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RESUMO O presente artigo tem como objetivo analisar a obra de arte de Judy Chicago, The Dinner Party, à luz dos conceitos desenvolvidos pela História das Mulheres. Tal relação se dá por meio da interpretação da obra a partir do contexto no qual ela foi concebida, a da segunda onda do movimento feminista, que contribuiu para o desenvolvido da História das Mulheres como um campo teórico. Os estudos inseridos na História das Mulheres, todavia, não se limitam a apenas apontar para a existência das mulheres ao longo da história, mas também suscita o questionamento sobre o motivo e como se dá o seu apagamento. A obra de Chicago, rica em simbolismos, foi escolhida por encerrar esses vieses presentes nesses pressupostos epistemológicos conectando a afirmação de identidades, a recuperação de memórias e a releitura de uma história definida pelo gênero.

In the immediate aftermath of George Floyd's murder on May 25, 2020, global protests against racialized police brutality targeted statues and other public art forms symbolizing racism. Either framed as a "weird global media event" or "global iconic event," Floyd's murder forced a reckoning with histories of oppression and systemic racism, with a potential enduring social effect and a transnational historical significance by inviting resonance and global solidarity. This article focuses on the U.K. context and spans a decade to invite a rethinking of ideas of crisis, history, and hero through a consideration of the toppling of Edward Colston's statue and its pushing into the Bristol Harbour on June 7, 2020, by Black Lives Matter (BLM) protesters, and Yinka Shonibare CBE's artwork Nelson's Ship in a Bottle (2010–2012), commissioned for the "Fourth Plinth" temporary exhibits in Trafalgar Square. Such consideration bears on this contemporary moment when we are witnessing globally connected protest actions calling for the decolonization of public material culture.

O presente artigo tem o objetivo de analisar a produção trovadoresca de Dom Dinis no tocante à retórica poética utilizada para a afirmação de uma identidade artística. Dom Dinis foi o maior trovador português, cuja memória ainda é retomada na atualidade para definir os contornos da cultura e identidade portuguesa. As composições dionisinas, por vezes fazendo referências aos provençais, iniciadores do movimento trovadoresco, mostra seu conhecimento da tradição, demonstrando sua educação culta e erudita que contribuiu para que estivesse em sintonia com o conhecimento da cultura em voga na sua época. Alguns estudiosos veem as menções aos provençais como uma homenagem ou, ainda, cópia. Contudo, é possível verificar que o rei-trovador utiliza esses mecanismos como base retórica para defender sua produção frente à provençal.

AbstractIn 2000, the writer Rana Dasgupta moved from New York to Delhi, reversing his father's act of migration in the 1960s, to find a new, but already obsolescent, 'rising India'. This was the India of the economic boom, whose extent and import have been increasingly under scrutiny. With reference to the temporalities of 'rising India', the purpose of this article is to examine the representation of globalization's multiple temporalities in Dasgupta's non-fiction work Capital: The Eruption of Delhi (2014). Capital is a returnee author's personal attempt to inhabit the multiple temporalities of Delhi, wherein the pull of globalization—here understood as neo-liberal corporate economic globalization—is alternatively embraced and resisted. This article argues that the conceptual limitations of the multiple-modernities framework are reflected in Dasgupta's representation of the multiple temporalities of globalization. It is through politicized and territorialized genealogies of 'imperial debris' such as Dasgupta's that we can arrive at new critiques of modernity. At the same time, this article is concerned with the ways in which Dasgupta's fractured and multi-temporal present of Delhi, inhabited by the old and the new, is being captured by a returnee from the United States of America to India who is concurrently the 'other' from 'abroad' and the 'same' at 'home'. Ultimately, the book's re-Orientalist frame underscores, from the outset, the difficulty in decoupling ideas of modernity and progress from a Eurocentric, Enlightenment project.

As theorised by Theodor Adorno, the "culture industry" is a pervasive structure that produces cultural commodities for the mass audience, while supporting dominant political and economic imperatives. What interests me here is not so much to focus on an apparent Adornian tendency to unify the culture industry, but to underscore the dynamic and conflictual makeup of the cultural industries. In an attempt to recoup Adorno's arguments, critics have revisited them over the years and argued that the culture industry thesis is more counterbalanced and less pessimistic than it appears at first sight. Such double-edged nature of the Adornian critique might be relevant in understanding the workings of postcolonial cultural production. Hence, as an update to the concept of culture industry, and as a variation of Ellis Cashmore's notion of a "black culture industry" (1997), I propose the idea of a "brown culture industry". This conceptual category will allow for a fusion between one of the foundational theories in the study of popular culture, and a prevailing concern of postcolonial theories regarding the commodification of cultural difference investigated most prominently by John Hutnyk and Graham Huggan. ; info:eu-repo/semantics/publishedVersion