This paper aims to establish that space becomes a place whenever an individual uses it, interacts with the environment and with others. It also shows that the interiors are more than functional units and are key signifiers when determining the identity of the dweller. Research is oriented towards the period of transition from 19th to 20th centuries and uses architecture and literature as key research sources. A semiotic approach complements and provides an insight into the potential meaning of decoration and room allocation, in particular, as far as the determination of the public and private spheres are concerned. The Parisian model offered interesting recreations of the French trend adapted into a Portuguese environment, historically defined and ideologically planned.Key Words -Interiors Design, Semiotics, Literature, Domesticity, Space Layout Resumo O presente artigo pretende demonstrar que o espaço se transforma em lugar sempre que o indivíduo o usa, interage com o ambiente, e com os outros. Procura igualmente mostrar que os interiores são mais do que meras unidades funcionais e que se assumem significantes essenciais para a definição da identidade do utilizador e particularmente do morador. A investigação é orientada para o período que corresponde à transição do século XIX para o seguinte e utiliza a arquitectura e a literatura como fontes primárias. Uma abordagem semiótica complementa e expande as potencialidades significativas da decoração e da organização de espaços e funcionalidades, particularmente no que diz respeito à separação das áreas pública e privada. O modelo parisiense oferece reinvenções interessantes da tendência francesa adaptada ao ambiente português, historicamente definido e ideologicamente planeado. A sua recriação ilustra frequentemente um cenário cosmopolita frequentemente incoerente com a sua apropriação pelos hábitos e costumes dos lisboetas.
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This article examines the poetic use of the revolution in four songs written and played by the Portuguese rapper Sam the Kid, the bands The Soaked Lamb, Os Quais, and The Loafing Heroes. Despite these songs showing aesthetic and formal differences, the revolution is a common trope to discuss the post-revolutionary nation. The Portuguese singers did not experience the revolution because they were born in the 1970s. A close analysis of these compositions suggests that the revolution is part of the collective imaginary and stands as the moment utopia could have been made real in Portugal. In times of crisis, the revolution emerges as the impetus to change and 1974 becomes the Portuguese appropriation of utopia in the twenty-first century. Rap, bossa nova, indie and roots emerge as legitimate musical genres to discuss postmodern times and the post-revolutionary nation. In ‘Abstenção’ (‘Abstention’) (released by Sam the Kid in 2006) and in ‘Palhaços’ (‘Clowns’) (released by The Soaked Lamb in 2012), the present is gloomy and the memory of the Carnation Revolution is appropriated to give voice to the dispossessed of the Portuguese democracy and offered to make amends with the memory of the failed revolutionary solutions. ‘Meu Caro Amigo Chico’ (‘My Dear Friend Chico’) (released by Os Quais in 2012) and ‘The Shepherd’ (released by The Loafing Heroes in 2014) are compositions where the crisis of utopia is redeemed to reconfigure the conceptual limits of individualism and the body, an extension of the world, becomes the unchartered territory of utopia.
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