{"id":148301,"date":"2014-05-20T16:40:50","date_gmt":"2014-05-20T19:40:50","guid":{"rendered":"http:\/\/revistapesquisa.fapesp.br\/?p=148301"},"modified":"2015-12-21T18:04:03","modified_gmt":"2015-12-21T20:04:03","slug":"art-opposition","status":"publish","type":"post","link":"https:\/\/revistapesquisa.fapesp.br\/en\/art-opposition\/","title":{"rendered":"The art of opposition"},"content":{"rendered":"<div id=\"attachment_148306\" style=\"max-width: 235px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-148306\" src=\"http:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2014\/05\/Golpe_liberdade-liberdade-autran_terezarachel-225x300.jpg\" alt=\"Paulo Autran and Tereza Raquel in the play Liberdade, liberdade (Freedom, Freedom): target of censorship \" width=\"225\" height=\"300\" \/><p class=\"wp-caption-text\"><span class=\"media-credits-inline\">Public domain image <\/span>Paulo Autran and Tereza Raquel in the play <em>Liberdade, liberdade<\/em> (Freedom, Freedom): target of censorship<span class=\"media-credits\">Public domain image <\/span><\/p><\/div>\n<p>In a classic article, originally written in France in 1970 and translated into Portuguese eight years later, literary critic Roberto Schwarz said: \u201cin spite of the dictatorship of the right, there was a relative hegemony of the left in Brazil\u201d between 1964 and 1969. From the 1970s until the end of the dictatorship in 1985, when the regime repressed, censored and closed itself off even further before beginning its gradual opening, the general tone of national artistic production continued to express this apparent paradox. Most studies on cultural production during the dictatorship years focus on movements and artists who, whether in more alternative productions or within the so-called market logic, more or less explicitly opposed the regime. This has become a fertile topic for research in recent decades. \u201cMy generation became interested in politics through contact with cultural works that speak of the dictatorship,\u201d says Marcelo Ridenti, 55, a professor in the Sociology Department at the Institute of Philosophy and Human Sciences of the University of Campinas (IFCH-Unicamp).<\/p>\n<table class=\"tabela_interna\" border=\"0\" align=\"left\">\n<tbody>\n<tr>\n<td><strong>Dictatorship special issue<\/strong><\/td>\n<\/tr>\n<tr>\n<td>\n<ul>\n<li><a href=\"http:\/\/revistapesquisa.fapesp.br\/en\/2014\/05\/20\/coup-beyond-images\/?\" target=\"_blank\">The Coup \u2013 Beyond the Images<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<ul>\n<li><a href=\"http:\/\/revistapesquisa.fapesp.br\/en\/2014\/05\/20\/civilian-support-military-intervention\/\" target=\"_blank\">Civilian support of a military intervention<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<ul>\n<li><a href=\"http:\/\/revistapesquisa.fapesp.br\/en\/2014\/05\/20\/lasting-impact\/\" target=\"_blank\">Lasting impact<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<ul>\n<li><a href=\"http:\/\/revistapesquisa.fapesp.br\/en\/2014\/05\/20\/impact-academic-world\/\" target=\"_blank\">The impact on the academic world<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<ul>\n<li><a href=\"http:\/\/revistapesquisa.fapesp.br\/en\/2014\/05\/20\/past-present\/\" target=\"_blank\">The past in the present<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<ul>\n<li><a href=\"http:\/\/revistapesquisa.fapesp.br\/en\/2014\/05\/20\/information-comes\/\" target=\"_blank\">Where the Information Comes From<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<tr>\n<td>\n<ul>\n<li><a href=\"http:\/\/revistapesquisa.fapesp.br\/en\/2014\/05\/20\/british-archives-coup-1964\/\" target=\"_blank\">British Archives and the Coup of 1964<\/a><\/li>\n<\/ul>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>Ridenti is among the authors who have done the most research on the relationship between cultural production and politics during the military regime. His works cover the period from the 1950s, the period before the coup, in which the Brazilian Communist Party (PCB) was an important actor in promoting the arts (activist art), go on to the effervescence of the 1960s and the much harsher repression of the 1970s, and continue through the mid-1980s, with the return to democracy in Brazil. One of the expressions used by Ridenti to describe the relationship between politics and the cultural scene during the period from the end of World War II until the first few years after the coup, which was imbued with artists\u2019 relationships between the PCB and the Popular Culture Centers (CPC) of the National Student Union (UNE), is the feeling of \u201crevolutionary Brazilianness\u201d (see <i>Pesquisa<\/i> <i>FAPESP<\/i>, Issue No. 206). In fact, this is the title of one of his books, released in 2010, in which he explored a certain romanticism in communist artists, such as writer Jorge Amado, filmmaker Nelson Pereira dos Santos or playwright Dias Gomes, who produced works fed by a feeling of forging a new country.<\/p>\n<p><span style=\"line-height: 1.5em;\">Perhaps Ridenti\u2019s most ambitious study is the book <\/span><i style=\"line-height: 1.5em;\">Em busca do povo brasileiro \u2013 Artistas da revolu\u00e7\u00e3o, do CPC \u00e0 era da TV<\/i><span style=\"line-height: 1.5em;\"> (In search of the Brazilian people, Artists of the revolution, from the CPC to the TV era) published by Unesp, originally released in 2000, and revised, enlarged and re-released this year, on the 50<\/span><sup style=\"line-height: 1.5em;\">th<\/sup><span style=\"line-height: 1.5em;\"> anniversary of the coup. As its title suggests, the work does not focus on the careers of a group of artists or on a cultural genre (cinema, theater, music, literature or TV), but rather on the overall state of this industry. The author considered a full rewrite of the book, but ended up only doing some topical revisions, updating the bibliographical references and adding an afterword. The updates served to map out a good part of the academic production that had researched some aspect of cultural production during the military dictatorship. \u201cThere were many innovations in terms of studies after the 2000s,\u201d says Ridenti.<\/span><\/p>\n<div id=\"attachment_148307\" style=\"max-width: 300px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-148307\" src=\"http:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2014\/05\/Golpe_zuzuangel14.jpg\" alt=\"Film Zuzu Angel, 2006: cinematographic production about the military regime\" width=\"290\" height=\"196\" srcset=\"https:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2014\/05\/Golpe_zuzuangel14.jpg 290w, https:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2014\/05\/Golpe_zuzuangel14-120x81.jpg 120w, https:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2014\/05\/Golpe_zuzuangel14-250x169.jpg 250w\" sizes=\"auto, (max-width: 290px) 100vw, 290px\" \/><p class=\"wp-caption-text\"><span class=\"media-credits-inline\">Public domain image \/ globo films<\/span>Film <em>Zuzu Angel<\/em>, 2006: cinematographic production about the military regime<span class=\"media-credits\">Public domain image \/ globo films<\/span><\/p><\/div>\n<p><span style=\"line-height: 1.5em;\">One of the most important contributions are the works by historian Marcos Napolitano, a professor at the USP Faculty of Philosophy, Languages and Literature, and Human Sciences (FFLCH-USP), who has closely examined the history of popular Brazilian music, and to a lesser degree, audiovisual production during the authoritarian regime. In 2011, he defended his professorial thesis, in which he studied the dilemmas and contradictions of the cultural policies originating from or developed in opposition to the dictatorship between 1964 and 1968 by dividing them into four different groups: communists, Catholics, liberal and counterculture movements (such as tropicalism). They were all against the dictatorship, but each segment had its own particular characteristics and different views of what art should be. \u201cThe very idea of opposition fed the cultural production of the period, which was quite abundant,\u201d says Napolitano. \u201cHowever, while the production of the Catholic left expressed a grass-roots, amateur and community-oriented culture, that of the counterculture was, for example, sectarian, experimental and transgressive.\u201d A significant number of more specific works, which basically focused on the production of a single artistic sector during the dictatorship, were produced by a new generation in the field of humanities. Miliandre Garcia, 38, today a history professor at Londrina State University (UEL), analyzed theater censorship in the documents stored at the National Archives in Bras\u00edlia. The material includes information on some 22,000 plays and 702 cases of censorship against theatrical productions that were prohibited from being presented at some point. This study resulted in her doctoral dissertation, defended in 2008 at the Federal University of Rio de Janeiro (UFRJ), \u201c<\/span><i style=\"line-height: 1.5em;\">Ou voc\u00eas mudam ou acabam\u201d: teatro e censura na ditadura militar (1964-1985). <\/i><span style=\"line-height: 1.5em;\">(\u201cEither you change or you\u2019re finished: theater and censorship during the military dictatorship\u201d <\/span><i style=\"line-height: 1.5em;\">(1964-1985))<\/i><span style=\"line-height: 1.5em;\">. \u201cThe plays that were analyzed by the censors ranged from amateur productions to productions by professional groups, and the prohibitions could be based on ideological questions or simply because the censor thought that the production went against morality and good manners,\u201d says Miliandre.<\/span><\/p>\n<p><span style=\"line-height: 1.5em;\">Depending on the period (after the December 1968 AI-5, censorship increased), on \u201cinstructions from higher up\u201d and at times, even on the censor\u2019s mood on that particular day, the same play could be prohibited on one occasion and allowed on another. And it was not only plays by authors considered to be opponents that were vetoed, such as <\/span><i style=\"line-height: 1.5em;\">Liberdade, liberdade<\/i><span style=\"line-height: 1.5em;\"> (Freedom, freedom), by Mill\u00f4r Fernandes and Fl\u00e1vio Rangel, or those considered to be \u201cpornographic,\u201d as was the case for <\/span><i style=\"line-height: 1.5em;\">Toda nudez ser\u00e1 castigada <\/i><span style=\"line-height: 1.5em;\">(All nudity will be punished), by Nelson Rodrigues. A text like <\/span><i style=\"line-height: 1.5em;\">Golias em circuito fechado<\/i><span style=\"line-height: 1.5em;\"> (Goliath in closed-circuit), written by Marcos C\u00e9sar, Luiz Carlos Miele and Ronaldo B\u00f4scoli and performed by the comedian Ronald Golias, who was far from a critic of the regime, could be (and was) prohibited at certain times by the censors, who associated the alleged \u201cmoral degradation\u201d of the production with \u201cplans for subversion.\u201d<\/span><\/p>\n<div id=\"attachment_148308\" style=\"max-width: 300px\" class=\"wp-caption alignleft\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-148308\" src=\"http:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2014\/05\/Golpe_68_244505d_-1-.jpg\" alt=\"Actors on strike against censorship in 1968, in the \u201cMarch of the 100,000\u201d in Guanabara\" width=\"290\" height=\"191\" srcset=\"https:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2014\/05\/Golpe_68_244505d_-1-.jpg 290w, https:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2014\/05\/Golpe_68_244505d_-1--120x79.jpg 120w, https:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2014\/05\/Golpe_68_244505d_-1--250x165.jpg 250w\" sizes=\"auto, (max-width: 290px) 100vw, 290px\" \/><p class=\"wp-caption-text\"><span class=\"media-credits-inline\">Gon\u00e7alves \/ CPDoc JB<\/span>Actors on strike against censorship in 1968, in the \u201cMarch of the 100,000\u201d in Guanabara<span class=\"media-credits\">Gon\u00e7alves \/ CPDoc JB<\/span><\/p><\/div>\n<p><span style=\"line-height: 1.5em;\">Historian Flamarion Mau\u00e9s, who is today engaged in a post-doc with a fellowship from FAPESP at the USP School of Communications and Arts (ECA), examines the relationship between the publishing world and the dictatorship. In his master\u2019s and doctoral works, both defended at the History Department at FFLCH in the last decade, he studied the role of \u201cpolitical\u201d or of opposition publishers, respectively, in Brazil and in Portugal. In Brazil, he analyzed publishers like Brasiliense and Marco Zero, which acted during a period of political opening in the country. His Master\u2019s thesis was recently published under the title <\/span><i style=\"line-height: 1.5em;\">Livros contra a ditadura: editoras de oposi\u00e7\u00e3o no Brasil, 1974-1984 <\/i><span style=\"line-height: 1.5em;\">(Books against the dictatorship: opposition publishers in Brazil, 1974-1984) published by Brasil, 2013. Now as a post-doc, he continues to focus on this topic and is doing a comparative study of the activity by political publishers in Brazil and in Portugal during the periods of regime transition. The Brazilian context is the same as it was in his previous studies: the political opening that began during the last phase of the military governments. In Portugal, the moment of passage chosen is the Carnation Revolution (1974-1975), a democratic, anticolonial and socialist movement, led by mid-level officials, which put an end to decades of dictatorship by Salazar and his successors. \u201cI identified 140 political publishers in Portugal, a very high number for such a small country,\u201d says Mau\u00e9s. In Brazil, he had only found 45 publishers with a similar profile.<\/span><\/p>\n<p><span style=\"line-height: 1.5em;\">A group of 74 films released between 1979 and 2009 that portrayed the dictatorship was the subject of a Master\u2019s thesis presented in 2011 by sociologist Caroline Gomes Leme at IFCH-Unicamp. In addition to commenting on all these films, this work, which last year became the book <\/span><i style=\"line-height: 1.5em;\">Ditadura em imagem e som: trinta anos de produ\u00e7\u00f5es cinematogr\u00e1ficas sobre o regime militar brasileiro<\/i><span style=\"line-height: 1.5em;\"> (The Dictatorship in sight and sound: thirty years of cinematographic production on the Brazilian military regime), published by Unesp. In 2012, it was selected as the best Master\u2019s thesis by the National Social Sciences\u00a0Graduate Studies and Research Association (Anpocs) and included a detailed analysis of five productions: <\/span><i style=\"line-height: 1.5em;\">Nunca fomos t\u00e3o felizes <\/i><span style=\"line-height: 1.5em;\">(We have never been so happy), by Murilo Salles, 1984; <\/span><i style=\"line-height: 1.5em;\">Corpo em delito<\/i><span style=\"line-height: 1.5em;\"> (Body in crime), by Nuno Cesar Abreu, 1990; <\/span><i style=\"line-height: 1.5em;\">A\u00e7\u00e3o entre amigos <\/i><span style=\"line-height: 1.5em;\">(Action between friends), by Beto Brant, 1998; <\/span><i style=\"line-height: 1.5em;\">A terceira morte de Joaquim Bol\u00edvar <\/i><span style=\"line-height: 1.5em;\">(The third death of Joaquim Bol\u00edvar), by Fl\u00e1vio C\u00e2ndido, 2000; and <\/span><i style=\"line-height: 1.5em;\">Zuzu Angel<\/i><span style=\"line-height: 1.5em;\"> (Zuzu Angel), by S\u00e9rgio Rezende, 2006. \u201cBeginning with the opening, notably after the Amnesty Act of 1979, cinema was able to speak more directly about the military dictatorship, which was waning away,\u201d says Leme. \u201cThe process is still a little \u2018cautious\u2019 though. For example, movies avoid openly accusing the military of torture, but they explicitly place their stories in the period of the military regime and expose the oppression within this specific historical context.\u201d<\/span><\/p>\n<p><span style=\"line-height: 1.5em;\">During her research, Leme avoided working with the cinematographic production of the <\/span><i style=\"line-height: 1.5em;\">Cinema Novo<\/i><span style=\"line-height: 1.5em;\"> by Glauber Rocha or Nelson Pereira do Santos, as well as the production by the <\/span><i style=\"line-height: 1.5em;\">Cinema Marginal<\/i><span style=\"line-height: 1.5em;\"> by Rog\u00e9rio Sganzerla or Julio Bressane. The movies made by these two movements were filmed in the 1960s and 1970s, and the sociologist considers them to have been produced under the dictatorship when the impacts of the coup and censorship were felt more directly, and at times, turned to allegories or other esthetic resources to refer to the authoritarian regime. In comparison, the movies produced in the 1980s began to enjoy a certain amount of freedom to refer to the coup and the military governments. In her doctoral work, she is studying the S\u00e3o Paulo films of the 1960s and 1970s.<\/span><\/p>\n<div id=\"attachment_148309\" style=\"max-width: 300px\" class=\"wp-caption alignright\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-148309\" src=\"http:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2014\/05\/Golpe_Coca10.jpg\" alt=\"Insertions into Ideological Circuits: Coca-Cola Project, work by Cildo Meireles - 1970: protest in the visual arts \" width=\"290\" height=\"155\" srcset=\"https:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2014\/05\/Golpe_Coca10.jpg 290w, https:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2014\/05\/Golpe_Coca10-250x134.jpg 250w, https:\/\/revistapesquisa.fapesp.br\/wp-content\/uploads\/2014\/05\/Golpe_Coca10-120x64.jpg 120w\" sizes=\"auto, (max-width: 290px) 100vw, 290px\" \/><p class=\"wp-caption-text\"><span class=\"media-credits-inline\">Insertions into Ideological Circuits: Coca-Cola Project, 1970 \u00a9 Artist\u2019s collection and Serralves Foundation collection \u2013 Museum of Contemporary Art, Porto in Cildo Meireles (Cosac Naify, 2014)<\/span><em>Insertions into Ideological Circuits: Coca-Cola Project<\/em>, work by Cildo Meireles &#8211; 1970: protest in the visual arts<span class=\"media-credits\">Insertions into Ideological Circuits: Coca-Cola Project, 1970 \u00a9 Artist\u2019s collection and Serralves Foundation collection \u2013 Museum of Contemporary Art, Porto in Cildo Meireles (Cosac Naify, 2014)<\/span><\/p><\/div>\n<p><span style=\"line-height: 1.5em;\">In 2013, working in the field of the visual arts, historian Artur Freitas, a professor at the State University of Paran\u00e1 (Unespar), released the book <\/span><i style=\"line-height: 1.5em;\">Arte de guerrilha: vanguarda e conceitualismo no Brasil <\/i><span style=\"line-height: 1.5em;\">(The art of guerilla war: the avant-garde and conceptualism in Brazil), published by Edusp. In this study, which expanded the research done for his doctorate, defended a decade earlier, Freitas provides a detailed analysis of six works or interventions by three visual artists (Cildo Meireles, Artur Barrio and Antonio Manuel) during the military regime. \u201cThis avant-garde art criticizes the dictatorship, but it is more conceptual: it is based on objects and performances and encourages spectators to participate in the work,\u201d says Freitas. One of the performances studied is the work <\/span><i style=\"line-height: 1.5em;\">Tiradentes: totem-monumento ao preso pol\u00edtico<\/i><span style=\"line-height: 1.5em;\"> (Tiradentes: totem pole to political prisoners), presented in April 1970 during the <\/span><i style=\"line-height: 1.5em;\">Semana da Inconfid\u00eancia<\/i><span style=\"line-height: 1.5em;\">, in Belo Horizonte, at which Cildo Meireles burned alive ten chickens tied to a stake, in a more or less direct allusion to the repressive practices of the dictatorship.<\/span><\/p>\n<p><span style=\"line-height: 1.5em;\">How, in a period after the AI-5, could an artist publicly question the authoritarian regime without being censored? \u201cThe fine arts had a smaller social presence than the performing arts and censors were more concerned about musical, theatrical and cinematographic productions, which affected a broader public,\u201d says Freitas. He emphasizes an interesting point that occurred with Meireles and other avant-garde artists, such as H\u00e9lio Oiticica and Lygia Clark: as time passed, even during the dictatorship, but especially after it ended, these alternative artists became the principle exponents of their sector in Brazil and their work was highly valued.<\/span><\/p>\n<p><span style=\"line-height: 1.5em;\">This issue is still being debated by researchers, who question how this cultural hegemony of the left arose in recent Brazilian history. One significant school of thought among researchers defends the idea that to a large extent, this control occurred through the market, even though the military regime did have some initiatives in the cultural arena, such as the creation of Embrafilme in 1969, which sought to bring the production by some sectors under its sphere of influence. Also in 1969, support for the establishment of a private national television network, in this case, the Rede Globo network, was part of a project by the military to integrate the country and to influence culture. \u201cThe military regime invested a great deal in television infrastructure,\u201d affirms Esther Hamburger from ECA-USP, who studies television and movie production in Brazil. \u201cHowever, during the 1970s and 1980s, TV programming wasn\u2019t always what the military leaders wanted.\u201d Hamburger\u2019s recent studies emphasized the role soap operas played in creating a closer approximation to national reality, even in the midst of the full force of the dictatorship (<a href=\"http:\/\/revistapesquisa.fapesp.br\/en\/2011\/08\/01\/soap-operas-miss-the-boat\/?\" target=\"_blank\">see <\/a><\/span><a href=\"http:\/\/revistapesquisa.fapesp.br\/en\/2011\/08\/01\/soap-operas-miss-the-boat\/?\" target=\"_blank\"><i style=\"line-height: 1.5em;\">Pesquisa<\/i><i style=\"line-height: 1.5em;\">FAPESP <\/i><\/a><span style=\"line-height: 1.5em;\"><a href=\"http:\/\/revistapesquisa.fapesp.br\/en\/2011\/08\/01\/soap-operas-miss-the-boat\/?\" target=\"_blank\">Issue No. 186<\/a>).<\/span><\/p>\n<p><span style=\"line-height: 1.5em;\">Being anti-dictatorship was also a posture recognized by a considerable share of consumers of leftist culture. \u201cSome writers, like Carlos Heitor Cony, were not leftist, but ended up writing works that were associated with the struggle against the dictatorship and were then recognized as such by the market,\u201d says Rodrigo Czajka, sociologist at Unesp in Mar\u00edlia who conducted studies on intellectuals and the communist press in Brazil. \u201cThis was the case for the novel <\/span><i style=\"line-height: 1.5em;\">Pessach<\/i><span style=\"line-height: 1.5em;\"> (Passover), written by Cony, which describes the existential crisis of an intellectual in deciding whether or not to join the armed fight.\u201d He has also studied the Police-Military Investigations (IPMs) on activities by numerous intellectuals linked to the resistance against the military regime. In fact, Czajka is the organizer of the colloquium \u201cCulture and the arts in the military regime: 50 years after the coup,\u201d which runs from May 22 &#8211; 25, at Unesp in Mar\u00edlia, in which some twenty experts will discuss cultural production during the dictatorship years.<\/span><\/p>\n<p><span style=\"line-height: 1.5em;\"><strong>Projects<\/strong><br \/>\n<\/span><strong>1.<\/strong> Formation of intellectuals and the cultural industry in Brazil (<a href=\"http:\/\/www.bv.fapesp.br\/pt\/auxilios\/2201\/formacao-do-campo-intelectual-e-da-industria-cultural-no-brasil-contemporaneo\/\" target=\"_blank\">No. 08\/55377-3<\/a>); <b>Grant mechanism<\/b> Thematic project; <b>Principal investigator<\/b> S\u00e9rgio Miceli \u2013 Unicamp; <b>Investment<\/b> R$534.463,00 (FAPESP).<br \/>\n<strong>2.<\/strong> Cinema and society: on the military dictatorship in Brazil (<a href=\"http:\/\/www.bv.fapesp.br\/pt\/bolsas\/110949\/cinema-e-sociedade-sobre-a-ditadura-militar-no-brasil\/\" target=\"_blank\">No. 09\/04093-8<\/a>); <b>Grant mechanism<\/b> Master\u2019s degree scholarship; <b>Principal investigator <\/b>Marcelo Ridenti &#8211; (IFCH-Unicamp); <b>Grant recipient<\/b> Caroline Gomes Leme; <b>Investment<\/b> R$18,385.94 (FAPESP).<br \/>\n<strong>3.<\/strong> Political publishing in Brazil and in Portugal: publishing actions and political engagement in the struggle against the dictatorships (<a href=\"http:\/\/www.bv.fapesp.br\/pt\/bolsas\/144468\/a-edicao-politica-no-brasil-e-em-portugal-acao-editorial-e-engajamento-politico-no-combate-as-ditadu\/\" target=\"_blank\">No. 2013\/08668-0<\/a>); <b>Grant mechanism<\/b> Doctoral degree scholarship; <b>Principal investigator<\/b> Sandra Reim\u00e3o \u2013 Eca-USP; <b>Grant recipient<\/b> Flamarion Mau\u00e9s; <b>Investment<\/b> R$163,082.88 (FAPESP).<\/p>\n","protected":false},"excerpt":{"rendered":"There was a strong presence of a leftist culture during the dictatorship  ","protected":false},"author":13,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[156],"tags":[216,241,214,261,263,204],"coauthors":[101],"class_list":["post-148301","post","type-post","status-publish","format-standard","hentry","category-cover","tag-film","tag-history","tag-political-science","tag-sociology","tag-theatre","tag-visual-arts"],"acf":[],"_links":{"self":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/148301","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/comments?post=148301"}],"version-history":[{"count":0,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/posts\/148301\/revisions"}],"wp:attachment":[{"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/media?parent=148301"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/categories?post=148301"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/tags?post=148301"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/revistapesquisa.fapesp.br\/en\/wp-json\/wp\/v2\/coauthors?post=148301"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}