Dogmática primeira

Resenha de: ANDREWS, Kehinde, A nova era do Império: Como o racismo e o imperialismo ainda dominam o mundo. Tradução Cecília Rosas. São Paulo:Companhia das Letras, 2023, 352 p.

Resenha de: ANDREWS, Kehinde. A nova era do império. Como o racismo e o colonialismo ainda dominam o mundo. Tradução Cecília Rosas. São Paulo: Companhia das Letras, 2023. O livro de Kehinde Andrews, “A nova era do império: Como o racismo e o colonialismo ainda dominam o mundo”, publicado inicialmente em 2021, traz em seus oito capítulos uma releitura de fenômenos do passado diante de uma conversa construída com as demandas do próprio tempo presente, pensando em temas como racismo, economia e formas de expressões imperiais sobreviventes na organização mundial, ainda marcada por antigas estruturas de dominação. Para discorrer sobre o argumento central, torna-se importante a conexão com as demandas atuais, pautadas por expressividades civis e movimentos políticos que buscam cobrar e, como o próprio autor propõe, refletir sobre as continuidades dos ideais coloniais, que permanecem ativos, atingindo milhares de centenas de pessoas.

Resenha de: BENTO, Cida. Pacto da branquitude. São Paulo: Companhia das Letras, 2022. 148p.

A resenha versa acerca das escolhas tradutórias feitas na adaptação fílmica realizada por Baz Luhrman, em 2013, da obra literária The Great Gatsby, publicada por F. Scott Fitzgerald em 1925. Trazendo considerações de estudiosos como Even-Zohar (1990), Xavier (2003), Lucas (2007), entre outros, de a modo a expor como o contexto histórico-social interfere no processo tradutório de uma obra para as telas.

Ageing and Brazilian literature

John Gledson (born in Beadnell, Northumberland, England, in 1945) is a retired professor of Brazilian Studies at the University of Liverpool. He is also one the most renowned specialists in the work of Brazilian writer Machado de Assis. He has published three books on Machado in Brazil: Machado de Assis: ficcao e historia (Paz e Terra, 1986), Machado de Assis: impostura e realismo (Companhia das Letras, 2005) and Por um novo Machado de Assis (Companhia das Letras, 2006).

Este trabalho evidencia como se estabelece a infocracia e o racismo algorítmico em meio a sociedade contemporânea, dando ênfase, especificamente, no território brasileiro. Seu objetivo é mostrar como o desenvolvimento desses dois processos influenciam direta e indiretamente no equilíbrio garantidor dos direitos fundamentais da privacidade e da proteção de dados ladeado à necessidade de proporcionar segurança por intermédio da tecnologia disponível. A pergunta norteadora do presente estudo, é: até que ponto a inteligência artificial contribui para trazer segurança social e jurídica no que consiste à privacidade e proteção de dados, tendo em vista a diversidade racial existente no território brasileiro? Para realização do trabalho, procedeu-se com uma revisão da literatura. Conclui-se que, apesar da tecnologia da informação ter ocupado um grande espaço e importância em vários campos da sociedade, deve haver um maior controle em sua transmissão para evitar violações de direitos inerentes à pessoa humana. Palavras-chave: Proteção; Privacidade; Tecnologia. Referências: BENTO, Cida.O pacto da branquitude. São Paulo: Companhia das Letras, 2022. BRASIL. Constituição Federal nº 1988, de 05 de outubro de 1988.Constituição da República Federativa do Brasil de 1988. Brasília, DF, 05 out. 1988. Disponível em: https://www.planalto.gov.br/ccivil_03/constituicao/constituicao.htm. Acesso em: 27 jul. 2024. BRASIL. Decreto nº 10.932, de 10 de janeiro de 2022. Promulga a Convenção Interamericana contra o Racismo, a Discriminação Racial e Formas Correlatas de Intolerância, firmado pela República Federativa do Brasil, na Guatemala, em 5 de junho de 2013.Decreto Nº 10.932: CONVENÇÃO INTERAMERICANA CONTRA O RACISMO, A DISCRIMINAÇÃO RACIAL E FORMAS CORRELATAS DE INTOLERÂNCIA. Brasília, DF, 10 jan. 2022. Disponível em: https://www.planalto.gov.br/ccivil_03/_Ato2019-2022/2022/Decreto/D10932.htm. Acesso em: 27 jul. 2024. BRASIL. Lei nº 13.709, de 14 de agosto de 2018. Lei Geral de Proteção de Dados Pessoais (LGPD). Brasília, DF, 14 ago. 2018. Disponível em: https://www.planalto.gov.br/ccivil_03/_ato2015-2018/2018/lei/l13709.htm. Acesso em: 03 ago. 2024. BRASIL. Pnad Contínua. Instituto Brasileiro de Geografia e Estatística -IBGE.161,6 milhões de pessoas com 10 anos ou mais de idade utilizaram a internet no país, em 2022. CAVALCANTE, Francisco José Loth. HISTÓRICO DAS MIGRAÇÕES NO BRASIL: quando tem início e por quê?. In: CAVALCANTE, Francisco José Loth.CRESCIMENTO ECONÔMICO DA REGIÃO METROPOLITANA DO CARIRI: uma análise jurídica da imigração de comerciantes do extremo oriente em face da lei 13.445. Crato: Urca, 2018. p. 1-70. HAN, Byung-Chul.Infocracia: digitalização e a crise da democracia. Petrópolis: Editora Vozes, 2022. Tradução de Gabriel S. Philipson. IBGE–INSTITUTO BRASILEIRO DE GEOGRAFIA E ESTATÍSTICA. Pesquisa Nacional por Amostragem de Domicílios Contínua –PNAD. Rio de Janeiro: IBGE, 2023. Disponível em: https://www.ibge.gov.br/estatisticas/sociais/trabalho/9171-pesquisa-nacional-por-amostra-de-domicilios-continua-mensal.html. Acesso em: 24 de jul. 2024. MARTINS, Helena; FERREIRA, Katiele; NUNES, Pablo; LIMA, Thallita. Da construção de uma infraestrutura de vigilância à introdução do reconhecimento facial no Ceará. Rio de Janeiro: CESeC, 2024. Disponível em: https://drive.google.com/file/d/1sVRHIIdEVbFMDvaqkPpW29hdv3eTSEYc/view. Acesso em: 24 jul. 2024. MATSUNAGA, Lucas Heiki.O que é Psicometria?2018. Disponível em: https://ibpad.com.br/comunicacao/o-que-e-psicometria/. Acesso em: 26 jul. 2024. MBEMBE, Achille.Necropolítica: biopoder, soberania, estado de exceção, política da morte. São Paulo: N-1 Edições, 2018. OMS -ORGANIZAÇÃO MUNDIAL DA SAÚDE. Coronavirus disease 2019 (COVID-19):SituationReport. Brasília: OMS, 2020. Disponível em: https://apps.who.int/iris/bitstream/handle/10665/331780/nCoVsitrep11Apr2020-eng.pdf. Acesso em: 16 de nov. 2024. PASQUALI, Luiz. Psicometria.Revista da Escola de Enfermagem da Usp, [S.L.], v. 43, n. , p. 992-999, dez. 2009. FapUNIFESP (SciELO). http://dx.doi.org/10.1590/s0080-62342009000500002. RIBEIRO, Djamila.Pequeno manual antirracista. São Paulo: Companhia das Letras, 2019. SANTOS, Rômulo Ballestê Marques dos; PORTUGAL, Francisco Teixeira. O panóptico ea economia visual moderna: do panoptismo ao paradigma panóptico na obra de Michel Foucault. Rev. psicol. polít., vol.19,n. 44,São Paulo, 2019. Disponível em: https://pepsic.bvsalud.org/scielo.php?script=sci_arttext&pid=S1519-549X2019000100006. Acesso em: 16 de nov. 2024. SILVA, Tarcízio.Racismo Algorítmico: inteligência artificial e discriminação nas redes digitais. São Paulo: Edições Sesc São Paulo, 2022. ZUBOFF, Shoshana. A era do capitalismo de vigilância: a luta por um futuro humano na nova fronteira do poder. Tradução de George Schlesinger. 1. ed. Rio de Janeiro: Intrínseca, 2020.

To Shake the Hand of Happiness:Luiz Ruffato's Inferno Provisório Marguerite Itamar Harrison To shake the hand of happiness, as Seu Sebastião's family does at the beginning of "O Ataque," is always a short-lived accomplishment in Luiz Ruffato's hellish world. In Inferno Provisório, the sense of marginality, of living life on the periphery, derives from the author's decision to register in panoramic, five-volume form a raw and heart-rending history of the working class in Brazil in the second half of the twentieth century. Correspondingly, his narrative lens captures factory workers who strive for upward mobility and get entangled in consumerist cravings. Yet he also portrays the lowly lower classes, the truly down and out: the unemployed, the sick, the unstable, the suicidal, the insignificant, misfits living in makeshift quarters, those excluded, exploited and discarded by society. This essay addresses this extremely marginalized sector of the populace in Ruffato's Inferno Provisório. I focus in particular on several stories on its third segment, Vista parcial da noite, set in the 1960s and 70s during the Brazilian dictatorship. Luiz Ruffato's attention to marginality paradoxically takes aim at the center, at that which is most sacrosanct in the stories Brazil tells about itself: the nation and the family. He uses fiction to point to Brazilian society's pervasive flaws, mostly by way of intimate vignettes of families on the outer fringes. In Marilena Chaui's "Comemorar?" from Brazil: Mito fundador e sociedade autoritária (89-95), she aptly draws correlations between Brazil's colonial framework and its post-colonial makeup as an authoritarian society, linking public and private spheres. In Chaui's mapping of Brazil's authoritarian profile, she stresses an overall societal arc within which political totalitarianism manifests itself (90). Within what Chaui terms "social authoritarianism," inequalities abound, rooted in a colonial pattern of socioeconomic imbalance. With a landholding master in command through the privilege and power of racial, gender and class "superiority," "naturally" inferior beings such as women, [End Page 377] blacks, indigenous peoples, and immigrants become unremittingly relegated to the role of servitude (92). In similar fashion, Luiz Ruffato's fiction addresses these same structural parallels in Brazil's society: its hierarchical, top-down sociopolitical composition and the economic ramifications that historically and unremittingly polarize the country into "haves" and "have-nots." Within the family, this draconian configuration forces the disenfranchised into desperate, dog-eatdog situations that often reproduce the same oppressive model on an intimate scale. In Inferno Provisório, therefore, to fight for legitimacy or entitlement is an uphill battle that pits subaltern individuals–even family members or bosom buddies–against each other, in a cutthroat race for survival that often ends in defeat. Ruffato's work thus portrays alienated human beings, cut off from citizenship and lineage. Violent mechanisms of exclusion In Chapter One of Citizenship and Crisis in Contemporary Brazilian Literature (23-71), scholar Leila Lehnen expertly examines Inferno Provisório in light of the quest for citizenship, or civic entitlement, many times seemingly within reach, yet rarely attainable. According to Lehnen, the stories in Vista parcial da noite (originally published by Record in 2006, and to which "O Ataque" belongs) point to an inequitable society that is incapable of incorporating a downtrodden class of individuals into its fold. Within the five-tome set (subsequently published by Companhia das Letras as a single volume in 2016),1 Vista parcial da noite, set in the 1960s and 70s, contains elements of sociopolitical critique grounded in its timeframe. In other words, in keeping with Chaui's analysis, Ruffato's narrative thread in Vista parcial da noite registers a palpable undercurrent of oppression, stemming from several interrelated axes of power: political, of course, in its underlying representation of the dictatorship period, yet also economic, social and familial. Leila Lehnen's analysis confirms these multiple layers of coexistent oppression or, in her words, "modalities of violence" (25), found within both [End Page 378] "internal and external frameworks" (47). According to Lehnen, Ruffato's work points to "violent mechanisms of exclusion that permeate the Brazilian social fabric" (25), which she probes by examining specific stories and characters...

Trata-se da resenha de Caminhos da esquerda – elementos para uma reconstrução, de Ruy Fausto (Companhia das Letras, 2017). Em sua primeira parte, a resenha faz uma caracterização geral da estrutura e da argumentação do livro, ambas centradas naquilo que o autor designa como “patologias da esquerda”. Em seu segundo momento, a resenha examina a proposta política avançada por Fausto.

It is with great pleasure that we continue our work and present to the reader another publication from Revista Aurora. The Dossier Section of this issue presents the intriguing theme “The impacts of neoliberal measures on the world of work” which is structured around the following works: a) “Passive Revolution, coup d’état and reactionary subversivism in the history of Brazil”, by Anderson Deo , PhD in Social Sciences and professor at UNESP/FFC – Marília; b) “The deindustrialization process and Brazilian insertion in global value chains”, by Júlio Leutwiler, master in Social Sciences (UNESP/FFC – Marília; c) “The Paraná student movement under surveillance by the national information service”, by José Wilson Júnior, master in Social Sciences and doctoral candidate in Social Sciences (UNESP/FFC – Marília). The three texts discuss, from different perspectives, the political, social and economic changes and impacts of neoliberalism. In the Miscellaneous Section, the published articles cover various themes and reflections on different social phenomena in the Human Sciences, containing the following contributions: a) “The circle of educational policies for childhood: the historical whirlwind that permeates the common national curricular base ”, by the authors Juliana Macedo Balthazar Jorge (UEM), Vânia de Fátima Matias de Souza (UEM); b) “The diversity of household organizations in Caldas, Minas Gerais, based on local haunting narratives: a problematization of the patriarchal family of Gilberto Freyre”, by Marcelo Elias Bernardes (UNESP/FFC – Marília); c) “A proposal for the historical analysis of popular tales from 1880, by Leo Tolstoy”, by Fabíola Orlandini Gomes (USP). Finally, we have the Review by Marcus Vinicius Souza Perez de Cavalho (UNESP/FFC – Marília), with an analysis of the book André Singer: “Lulism in crisis. A puzzle from the Dilma period (2011-2016)”. 1st ed. São Paulo:Companhia das Letras, 2018. 389 p.

This article summarizes three author’s articles, which, although published in journals are not the result of their ethno-graphic research. The first one refers to a female demon adopted as matron of an American women’s movement, Lilith. According to this myth, Lilith would have been Adam’s first wife. The second text refers to popular interpretations regarding artificial insemination. The third text was originally published and presented as the Master Class of the Postgraduate Course in Social Sciences at the Federal University of Santa Maria (Universidade Federal de Santa Maria), RS, on March 14, 2014. A version of the analyzed myth was published in Carl Sagan’s book, Billions and billions. (Portuguese version, Companhia das Letras, 1997).

It is with great pleasure that we continue our work and present to the reader another publication from Revista Aurora. In this volume, we present the works a) “The new Gazeta Renana: the revolutions of 1848 and the loss of political illusions”, by Henrique Coelho (UFMG), which discusses the thesis of political ontonegativity present in the work of Karl Marx; b) “International politics understood as the politics of power: theoretical principles of political realism”, by Luiz Sperancete (UNESP), which reviews the arguments of the main authors of modern political realism; c) “Critical geopolitics. The Shanghai cooperation organization and the Sino-Kazakh water agreements: cooperation and stagnation”, by Lucas Gualberto do Nascimento (UNESP), which takes stock of Chinese influence under the key of international cooperation; d) “Data, surveillance and the private sector in the development of contact tracing tools during the covid-19 pandemic”, by Murilo Motta (San Tiago Dantas), which discusses the use of surveillance and tracking tools and their operationalization during the pandemic; and e) “From the vaccine revolt to the people without a vaccine against Covid-19: reflections on the pandemic, race and social exclusion”, by Alexandre Braga (UFMG) and Vitória Izaú (UEMG), who present a reflection on the impacts of the pandemic in the most excluded strata of our society. Finally, we have the review by José Paniago (UNESP), with an analysis of Gabriel Feltran's book, “Irmãos: Uma História do PCC”. São Paulo: Companhia das Letras, 2018.

Click to increase image sizeClick to decrease image size Notes1. The Febuary 2011 annual meeting of the College Art Association (CAA) in New York had an entire session organized by Patricia Mainardi dedicated to “The Crisis in Art History.” The papers were later published in a special issue of Visual Resources (27, no. 4, 2011). Yet the present crisis in the discipline can be considered just the latest of many that it has faced at least since the 1970s, when a whole new range of theoretical references, such as postcolonial theories, psychoanalysis, gender studies, and semiotics, pressured art historians to reflect about their specific approaches to art. Hans Belting's Das Ende der Kunstgeschichte? came out in 1983, centering its fire on the power structures of the field in Germany, and in 1982 the Art Journal also produced an issue on “The Crisis in the Discipline,” edited by Henri Zerner, with articles by such leading art historians as Rosalind Krauss, David Summers, and Donald Preziosi, among others. At that time, the main topic of discussion was the incorporation of new objects of study in the art historical field, such as advertisement, photography, and other aspects of visual culture, bringing art history closer to so-called visual studies. Concerns about developing a global art history, something that still resonates today, appeared at the turn of the century with important publications such as Hans Belting's Bild-Anthropologie (2001) and David Summers's Real Spaces (2003). Both books demonstrate a special interest in anthropology, which persists today with the incorporation of anthropological theories such as those of Alfred Gell and Bruno Latour, for example, into the field. Belting, Das Ende der Kunstgeschichte? (Munich: Deutscher Kunstverlag, 1983), trans. as The End of the History of Art? (Chicago: University of Chicago Press, 1987); Zerner, ed., “The Crisis in the Discipline,” special issue, Art Journal 42, no. 4 (Winter 1982); Belting, Bild-Anthropologie (Munich: W. Fink, 2001); and Summers, Real Spaces: World Art History and the Rise of Western Modernism (London: Phaidon Press, 2003).2. This was the 33rd Congress of the Comité International d’Histoire de l’Art, Germanische Nationalmuseum Nuremberg, July 15–20, 2012. Its theme, “The Challenge of the Object,” appears somewhat conservative when considered from the perspective of contemporary art. Since at least the 1960s Conceptual art has done away with the idea of a necessary connection between art and the material world, which had important political consequences as well.3. The same logic that we see here organizes much of the “globalized” art world. In a review of the exhibition Africa Remix: L’art contemporain d’un continent, presented at the Centre Georges Pompidou, Paris, in 2005, Roberto Conduru notes that African artists still need to pass through the established institutions of art in the United States or in Europe to enter the circuits of the international market and art world. “With one sole exception—Wim Botha … all of the remaining 87 artists already represented their country and/or the Continent in the Biennials that proliferate throughout the world, and also presented their work in prestigious institutions within the system of international art.” Conduru, “O mundo é uma tribo,” Concinnitas (UERJ, Rio de Janeiro), no. 8 (July 2005): 198–202.4. Although this in fact is a very significant way to approach Brazilian visual culture, it should not be exclusive. Important work has been done in the last few years on the process of the transfer and circulation of material culture within the Portuguese Empire and in Brazil. See Jens M. Baumgarten, “Transformation asiatischer Artefakte in brasilianischen Kontexten,” in Topologien des Reisens, ed. Alexandra Karentzos, Alma-Elisa Kittner, and Julia Reuter (Trier: Universität Trier, 2009), vol. 1, 178–94.5. A good example can be found in Rodrigo Naves's interpretation of Jean-Baptiste Debret's Brazilian period: “Definitely, the existence of slavery hindered once and for all any effort to transplant the classical form as truth into Brazil.” Naves, A forma difícil: Ensaios sobre arte brasileira (São Paulo: Ática,1996), 71.6. Moema is the tragic character of Frei Santa Rita Durão's epic poem Caramuru. She was the sister of Caramuru's wife, Paraguaçu, and drowned while swimming after the ship that carried Caramuru back to Europe.7. Regarding the position that Baroque occupies in Brazilian art history, it is interesting that in the first Pan-American Congress of Architects, organized in Uruguay in 1920, Alexandre de Albuquerque proposed the Baroque manner of Minas Gerais as the source for a Brazilian national style, since, according to him, Brazil did not possess a strong indigenous culture, as did other countries in South America.8. Sergio Miceli, Nacional estrangeiro (São Paulo: Companhia das Letras, 2003).9. The study of art history is relatively recent in Brazil, and by examining other contributions to the history of culture in the country, one can find elements that could help to impel art history in new directions. The writer Mario de Andrade, one of the main protagonists of Brazilian modernism, for instance, developed a genuine interest in African and Native culture and in 1936 wrote a project for the creation of an Institute for National Patrimony in which he included material and immaterial culture of the different populations in Brazil. In the same period, the sociologist Gilberto Freyre, who had studied with Franz Boas, wrote his classic book Casa-grande e senzala, in which he examines the diversity of contributions to Brazilian culture. In the 1940s and 1950s, Lina Bo Bardi organized exhibitions in Bahia and at the São Paulo Art Museum (MASP) based on her research on popular art in Brazil. See, among others, Antonio Gilberto Nogueira, Por um inventário dos sentidos: Mário de Andrade e a concepçã de patrimônio e inventário (São Paulo: Hucitec/Fapesp., 2005); Marina Grinover and Silvana Rubino, eds., Lina por escrito: Textos escolhidos de Lina Bo Bardi (São Paulo: Cosac e Naify, 2009); and Gilberto Freyre, Casa-grande e senzala (São Paulo: Global, 2003).10. “From this we conclude that … art, in its simple forms, is not necessarily expressive of purposive action, but rather based upon our reactions to forms that develop through mastery of technique.” Franz Boas, Primitive Art (New York: Dover, 1955), 62. I also think that Boas's question about what could be considered an aesthetic object in these cultures is a very important one because it definitely secures these objects as of interest for the field of art history, at the same time that it forces us to listen to the point of view of their creators.11. On Assuriní visual culture, see Regina Polo Müller, Os Assuriní do Xingu: História e arte (Campinas: Unicamp, 1993). When dealing with contemporary indigenous culture we must also acknowledge the impact of the market on how aesthetic value is assigned. This, of course, implies recognizing that indigenous culture is in fact alive and interacting with other sectors of society today, resisting the tendency of both anthropologists and art historians to imagine these cultures as if “frozen in the past.”12. Tapirage is the name given to a technique used by some indigenous groups to alter the feather colors of live birds. See Amy Buono, “Crafts of Color: Tupi Tapirage in Early Colonial Brazil,” in The Materiality of Color: The Production, Circulation, and Application of Dyes and Pigments 1400–1800, ed. Andrea Feeser, Maureen Daly Goggin, and Beth Fowkes (Aldershot, U.K.: Ashgate Press, 2012), 8–40.13. Amy Buono, “Indigeneity as Corporeality: The ‘Tupinambization’ of the Early Modern Atlantic,” in Art and Its Histories in Brazil, by Claudia Mattos and Roberto Conduru, Issues and Debates (Los Angeles: Getty Research Institute, forthcoming).14. On this issue, see Joanne Rappaport and Tom Cummins, Beyond the Lettered City: Indigenous Literacies in the Americas (Durham, N.C.: Duke University Press, 2012), 1–26.15. As I have argued above, there cannot be one unitary Brazilian art; given the constant dynamic exchange between local and transferred material and immaterial culture, we must substitute this concept for a more dynamic view of the arts in Brazil.16. Terreiro is the name for buildings and spaces that contain Afro-Brazilian religious activities. Quilombos are historic settlements of fugitive and freed slaves that were created in remote places within the interior of Brazil.17. We must learn to see the circulation of people, ideas, and objects between different localities in Africa and Brazil as a two-way process. As Roberto Conduru notes, although slavery implied the forced migration of a much larger population from Africa to the Americas, there was also some significant immigration in the other direction. This is well documented, for example, in the development of agudá architecture in the region of the Gulf of Guinea (Togo, Benin, and Nigeria). Conduru, “Sobrevivência e invenção—conexões artísticas entre Brasil e África,” in Mattos and Conduru, Art and Its Histories in Brazil.18. The direct relation between art and art history has been pointed out numerous times. Wolfgang Kemp (“Benjamin and Aby Warburg,” Kritische Berichte, no. 3 [1975]: 5–6) has argued that Dadaist collage played an important role in the development of Aby Warburg's Mnemosyne Atlas, for instance. See Kurt W. Forster, “Die Hamburg-Amerika-Linie, oder: Warburgs Kunstwissenschaft zwischen den Kontinenten,” in Aby Warburg: Akten des internationalen Symposions, Hamburg, ed. Horst Bredekamp, Michael Diers, and Charlotte Schoell-Glass (Weinheim: Wiley-VCH Verlag), 11–37. Performance art has helped us understand the theatricality of Baroque art, and it also can be very productive in interpreting much of what we call Native art, for instance.19. Thierry Dufrêne, “Pour en finir avec le corset de la chronologie: Vers une histoire de l’art élargie qui rapproche les temps et les oeuvres,” in Théâtre du Monde, exh. cat. (Paris: FAGE, 2013), 30–37. The exhibition at La Maison Rouge, which showed the collection of eccentric Tasmanian collector David Walsh, was curated by Jean-Hubert Martin, who also used Surrealist-inspired anachronistic models to display the objects.20. Belting, Bild-Anthropologie; and Summers, Real Spaces. For a critique of David Summers's book in relation to the question of a new world art history, see James Elkins, “On David Summers's Real Spaces,” in Is Art History Global? (New York: Routledge, 2007), 41–72.Additional informationNotes on contributorsClaudia MattosClaudia Mattos, professor of art history at the University of Campinas, earned a PhD from the Freie Universität, Berlin, in 1996. She publishes on nineteenth- and twentieth-century art and is preparing one book on art and ecology in Brazil and editing another on Brazilian art history for Getty Publications [Instituto de Artes, Departamento de Artes Plásticas, Rua Elis Regina 50, Cidade Universitária Zeferino Vaz, 13083-854, Campinas, SP, Brazil, cvmattos@iar.unicamp.br].

Esta resenha da biografia “Juca Paranhos, barão do Rio Branco” de Luís Cláudio Villafañe G. Santos (Villafañe, L.C. Juca Paranhos: o Barão do Rio Branco. São Paulo: Companhia das Letras, 2018, 560p) explora a dimensão da utilização de instrumentos de poder na gestão Rio Branco, particularmente a relação entre política externa e defesa. A resenha destaca a formação e atuação de Rio Branco, os quais mostram um hábil operador da realpolitik, de base saquarema, e capaz de utilizar as ferramentas de poder disponíveis, inclusive o poder militar, de acordo com o momento e com as possibilidades de êxito de cada questão.

Esta resenha da biografia “Juca Paranhos, barão do Rio Branco” de Luís Cláudio Villafañe G. Santos (Villafañe, L.C. Juca Paranhos: o Barão do Rio Branco. São Paulo: Companhia das Letras, 2018, 560p) analisa a trajetória do biografado no que diz respeito a sua atividade como jovem jornalista, nas décadas de 1860 e 1870. A resenha argumenta que esse período é subestimado na carreira de Rio Branco, pois deu a ele conhecimentos e relações que posteriormente foram importantes para sua atuação como ministro das Relações Exteriores.