A presente dissertação, Clube de Gravura de Porto Alegre e revista Horizonte (1949-1956): arte e projeto político, estuda a ação de um grupo de artistas vinculados ao projeto cultural do Partido Comunista do Brasil que dedicou sua produção para a popularização da arte como meio de conscientização política. Esses artistas, entre os quais se destacam Vasco Prado, Glênio Bianchetti, Carlos Scliar, Danúbio Gonçalves e Glauco Rodrigues, tinham na gravura um meio privilegiado para essa difusão, procurando explorar temas da cultura popular e vinculá-los a uma pauta de luta contra a exploração capitalista e o imperialismo norteamericano. Enquanto o Clube de Gravura de Porto Alegre era o principal espaço de articulação para esses agentes, a revista Horizonte colocava-se como veículo para circulação de imagens e de promoção de debates vinculados a este projeto. O primeiro capítulo deste trabalho trata do contexto em que se formou o Clube de Gravura de Porto Alegre e sua inserção no campo artístico do Rio Grande do Sul. No segundo capítulo, é realizado um levantamento da atuação desses artistas no ambiente cultural da capital sulina, principalmente na Associação Francisco Lisboa, assim como são enfatizadas as ações voltadas ao grande público, como a colaboração na campanha pela paz e as exposições de gravura, que tinham como finalidade despertar a consciência crítica da classe trabalhadora por meio da arte. No terceiro e último capítulo, são abordadas as influências recebidas, como o realismo socialista, o zhdanovismo e a gravura chinesa, como também possíveis diálogos com outros movimentos, tal qual o tradicionalismo gaúcho. Essa parte se encerra com o balanço da produção do grupo ocorrida vinte anos depois, em um momento de críticas e análises contraditórias em relação à sua proposta original. / The present work entitled Clube de Gravura de Porto Alegre e revista Horizonte (1949- 1956): arte e projeto político, studies the actions of a group of artists related to a cultural project of the Partido Comunista do Brasil which dedicated its artistic production to popularize art as a mean to political conscientization. Among the artists involved in this movement Vasco Prado, Glênio Bianchetti, Carlos Scliar, Danúbio Gonçalves e Glauco Rodrigues outstanded by using engraving as a privileged mean to difuse the ideas of the movement exploring themes such as popular culture linking them as a way to draw attention to the capitalist exploration and the North-American imperialism. The Clube de Gravura de Porto Alegre was the main space for artistic production of the project and the Horizonte magazine was its most important vehicle of image circulation and promotion of debates. The first chapter of this work is about the context in which the Clube de Gravura de Porto Alegre was created and its insertion in the Rio Grande do Sul artistic field. In the second chapter, the insertion of these artists in the cultural environment of Porto Alegre is described, mainly in the Associação Francisco Lisboa, as well as their actions for the great public as the collaboration in a peace campaign and the engraving exhibitions whose purpose was to awake the critical awareness of the working class through art. In the third and last chapter, the influences which acted in these artists are addressed such as the socialist realism, zhdanovism and the Chinese engraving, as well as a possible relation with other movements such as regional culture. This part ends with an evaluation of the group production occurred twenty years later at a time of criticism and contradictory analyzes regarding to its original proposal.

Nesta dissertação me proponho a analisar o romance O Mestre e Margarida (1940) de M. Bulgákov a partir das noções de humano, fantasia e realidade. Para isso, inicio por uma análise do primeiro capítulo do romance de Bulgákov em aproximação com o romance realista socialista, buscando elementos com que Bulgákov se contrapõe ao realismo socialista. Sugiro, aqui, que esses elementos teriam ligação com questões éticas e de modos de representação do real, de tal modo que essas questões residem no cerne temático e formal do romance. Em seguida, me proponho a analisar o entremeio entre o primeiro capítulo de O Mestre e Margarida, que se passa em Moscou, e o segundo capítulo, o romance dentro do romance, a história de Pôncios Pilatos e Jeshua escrita pelo personagem Mestre. Nesse momento, estou preocupado em discutir três temas principais: a. a função do fáustico no romance, bem como outras questões a ele associadas, como o problema do valor em Goethe, Binswanger, Nietzsche e Heidegger leitor de Nietzsche; b. o modo como um romance está dentro do outro, uma vez que, entre outras coisas, o modo como se dá a passagem entre um e outro é variado e instaura uma questão sobre a qual não poucos críticos se debruçaram; e c. a singularidade do procedimento paródico presente no romance, a qual me leva a enveredar por um estudo da sátira menipeia de Bakhtin, em consonância com alguns pontos de seus textos iniciais, preocupados, por exemplo, com o problema da responsabilidade. Por fim, passo a uma análise do segundo capítulo de O Mestre e Margarida, o assim chamado romance dentro do romance, que narra à sua maneira a interação entre Jeshua e Pôncios Pilatos. Aqui, aproximo dessa narrativa algumas questões relacionadas ao nietzschianismo russo e a Nietzsche, tendo em vista hipóteses trabalhadas nos momentos anteriores deste estudo. Nesse percurso, as desenvolvo e aprofundo, principalmente a respeito de assuntos como a recepção de aspectos da filosofia alemã no contexto russo-soviético e o lugar complexo de O Mestre e Margarida no modernismo. / In this dissertation I propose an analysis of M. Bulgakovs novel The Master and Margarita (1940), considering the notions of human, fantasy and reality. For this purpose, I begin by an analysis of the first chapter of Bulgakovs novel, approaching it to socialist realist novel, aiming to find elements in which Bulgakov counteracts socialist realism. I suggest these elements have to do with ethical matters and with issues about how to represent the real, in a way that these matters and issues rest on the novels thematic and formal heart. Afterwards, I propose to analyse the intermedium (entremeio) between The Master and Margaritas first chapter, which takes place in Moscow, and the second chapter, which is the novel inside the novel, the story of Pontius Pilate and Yeshua written by the Master, the character. At this point, I am concerned with three main themes: a. the function of the faustic in the novel and related matters, like the value issue in Goethe, Binswanger, Nietzsche and Heidegger as Nietzsches reader; b. the way in which a novel is inside the other, since the link between one and another varies, posing an issue handled by several critics; and c. the singularity of the parodic procedure found in the novel, which leads me to embark on a study of Bakhtins menippean satire in consonance with some points of his first texts that are concerned, for example, with the issue of the answerability. Finally, I analyse the The Master and Margaritas second chapter, the so called novel inside the novel, which tells in its own ways the interaction between Yeshua and Pilate. I articulate it here with some issues connected with the Russian Nietzscheanism and with Nietzsche himself considering assumptions that Ive worked previously. In this route, I advance assumptions about issues like the reception of aspects of German philosophy in Russian-soviet background and The Master and Margaritas intricate place inside modernism.

The 1950s and 1960s in Czechoslovakia witnessed a fundamental shift in the dramatic and theatrical realms. Following the Communist takeover of 1948, Soviet-inspired Socialist Realism became the official aesthetic of the Czech lands, displacing the avant-garde trends that had dominated the pre-war era. This normative aesthetic program demanded a party-minded ideological perspective (partiinost) and a certain level of accessibility to the masses (narodnost). After the death of Stalin, as the political situation began to thaw, various theatre practitioners began to undermine these Socialist Realist demands, widening the literary horizons by experimenting with a variety of trends, and ultimately sowing the seeds that would lead to the flowering of the Czech theatre of the 1960s. This thesis investigates the ways in which the Socialist Realist model for dramatic and theatrical expression was subverted on the experimental stages of Prague in the late 1950s and 1960s. Specifically, it analyzes the changing role of ideology, dramatic and theatrical space, and objects during this period. By the 1960s, the earnest, socialist ideology that pervaded Socialist Realism in its purported message to the audience had become a stale aesthetic model. In 1963, Václav Havel’s Zahradní slavnost couches this ideology in an absurd dramatic world, subverting and satirizing the didactic nature of Socialist Realism while simultaneously drawing from the Czech avant-garde and foreign trends like the so-called Theatre of the Absurd. Prague’s experimental theatre movement in the 1950s and 1960s, though certainly present on large stages like the National Theatre, primarily sprang from the city’s small stages. Both Jiří Suchý and Jiří Šlitr’s Semafor Theatre and Otomar Krejča’s Theatre Beyond the Gate managed highly innovative productions despite limited stage space. This was made possible, in part, due to their remarkable use of the off-stage and imaginary action spaces. In his article “Man and Object in the Theatre,” Jiří Veltruský notes that human actors on stage operate between two poles: highly spontaneous and highly determined actions. Socialist Realism, which offered its audience models of behaviour for their lives outside the theatre, reduced characters to types, limiting their perceived spontaneity, as they exist primarily to fulfill necessary narrative functions (i.e., the positive hero). In a sense, human beings are objectified. In his adaptation of Alfred Jarry’s Ubu roi, director Jan Grossman takes this to the extreme. By presenting the actions of his actors as highly determined, he reduces the human figure to a manipulated object. When Ubu oversees the annihilation of these beings, Grossman both parodies the Socialist Realist approach to characterization and offers a stunningly subversive rebuke of the Czech political culture. In this work I show how the innovative spirit of Czech theatre and drama of the 1960s represented an era of shifting aesthetic norms, which reacted to the strict, normative Socialist Realist trend of the 1950s, borrowed from numerous foreign and domestic trends both past and present, and developed unique techniques of their own in order to create impactful works on the stage and on the page.

The 1950s and 1960s in Czechoslovakia witnessed a fundamental shift in the dramatic and theatrical realms. Following the Communist takeover of 1948, Soviet-inspired Socialist Realism became the official aesthetic of the Czech lands, displacing the avant-garde trends that had dominated the pre-war era. This normative aesthetic program demanded a party-minded ideological perspective (partiinost) and a certain level of accessibility to the masses (narodnost). After the death of Stalin, as the political situation began to thaw, various theatre practitioners began to undermine these Socialist Realist demands, widening the literary horizons by experimenting with a variety of trends, and ultimately sowing the seeds that would lead to the flowering of the Czech theatre of the 1960s. This thesis investigates the ways in which the Socialist Realist model for dramatic and theatrical expression was subverted on the experimental stages of Prague in the late 1950s and 1960s. Specifically, it analyzes the changing role of ideology, dramatic and theatrical space, and objects during this period. By the 1960s, the earnest, socialist ideology that pervaded Socialist Realism in its purported message to the audience had become a stale aesthetic model. In 1963, Václav Havel’s Zahradní slavnost couches this ideology in an absurd dramatic world, subverting and satirizing the didactic nature of Socialist Realism while simultaneously drawing from the Czech avant-garde and foreign trends like the so-called Theatre of the Absurd. Prague’s experimental theatre movement in the 1950s and 1960s, though certainly present on large stages like the National Theatre, primarily sprang from the city’s small stages. Both Jiří Suchý and Jiří Šlitr’s Semafor Theatre and Otomar Krejča’s Theatre Beyond the Gate managed highly innovative productions despite limited stage space. This was made possible, in part, due to their remarkable use of the off-stage and imaginary action spaces. In his article “Man and Object in the Theatre,” Jiří Veltruský notes that human actors on stage operate between two poles: highly spontaneous and highly determined actions. Socialist Realism, which offered its audience models of behaviour for their lives outside the theatre, reduced characters to types, limiting their perceived spontaneity, as they exist primarily to fulfill necessary narrative functions (i.e., the positive hero). In a sense, human beings are objectified. In his adaptation of Alfred Jarry’s Ubu roi, director Jan Grossman takes this to the extreme. By presenting the actions of his actors as highly determined, he reduces the human figure to a manipulated object. When Ubu oversees the annihilation of these beings, Grossman both parodies the Socialist Realist approach to characterization and offers a stunningly subversive rebuke of the Czech political culture. In this work I show how the innovative spirit of Czech theatre and drama of the 1960s represented an era of shifting aesthetic norms, which reacted to the strict, normative Socialist Realist trend of the 1950s, borrowed from numerous foreign and domestic trends both past and present, and developed unique techniques of their own in order to create impactful works on the stage and on the page.

盧那察爾斯基(Anatoly Lunacharsky, 1875-1933)於1917-1929年間擔任蘇聯教育人民委員部(Narkompros)首任委員，在任期間發表了大量關於藝術的文章及報告，其在蘇聯藝術發展史中扮演極為重要的角色，然而他以藝術達到社會主義理想的主張與正統馬克思主義的經濟決定論十分不同，他相信群眾意識才是推動革命的必要條件。而他從在俄國十月革命之前就抱持這種想法，因此曾一度主張將宗教與社會主義結合，使革命意識成為一種宗教情感而深植人心，而這種想法受到被極度反對宗教的列寧的嚴厲批評，隨後這種想法才轉向以藝術來實現。 在盧那察爾斯基思想中可見到實證主義(Positivism)、費爾巴哈(Ludwig Feuerbach)宗教哲學、尼采(Friedrich Nietzsche)哲學與華格納(Richard Wagner)的色彩，這使盧那察爾斯基的藝術理論在眾多馬克思主義美學家中顯得獨樹一格，本論文主要透過盧那察爾斯基的著作，並加上中西學者對於盧那察爾斯基的研究，不以馬克思主義為中心來理解盧那察爾斯基的藝術思想，探討盧那察爾斯基對於藝術與革命的認知與實踐。 / Anatoly Lunacharsky(1875-1933) was the first Commissar of The People's Commissariat for Education(Narkompros) from 1917-1929. During his tenure, he published many articles and reports about the arts and played a very important role in the history of artistic development in the Soviet Union. However, his proposal to achieve the ideal of Socialism through the arts was very different from the orthodox economic determinism of Marxism. He believed that mass consciousness was a must to promote the revolution. He already held this idea long before the October Revolution in Russia. Thus, he once advocated combining religion and Socialism, making revolutionary consciousness into a religion deeply rooted in everyone’s mind. Nevertheless, this idea was severely criticized by Lenin, who was very opposed to religion. Afterward, Lunacharsky’s thoughts changed, turning instead to realize ideals through art. The influences of Positivism, Feuerbach’s philosophy of religion, Nietzsche’s philosophy and Wagner’s concept of art can be seen in Lunacharsky’s thought, making his views on art unique among Marxist aestheticians. In this paper, instead of understanding Lunacharsky’s theory of art in the context of Marxism, discussion will focus on Lunacharsky’s works and Chinese/Western scholars’ studies on Lunacharsky in order to learn more about Lunacharsky’s thoughts and practice of art and revolution.

This thesis examines the writing of U.S. Ambassador to the Soviet Union Joseph Davies, Norman Deuel of the United Press, and Joseph Barnes of the New York Herald Tribune over the course of their respective postings in Moscow between 1936-1938. The purpose of this thesis is to look past interpretations of perceived right and wrong reporting on the Soviet Union and instead identify precisely how and why Americans outside the diplomatic corps viewed and perhaps identified with aspects of Stalinist society. Residing in Moscow over an extended period of time, Davies, Barnes, and Deuel were not mere observers. Immersed in Soviet society, Davies and the press correspondents became themselves producers of socialist realist writing as their American affinity for ambitious modernization translated into an idealized view of Stalinist modernization projects, one which viewed present hardships through a socialist realist lens while echoing Soviet enthusiasm for medical and scientific advancements, material plenty, heroics, youth, and territorial exploration. Excluded from the close-knit circle of career diplomats, Davies and the newsmen also came to view the Moscow show trials through the same socialist realist lens, one which presented the desired utopian future through elaborate socialist realist theatre.

The presented diploma thesis is dedicated to the Czechoslovak paper money is-sued after 1948 until 1989, which is used as a source of historical memory. On paper money is mainly investigated their thematic content, which passed for their development time significant changes and that reflected important needs of the communist regime. The basic source for research this theme is paper money of defined period with taking into account the pre-war paper money because of their comparison. In addition, consideration is given to archival sources, contemporary posters, films, literature, songs, etc. The main target of this work is to determine how paper money reacted to the change of the political system after 1948 and how it was reflected by the users them-selves. It will also be monitored the rise of Soviet influence, sphere of allegorical humor and reflection of artistic community.

A presente dissertação, Clube de Gravura de Porto Alegre e revista Horizonte (1949-1956): arte e projeto político, estuda a ação de um grupo de artistas vinculados ao projeto cultural do Partido Comunista do Brasil que dedicou sua produção para a popularização da arte como meio de conscientização política. Esses artistas, entre os quais se destacam Vasco Prado, Glênio Bianchetti, Carlos Scliar, Danúbio Gonçalves e Glauco Rodrigues, tinham na gravura um meio privilegiado para essa difusão, procurando explorar temas da cultura popular e vinculá-los a uma pauta de luta contra a exploração capitalista e o imperialismo norteamericano. Enquanto o Clube de Gravura de Porto Alegre era o principal espaço de articulação para esses agentes, a revista Horizonte colocava-se como veículo para circulação de imagens e de promoção de debates vinculados a este projeto. O primeiro capítulo deste trabalho trata do contexto em que se formou o Clube de Gravura de Porto Alegre e sua inserção no campo artístico do Rio Grande do Sul. No segundo capítulo, é realizado um levantamento da atuação desses artistas no ambiente cultural da capital sulina, principalmente na Associação Francisco Lisboa, assim como são enfatizadas as ações voltadas ao grande público, como a colaboração na campanha pela paz e as exposições de gravura, que tinham como finalidade despertar a consciência crítica da classe trabalhadora por meio da arte. No terceiro e último capítulo, são abordadas as influências recebidas, como o realismo socialista, o zhdanovismo e a gravura chinesa, como também possíveis diálogos com outros movimentos, tal qual o tradicionalismo gaúcho. Essa parte se encerra com o balanço da produção do grupo ocorrida vinte anos depois, em um momento de críticas e análises contraditórias em relação à sua proposta original. / The present work entitled Clube de Gravura de Porto Alegre e revista Horizonte (1949- 1956): arte e projeto político, studies the actions of a group of artists related to a cultural project of the Partido Comunista do Brasil which dedicated its artistic production to popularize art as a mean to political conscientization. Among the artists involved in this movement Vasco Prado, Glênio Bianchetti, Carlos Scliar, Danúbio Gonçalves e Glauco Rodrigues outstanded by using engraving as a privileged mean to difuse the ideas of the movement exploring themes such as popular culture linking them as a way to draw attention to the capitalist exploration and the North-American imperialism. The Clube de Gravura de Porto Alegre was the main space for artistic production of the project and the Horizonte magazine was its most important vehicle of image circulation and promotion of debates. The first chapter of this work is about the context in which the Clube de Gravura de Porto Alegre was created and its insertion in the Rio Grande do Sul artistic field. In the second chapter, the insertion of these artists in the cultural environment of Porto Alegre is described, mainly in the Associação Francisco Lisboa, as well as their actions for the great public as the collaboration in a peace campaign and the engraving exhibitions whose purpose was to awake the critical awareness of the working class through art. In the third and last chapter, the influences which acted in these artists are addressed such as the socialist realism, zhdanovism and the Chinese engraving, as well as a possible relation with other movements such as regional culture. This part ends with an evaluation of the group production occurred twenty years later at a time of criticism and contradictory analyzes regarding to its original proposal.

Propõe-se, nesta dissertação, identificar e analisar elementos da cinematografia do cineasta russo (soviético) Serguei M. Eisenstein que seriam fundamentais para a construção do filme como um texto artístico. Selecionou-se, como objeto de análise, o longa-metragem lançado em 1938, Aleksandr Niévski. Examina-se, ao longo da análise, elementos como a construção de personagem, o desenvolvimento do tema, o enquadramento, o som e a mise-en-scène. Parte-se da hipótese de que o filme, sendo um texto artístico, ainda que a sua produção esteja enraizada nas diretrizes do Realismo Socialista, não se limita a transmitir uma realidade restrita, antes o artista amplia as possibilidades significativas do material criativo de que dispõe resultando em um texto que transpõe seu limite espacial e temporal. Dentro dessa perspectiva, objetiva-se identificar os elementos da linguagem cinematográfica, (enquadramentos, mise-èn-scene, montagem etc) que foram explorados ao longo do filme, e analisar como esses aspectos são articulados na construção do tema da obra: o patriotismo. Para embasar o estudo proposto, dividiu-se, de modo geral, o campo teórico em duas vertentes: primeiramente, para a concepção do filme como um texto artístico, valemo-nos do conceito de obra de arte como um texto artístico, desenvolvido pelo teórico russo Iuri Lotman, e da concepção de linguagem poética discutida por Roman Jakobson; já para a análise dos elementos da linguagem artística cinematográfica, privilegiaram-se os textos teóricos de Serguei Eisenstein, assim como os estudos desenvolvidos por David Bordwell e Jean Mitry. Por fim, como metodologia de análise, buscou-se observar e analisar o período histórico vivido pelo cineasta no momento da produção do filme, o Realismo Socialista, e as referências históricas da personagem central que norteiam as escolhas artísticas. Posteriormente, verifica-se, por meio da análise dos elementos da linguagem cinematográfica, como o filme, enquanto um texto artístico, é portador de uma riqueza de sentido advinda da articulação dos elementos cinematográficos, favorecendo a construção de uma unidade temática: o patriotismo / The purpose of this dissertation is to identify and analyze elements of cinematography in the work of Russian (Soviet) filmmaker Sergei M. Eisenstein, which would be essential to the construction of the film as an artistic text. Aleksander Niévski, the motion picture released in 1938, was selected as the scope of the analysis. Throughout the analysis, elements such as character construction, theme development, framing, sound and mise-en-scène were examined. I begin with the hypothesis that the film, as an artistic text, in spite of having been produced with roots in the directives of Socialist Realism, is not limited to conveying a restricted reality; rather, the artist broadens the meaningful possibilities of the creative material at hand, resulting in a text that surpasses its limits of time and space. In this perspective, the objective is to identify the elements of cinematic language (framing, mise-èn-scene, editing etc) explored throughout the film and analyze how these aspects are articulated to construction the theme: patriotism. In order to lay the basis for the proposed study, the theoretical field was, overall, divided into two views: firstly, for the conception of the film as an artistic text, we made use of the concept of the art work as an artistic text - developed by Russian theorist Iuri Lotman and of the conception of poetic language, discussed by Roman Jakobson; and to analyze the elements of cinematic artistic language, the theoretical texts by Sergei Eisenstein as well as the studies developed by David Bordwell and Jean Mitry were favored. Finally, as a method of analysis, I sought to observe and analyze the historical period in which the artist lived at the moment of the production of the film the Socialist Realism and the historical references of the main character which conduct the artistic choices. Subsequently, by analyzing the elements of cinematic language, it is verified how the film, as an artistic text, bears a richness of meaning ensuing from the articulation of the cinematic elements, favoring the construction of a theme unit: patriotism

A presente dissertação, Clube de Gravura de Porto Alegre e revista Horizonte (1949-1956): arte e projeto político, estuda a ação de um grupo de artistas vinculados ao projeto cultural do Partido Comunista do Brasil que dedicou sua produção para a popularização da arte como meio de conscientização política. Esses artistas, entre os quais se destacam Vasco Prado, Glênio Bianchetti, Carlos Scliar, Danúbio Gonçalves e Glauco Rodrigues, tinham na gravura um meio privilegiado para essa difusão, procurando explorar temas da cultura popular e vinculá-los a uma pauta de luta contra a exploração capitalista e o imperialismo norteamericano. Enquanto o Clube de Gravura de Porto Alegre era o principal espaço de articulação para esses agentes, a revista Horizonte colocava-se como veículo para circulação de imagens e de promoção de debates vinculados a este projeto. O primeiro capítulo deste trabalho trata do contexto em que se formou o Clube de Gravura de Porto Alegre e sua inserção no campo artístico do Rio Grande do Sul. No segundo capítulo, é realizado um levantamento da atuação desses artistas no ambiente cultural da capital sulina, principalmente na Associação Francisco Lisboa, assim como são enfatizadas as ações voltadas ao grande público, como a colaboração na campanha pela paz e as exposições de gravura, que tinham como finalidade despertar a consciência crítica da classe trabalhadora por meio da arte. No terceiro e último capítulo, são abordadas as influências recebidas, como o realismo socialista, o zhdanovismo e a gravura chinesa, como também possíveis diálogos com outros movimentos, tal qual o tradicionalismo gaúcho. Essa parte se encerra com o balanço da produção do grupo ocorrida vinte anos depois, em um momento de críticas e análises contraditórias em relação à sua proposta original. / The present work entitled Clube de Gravura de Porto Alegre e revista Horizonte (1949- 1956): arte e projeto político, studies the actions of a group of artists related to a cultural project of the Partido Comunista do Brasil which dedicated its artistic production to popularize art as a mean to political conscientization. Among the artists involved in this movement Vasco Prado, Glênio Bianchetti, Carlos Scliar, Danúbio Gonçalves e Glauco Rodrigues outstanded by using engraving as a privileged mean to difuse the ideas of the movement exploring themes such as popular culture linking them as a way to draw attention to the capitalist exploration and the North-American imperialism. The Clube de Gravura de Porto Alegre was the main space for artistic production of the project and the Horizonte magazine was its most important vehicle of image circulation and promotion of debates. The first chapter of this work is about the context in which the Clube de Gravura de Porto Alegre was created and its insertion in the Rio Grande do Sul artistic field. In the second chapter, the insertion of these artists in the cultural environment of Porto Alegre is described, mainly in the Associação Francisco Lisboa, as well as their actions for the great public as the collaboration in a peace campaign and the engraving exhibitions whose purpose was to awake the critical awareness of the working class through art. In the third and last chapter, the influences which acted in these artists are addressed such as the socialist realism, zhdanovism and the Chinese engraving, as well as a possible relation with other movements such as regional culture. This part ends with an evaluation of the group production occurred twenty years later at a time of criticism and contradictory analyzes regarding to its original proposal.