Imagens em diálogo: cultura visual no Brasil e México em perspectiva comparada
The purpose of this article is to determine the movement of images and visual culture appearance of a political between Mexico and Brazil the 1920s and 1930s. Search examine in particular were as common visual repertoires between the two countries both in the production of images uploaded with a rhetoric of political engagement as some pictures that a first glance could pass for Uncompromising but which contributed to the construction of political imagery. Although my intention is not an exhaustive analysis imagetics find out different media such as photos printed in newspapers and in Magazines, posters, engravings and other artistic expressions that subsidize the movement of aesthetic and political ideas. Part of the hypothesis that although the difficulties of exchanges (language, distance and lack of greater contact between its artists and intellectuals) was an exchange of proposals especially between political and cultural networks of sociability of artists markedly under the left politics.
Fontes visuais, cultura visual, história visual: balanço provisório, propostas cautelares
The aim of this article is to displace the historian's focus on visual sources (iconography, iconology) into a more rewarding treatment of visuality as an important dimension of social life and historical processes. After a survey of contributions brought in by Art History, Visual Anthropology, Visual Sociology and Visual Culture Studies, concerning visual records and visual regimes, the author introduces a few prerequisites for a Visual History - intended not as a new academic feud, but as a set of strategic operational means of enhancing historical research in all its domains.
Shoeless Joe: Fantasy and the Humor of Fellow-Feeling
In his essay on Jean Paul Friedrich Richter, Thomas Carlyle writes of a humor that manifests itself in smile rather than laughter. "Richter is a man of mirth," says Carlyle, whose humor is "capricious . . . quaint . . . [and] heartfelt" (15). The three adjectives represent for Carlyle the essence of what he terms "true humor" because they suggest Richter's enormous respect for humanity. "True humor," he goes on to say, "springs not more from the head than from the heart; it is not contempt, its essence is love; it issues not in laughter, but in still smiles, which lie far deeper" (17). These smiles are not Hobbesian smirks of superiority1 but genuine signs of compassion for, sympathy toward, and empathy with the object of the humor. Carlyle further provides a direct link between humor and both pathos and nobility; the link is the smile of the caring man. For Carlyle, this smile is one of "fellow-feeling":