This article is a cartographic proposal about Portuguese anthropology, during the period that began with the transition to democracy, in April 25, 1974, and extends to the present day. Mobilizing the production of anthropologists, based on the sci-entific production, the teaching, the research, and the role of the National Museum of Ethnology, the text begins to allude to the course of the discipline, guided by the cosmopolitanism of the national, which is combined with colonial logics, in an approach of the nation and the empire, which continues until 1974. The Carnation Revolution inaugurates a period of rupture and creativity, in which Portuguese anthropology responds to the proposal of “democratizing, decolonizing and developing”, with an evident expansion of the discipline, in the new democratic framework, added to the funds and optimism resulting from EEC membership. This time of enlargement would be violently interrupted due to the reflexes of the economic crisis, in 2012, resulting in the con-traction of the disciplinary work, and the pursuit for new ways. At a time when the contours of neoliberal science seem to asphyx-iate the expandability of the discipline, limiting the horizons of the youngest practitioners of anthropology in Portugal, recent trails places to the emphasis on the role of anthropologists in the societies of the future.
History of anthropology, Lines of Investigation, Portugal, Democracy, Economic Crisis
Tipologia do Evento:
Detalhes do Evento
Conference that aims to promote discussion around the thematic, epistemological, and methodological intersections of history and history of art as disciplines. Crafting the Past: Materials, Materialities, Materialisms Gestures such as
Detalhes do Evento
Conference that aims to promote discussion around the thematic, epistemological, and methodological intersections of history and history of art as disciplines.
Crafting the Past: Materials, Materialities, Materialisms
Gestures such as the recent toppling of statues portraying slave owners or confederate soldiers in the UK and USA have ushered in public and historiographical debates about the legacies of colonialism as well the role of material culture and visuality in historical memory. Although the study of the past is always situated, not least disciplinarily, such situatedness should be open for productive intersections between history and history of art. For example, can we consider Cecil Rhodes’ statue an autonomous material manifestation without considering how its materiality is placed in history? Can we historicise artistic objects without engaging with the specific contexts of their material production or with the evolving ideological values that shaped the very conception of ‘art’? Can we talk about history as purely discursive when its material consequences are, at the same time, so palpable and so contested, particularly at a time when bodies and cultures are visibly threatened by global, social, economic, environmental, and health-related crises?
This conference aims to promote discussion around the thematic, epistemological, and methodological intersections of history and history of art as disciplines, focusing on their relationship to issues of materiality and ethics.
(Terça-feira) 10:00 am - 5:30 pm
Institute of Contemporary History — NOVA FCSH and University of Évora, IN2PAST, and University College London
May 18, 2022
The words historian Fernando Rosas used to describe the ceremony of the 77th anniversary of the liberation of the Mauthausen Concentration Camp.
May 12, 2022
Exhibition curated by Margarida de Magalhães Ramalho and Claude Marx.
May 6, 2022
The new documentary by Ansgar Schaefer and Susana de Sousa Dias premieres today in Portugal.