Os processos literários e a construção da imagem do intelectual engajado

Sapiro, Gisèle

doi:10.1590/s0102-69092013000300001

Cited by 4 publications

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“…Furthermore, at the source of the appeal and antagonism cursed authors, the most notable marginals, cause is the threat of the unknown and unpredictable Other, in association with the unpredictable threat to the constitution of society as made up of a centre in opposition to the peripheries, home par excellence of the untamed (Sousa, 2014: 190-192). They would also suffer from a double marginalisation: external on the public's and the more or less dominant literary peers' part, and a self-imposed one, due to them positioning themselves apart from the mainstream 41 , a form of dissidence and resistance, an option to break from the quotidian and wager on an immersion between art and life (Bourdieu, 1996;Cauquelin, 2005;Sousa, 2014;Sapiro, 2013) 42 . 39 Razão de Ser [Reason of Being] (2017).…”

Section: Figure 34 Rádio Caos Advertisement1 37mentioning

confidence: 99%

Independent DIY publications and the Underground Urban Cultures

Guerra¹,

Quintela²,

Letras³

2021

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In Chapter 2 'Showing, Telling and Selling Out', Caelli Jo Brooker and Matt Sage analyse the street press of free distribution, as a publication format that is related to recognition and urban culture, in its diverse forms. Thus, the authors intend to establish a parallel between the independent productions based on DIY and doit-yourself logics, as opposed to the commercial street press. To this end, the authors use a technique centred on autoethnography, aiming to explore the motivations, perspectives, contributions, and contradictions present in Australian independent street production. Then, in Chapter 3 'The Marginal Porto: Contributions from Hell by A.Dasilva O. in the 80's', Paula Guerra presents us with a chapter on A.DaSilva O., while introducing us to the growing openness of the city of Porto, in Portugal, in the 1980s, to the cultural and aesthetic changes that took place as a consequence of (post)modernism. A.DaSilva O. arose from the need to resist and to seek a new world, whether through radio, fanzines, music or television. Starting from the struggle for the right to be different, as the author of the chapter refers to us, a set of authors and writers stand out, namely A.DaSilva O. in the sense that it assumed itself as the key element for the publication of projects of cultural domain, based on the theme of intervention. Thus, a city is portrayed through independent publications. In Chapter 4 'Brazilian Provocations: Brazilian Counterculture through the Alternative Press -The Column Underground (1969-1971), Flor do Mal (1971) and Rolling Stone (1972-1973)', Patrícia Marcondes de Barros reflects on Brazilian counterculture from the aegis of the production, dissemination and reception of alternative press media, focusing on three demonstrative examples. Within the Brazilian context, the contents, behaviour, and the need to create alternative spaces for communication and expression are thus analysed, while at the same time binding ideological positions that consequently create a counterculture. Here counterculture takes on a different meaning since combined perspectives are presented under the study of the American underground. The main aim is to understand ideological struggles. In Chapter 5 entitled 'Boring, Unconfortable and Mutated: Chili com Carne at the Nexus of the Contemporary Portuguese Independent Comics Scene' Pedro Moura presents another type of independent publication. He gives us a glimpse of the other side, that of the production centres of the USA, France, Belgium, and Japan, with comics as the motto. As an example, the text revolves around the independent Portuguese publisher Chili Com Carne, introducing it within a scene in which multiple elements converge, such as sales markets, social structures, and messages. Furthermore, a reflection is also made around the importance of aesthetics, ethics, and politics. Still focusing on the Portuguese case, in Chapter 6 designated 'Literary Maga/zines: Poem-action and Togetherness', based on a sociology of culture, Rita Grácio addresses the con...

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Section: Figure 34 Rádio Caos Advertisement1 37mentioning

confidence: 99%

Independent DIY publications and the Underground Urban Cultures

Guerra¹,

Quintela²,

Letras³

2021

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Section: Figure 34 Rádio Caos Advertisement1 37mentioning

confidence: 99%

The marginal Porto : contributions from hell by A. Da Silva O. in the 80's

Guerra¹

2021

Independent DIY Publications and the Underground Urban Cultures

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A A round the 1980's, Porto started opening up to the cultural, musical and aesthetic change announced by (post)modernism. Resistance -and a search for the new -manifested itself through radio programmes, fanzines, concerts, and bulletin boards. The key motto was "for the right to be different" 18 . In those shifting times, besides some musicians, certain authors and editors stood out. António da Silva Oliveira (A. DaSilva O., 1958) was a key figure in the scene. He published, helped publish, and jumpstarted projects from a myriad cultural intervention domains. Through A. DaSilva O.'s "cursed" underground journey, we will trace a portrait of Porto's society in its transition to contemporaneity where the arts, music and their subversion play(ed) a key role.

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“…Uma forma de dissidência e resistência. Uma opção de rutura face ao quotidiano e aposta numa imersão entre arte e vida (BOURDIEU, 1996;CAUQUELIN, 2005;SOUSA, 2014;SAPIRO, 2013) 15 .…”

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A margem é onde tudo começa e onde tudo acaba . A. Dasilva O. fala ao país pela Rádio Caos

Guerra

2020

Rev. Trav.

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Em meados dos anos 1980, o Porto começou a abrir-se à mudança cultural, musical e estética anunciada pelo (pós)-modernismo. A resistência - e a procura do novo – também começou a fazer-se sentir através de programas de rádio, de fanzines, de concertos e de boletins. Importante era o lema “pelo direito à diferença”[1]. Nestas movimentações, para além de alguns músicos, destacavam-se certos autores/editores. António da Silva Oliveira (A. DASILVA O., 1958) era uma figura central. Publicava, coadjuvava a publicar e propulsionava projetos dos mais diversos domínios da intervenção cultural. Através da trajetória “maldita”, underground de A. Dasilva O., traçaremos um retrato da sociedade portuense na sua transição para a contemporaneidade onde as artes, as músicas e suas subversões desempenha[ra]m um papel central.[1] Expressão eternizada aos microfones da rádio por António Sérgio no programa de rádio “Som da Frente” em 1982.

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Os processos literários e a construção da imagem do intelectual engajado

Cited by 4 publications

References 4 publications

Independent DIY publications and the Underground Urban Cultures

Independent DIY publications and the Underground Urban Cultures

The marginal Porto : contributions from hell by A. Da Silva O. in the 80's

A margem é onde tudo começa e onde tudo acaba . A. Dasilva O. fala ao país pela Rádio Caos

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