[pt] Este trabalho analisa a produção da Coleção Primeiros Passos, publicada pela editora Brasiliense no período da abertura democrática, no Brasil, entre os anos 1979 e 1985. Com a produção dessa Coleção a Brasiliense não só conquistou uma nova posição no campo editorial como criou um espaço de participação política relevante no processo democrático em construção. Destaca-se para a análise histórica o projeto político editorial de esquerda construído pela Brasiliense nesse momento. / [en] This work analyzes the production of Primeiros Passos, the book collection, edited by Brasiliense during the period of the Brazilian democratic opening process, from 1979 to 1985. With it, Brasiliense reached a new and important position on the publishing field and furthered an extremely relevant space for political discussion and participation alongside with the democratic process under construction by civil society. The leftist political publishing project built by Brasiliense is focused on here from a historical perspective.

[pt] O objetivo desta dissertação é analisar a Coleção Nosso Século, buscando identificar características e elementos que permitam evidenciar a coleção como obra de mediação cultural. A categoria de intelectuais mediadores também será objeto de análise, tendo em vista que intelectuais que trabalharam na Nosso Século tinham como objetivo um projeto político-cultural voltado para a divulgação de conhecimento histórico para um público amplo sobre a História Contemporânea do Brasil, prática característica de mediação cultural e do trabalho de intelectuais mediadores. Para o estudo da Coleção Nosso Século, obra publicada em 1980 pela Editora Abril Cultural, na forma de fascículos vendidos em bancas de jornais, a dissertação optou pela análise do seu conteúdo e das fontes históricas utilizadas para o desenvolvimento da coleção, além de entrevistas orais com profissionais que atuaram nessa produção cultural em várias funções e práticas culturais. / [en] The dissertation objective is to analyze Nosso Século Collection, aiming to identify characteristics and elements that allow us to substantiate it as work of cultural mediation. The mediating intellectual category will also be object of analysis, considering that intellectuals who worked at Nosso Século had, as objective, a political-cultural project aimed at spreading historic knowledge about Brazilian Contemporary History to a broad public, practice typical of cultural mediation and work of mediating intellectuals. For the study of Nosso Século Collection, a work published in 1980, by Abril Cultural Publishing Company, in the form of installments sold through newsstands, the dissertation opted for analysis of its contents and the historical sources used for the collection development, in addition to oral interviews with professionals who worked in this cultural production in various functions and cultural practices.

[pt] Esta dissertação pretende investigar as formas de figuração do tempo histórico nacional presentes na História da Revolução de Pernambuco em 1817 (1840), de Francisco Muniz Tavares. Ao interpretar a revolução pernambucana de 1817, Muniz Tavares a concebeu como uma tentativa de antecipação do futuro da independência que expressava uma assincronia entre Pernambuco e os demais espaços do Brasil. Isso porque a independência de 1822 foi compreendida como o crescimento de um germe da emancipação cujo plantio já teria se dado de modo precursor na revolução promovida em solo pernambucano, então interpretada como um prenúncio do futuro no passado. Para além disso, em sua narrativa do movimento de 1817, este letrado propôs uma leitura da história brasileira bastante crítica à colonização portuguesa, por vezes entendida como um passado ainda presente mesmo após a independência. A identificação do que, em sua perspectiva, seriam marcas do período colonial, como a escravidão e o atraso de parte dos brasileiros, produziu um modo de conceber o tempo histórico nacional que enfatizava as assincronias entre os diversos espaços e grupos que compunham a nação e no qual a suposição de um movimento temporal autônomo e animado pelo progresso coexistia com a permanência de passados indesejados. Isso originou uma visão menos harmônica da temporalidade nacional cuja apreensão nos permite complexificar e tensionar as análises relativas ao cânone historiográfico oitocentista, visibilizando narrativas dissonantes acerca da história brasileira. / [en] This research aims to investigate the forms of figuration of a national historical time on Francisco Muniz Tavares História da Revolução de Pernambuco em 1817 (1840). Interpreting the Pernambuco revolution of 1817, Muniz Tavares conceived it as an attempt to anticipate the future of independence that expressed a non-synchronicity between Pernambuco and Brazil. This is because the Brazilian independence was understood as the growth of a germ of emancipation whose planting would have already taken place in a precursory way in the revolution promoted in Pernambuco, then conceived as presage of the future in the past. Furthermore, in his narrative of the Pernambuco movement, this author proposed an interpretation of Brazilian history that was quite critical of Portuguese colonization, understood as a past still present even after independence. The acknowledgment of what, in his view, would be marks of the colonial period, such as slavery and the absence of progress on the part of Brazilians, produced a way of conceiving the national historical time that emphasized the non-synchronicity between the different spaces and groups that were part of the nation and in which the assumption of an autonomous temporal movement pervaded by progress coexisted with the permanence of unwanted pasts. This produced a less harmonious view of national temporality whose understanding allows us to enrich and tense the studies related to the 19th century historiographical canon, revealing dissonant narratives about Brazilian history.

La dramaturgie fut la première des ambitions machadiennes. Une oeuvre de poète exalté s’il en est, sobrement contenue pourtant, à la fois discrète en surface et bouillonnante en sourdine. Elle s’impose ainsi harmonieusement classique dans sa facture et dans sa tenue. Sur un plateau réduit à sa plus simple expression et dans une trame débarrassée du superflu, Joaquim Maria Machado de Assis confère à la langue théâtrale de ses comédies, une prose poétique et lyrique, une charge nouvelle, faite de vertige, de nervosité, qui déroute et innove dans le paysage esthétique brésilien des années 1860-1870. Sa démarche de dramaturge ne sera guère comprise, voire méjugée, jusqu’à être réduite au silence par l’ensemble de la critique et de l’historiographie du théâtre brésilien du XIXe siècle. Le XXe siècle, à quelques exceptions près, agira de même. C’est ainsi qu’il incombe aux interprètes de porter ce théâtre à la scène, de l’ancrer physiquement et concrètement, sans phrasé affecté ou trop de lyrisme. À cette seule condition, alors, peut-être, pourront sourdre des tempêtes intérieures. Il y a chez cet écrivain, une volonté farouche et affichée de dégager, dans une démarche consciente et mesurée, une synthèse viable pour asseoir durablement la dramaturgie brésilienne de son époque. Tout à l’écriture de ses pièces, il débuta une carrière de critique théâtrale qui hisse l’exercice à un véritable magistère, tant le genre souffrait, avant son passage dans la presse carioca, d’un discrédit et d’un manque de légitimité. Le journaliste, le chroniqueur, livre un corpus hétérogène qui fait de sa critique une activité plus complexe qu’on n’a bien voulu le dire. Elle devient un lieu de tensions paradoxales pour appréhender et penser le théâtre autrement. Partant, Machado – qui n’a pas encore trente ans – conférera à la discipline une autonomie jamais démentie depuis, et confortera sa place sur la scène intellectuelle brésilienne. Cette réflexivité critique, cet engouement pour le théâtre dans toute son étendue, enfin sa maîtrise de l’art dramatique, irradient, contaminent en profondeur l’écriture de ses contes et de ses romans les plus aboutis. Son immense fortune critique, sans contredit, doit tout à l’art du romancier inclassable et indompté – le plus grand prosateur brésilien – qu’il fut et offusque donc, le dramaturge. Il reste que par le théâtre et à travers lui, l’écrivain carioca livre une matière fictionnelle incandescente, labyrinthique, en lien organique avec la matière sociale et historique, en somme, un matériau artistiquement achevé, vibrant, lucidement classique. / Machado de Assis’first ambition ever was Drama. His is the work of an exalted poet, though sober and contained, apparently discreet and inwardly irrepressible: it sets itself as harmoniously classic in facture. On stage and with effective plots, Machado de Assis provided the theatrical language, which he utterly mastered, with a new function, made of the restlessness and excitability that disturbed and renewed Brazilian theatre in the 1860s and 70s from an aesthetical point of view. His approach as a playwright would cause misunderstanding and unsettle contemporary critics of his time, to date. Interprets have to take his theatre onto the stage, to root it physically and concretely, avoiding too much affectation or lyricism. On that condition only will underlying conflicts become apparent. In Machado, there is a definite, aware restlessness in willing to make a viable sum so as to durably lay the foundations of Brazilian dramaturgy of his time. In parallel, the writer started a career as a theatre critic, hoisting the practice to a high office, as indeed the genre had, before him, been widely despised as lacking legitimacy. Here, the journalist and chronicle writer presents a more heterogeneous body of works showing a complexity still overlooked to date: it became a space of paradoxical tensions to understand and think theatre in a different way. Hence, Machado – a young man of not thirty years of age – would provide the discipline with an autonomy still standing today and comfort his own significance in the theatrical and intellectual milieu of his time. Such critical reflexivity, such passion for drama in general and, finally such mastery of dramatic art, would illuminate the writing of his most accomplished short stories and novels. His immense legacy as a critic undeniably owes everything to his talent as an original and wild, untamed novelist – the greatest Brazilian prose writer of all times. The playwright is overshadowed by the novelist. Nevertheless, through his theatre, Machado de Assis presents a live and labyrinthine matter, intimately linked with the social and historical fabric of his time: an artistically though unaccomplished, and far from consensual, material.

This thesis aims to discuss the History of Science in the Modern Age. It is a historical- philosophical reflection on the relationship between Science and Religion in the seventeenth century through the trip, works and life of the Czech mathematician, astronomer and Jesuit priest Valentin Stancel in Moravia, Bohemia, Italy, Portugal and Brazil . This study seeks to redimension the participation of the priests of the Society of Jesus in the development of the modern era by higlighting the activity of the Jesuit priests in the political-religious and scientific transformations that occurred in the sixteenth and seventeenth centuries in Europe, in the Orient and in Portuguese America. The present study aims to reflect on the scientific discoveries of the sixteenth and seventeenth centuries, especially in the fields of mathematics and astronomy; the new conception of man and world that springs from the political and religious transformations of reformist thought and cultural renaissance; the shock of the new scientific theories and experiences with the Sacred Scriptures and consequently with Christian-Aristotelian scholastic theology; besides contesting the lack of participation of priests, or even religion, in contributing for the development of science. The timeframe of the work takes place primarily...