cor da modernidade: a branquitude e a formação da identidade paulista. São Paulo: Edusp, 2022. 655 p

Traces of the (m)other: deconstructing hegemonic historical narrative in Teat(r)o Oficina Uzyna Uzona's Os Sertões

This article focuses on the way in which renowned São Paulo-based theatre company Teat(r)o Oficina Uzyna Uzona deconstructs hegemonic historical narrative in their 2000 - 2007 25 hour-long production of Euclides da Cunha’s seminal Brazilian novel Os sertões (“Rebellion in the Backlands”), an account of the War of Canudos (1896-1897), the first major act of State terrorism carried out by the nascent Brazilian Federal Government on the country’s subaltern population. The Teat(r)o Oficina’s epic adaptation fuses events from the colonial period, the military dictatorship and contemporary 21st Century São Paulo to relate the repetitive cycles of misappropriation, oppression and resistance that have characterized the history of Brazil and its people over the centuries. However, any fatalistic view of victimhood as an essential aspect of Brazilian subjectivity is radically challenged by the vibrant, rhythmic, material impact of the theatrical super-signs underpinning the performance text. Drawing on Julia Kristeva’s notion of the semiotic - the pre-linguistic, illogical, rhythmical materialism of language intimately related to a primordial relationship with the abject mother – I shall suggest that it is the rhythmic, libidinal force of the performance and its extensive use of the cultural manifestations of Brazil’s subaltern population that imbues Os Sertões with the silent presence-as-absence of the abject Brazilian (M)Other – the Black, Indigenous and Mestiza matriarchal line whose alternative discourse is often barred from hegemonic accounts of Brazilian historiography. Her silent heritage is embodied on stage by the members of the Oficina, who reclaim an alienating national heritage for themselves by transforming the often tragic tale of Brazil’s past into a joyous celebration of tenacious vitality

Na casa e... na rua: cartografias das mulheres na cidade (Campina Grande, 1930-1945) At home and... on the streets: cartography of women around the city (Campina Grande, 1930-1945)

Neste artigo fazemos uma incursão específica no mundo das mulheres. O locus do estudo é a cidade de Campina Grande, Paraíba, nos anos de 1930 a 1945, tendo como objeto os significados e implicações que algumas atividades das mulheres do meio popular tinham para a cidade e o modo como utilizavam seus espaços e territórios. Também buscamos reconstituir aspectos cotidianos da trajetória de algumas mulheres pelas ruas e subúrbios da cidade, focalizando características singulares de mulheres anônimas que apareceram na cena urbana, fazendo da cidade um lugar de múltiplas práticas, relações e conflitos.<br>This article brings a specific gaze into women's world. The locus of our study is the city of Campina Grande (Paraíba) from 1930 to 1945, emphasising the meanings and implications of some activities carried out by working class women through the city, and the ways they used its spaces and territories. We also seek to rebuild everyday aspects of their trajectories through streets and suburbs, focusing singular characteristics of anonymous women who appeared at the urban scene turning it into a place of multiple practices, relations and conflicts

Amor e gênero em quadrinhas Love and gender in popular verses

O texto analisa a obra Quadrinhas populares, de Áurea Queiroz, a partir da categoria gênero. Identifica nas quadrinhas uma fonte de significação do feminino, do masculino e de suas relações. Do mesmo modo, evidencia que no conjunto de quadrinhas analisado predominam aquelas que dizem respeito aos significados do amor, do namoro e do casamento em suas interfaces com o feminino e o masculino. Os sentidos atribuídos aos verbos namorar, amar e casar ora confirmam concepções que se tornam normativas durante a primeira metade do século XX, ora as rebatem, apontando para o universo plural das relações de gênero no período.<br>The text analyses the work Quadrinhas populares [Popular verses], by Áurea Queiroz, from the perspective of gender. It identifies in the scenes a source of meaning of the feminine, the masculine and the relations between them. In the same way, it provides evidence that in the set of scenes analyzed those that deal with the meanings of love, courtship and marriage in their interfaces with the feminine and the masculine predominate. The meanings attributed to the verbs to court, to love and to marry, now confirm conceptions that became the norm during the first half of the 20th century, now rebut them, pointing to the multifarious nature of gender relationships in the period