Suchergebnisse

Review.

Lisbon rising explores the role of a widespread urban social movement in the revolutionary process that accompanied Portugal's transition from authoritarianism to democracy. It is the first in-depth study of the widest urban movement of the European post-war period, an event that shook the balance of Cold War politics by threatening the possibility of revolution in Western Europe. Using hitherto unknown sources produced by movement organisations themselves, it challenges long-established views of civil society in Southern Europe as weak, arguing that popular movements had an important and auto

This article presents a description of the major campaigns of adult literacy in the revolutionary period in Portugal, between the years 1974 and 1977. The campaigns aimed to address the problem of extremely low levels of formal education and high levels of adult illiteracy, and were organized by different movements, from the military to political youth organizations. In all cases, Paulo Freire's theory and methods were an important reference to these initiatives of popular education even if, in some cases, these were clearly top-down approaches, while others advocated a bottom-up perspective. We will start by an analysis of the rationale of these movements based on documents produced at the period and a literature review. Then, retrospective interviews with two women participating in these campaigns are used to illustrate these experiences and their perceived impact on themselves and the adults involved. Not surprisingly, the impact of these literacy campaigns is perceived as significant both for the population, particularly older women, but mainly for the young literacy mediators who seem to have experienced this as a life-changing event. Even though this is a preliminary stage of the research, results suggest the significance of gender inequality and poverty as markers in the lived experience of these campaigns, and the high levels of hope and political mobilization of the young people involved, even with various degrees of ideological commitment.Cet article présente une description de grandes campagnes d'alphabétisation des adultes dans la période révolutionnaire au Portugal, entre les années 1974 et 1977. Les campagnes visaient à régler le problème des très faibles niveaux d'éducation formelle et des niveaux élevés d'analphabétisme des adultes et ont été organisées par différents mouvements, de l'armée à des organisations politiques de jeunesse. Dans tous les cas, la théorie et les méthodes de Paulo Freire ont été une référence importante pour ces initiatives d'éducation populaire même si, dans certains cas, ...

Focusing on a short and liberating time of recent Portugal history, this work aims to establish that the idea of revolution, understood as a process, but also as an event and a rupture, has provoked a specific film production. The chronological area thus corresponds to the years of the Portuguese Revolution of 1974-1975 and its upheavals until 1982.To grasp this singular moment in all its complexity, the observation of the links between cinema and politics is proposed through the balance of power existing between the regime, the institutions and the cinema world. The existence of a revolutionary cinema able to follow the radical changes in society can be seen through conflicts and power issues. Then, filmmakers would question the possibilities of creation in that context: experiences of collective production, alternative distribution, and new practices of militant cinema are all examples of different modalities of creation.The study of various films, and the confrontation between revolution and cinema, show an offer of many creative potentialities: from anticapitalist movies which follow the process to the uses of Direct cinema embodying the event, and finally, the arising of Good Portuguese People (Bom Povo Português, 1981) by Rui Simões, mark an aesthetical rupture in response to the political change.This dissertation has a dual ambition. First, it is important to propose new enlightments on this yet unknown and underevaluated part of Portuguese cinema, with the help of testimonies from filmmakers and producers of that period. Then, observing practical and visual exchanges between the historical process and aesthetics, the paths explored here would contribute to enriching a history of engaged cinema. ; En se concentrant sur une période courte et libératrice de l'histoire du Portugal contemporain, ce travail vise à établir ce que la révolution, pensée comme processus, événement et rupture, a provoqué dans la production cinématographique. L'aire chronologique correspond donc aux années de la Révolution ...

Focusing on a short and liberating time of recent Portugal history, this work aims to establish that the idea of revolution, understood as a process, but also as an event and a rupture, has provoked a specific film production. The chronological area thus corresponds to the years of the Portuguese Revolution of 1974-1975 and its upheavals until 1982.To grasp this singular moment in all its complexity, the observation of the links between cinema and politics is proposed through the balance of power existing between the regime, the institutions and the cinema world. The existence of a revolutionary cinema able to follow the radical changes in society can be seen through conflicts and power issues. Then, filmmakers would question the possibilities of creation in that context: experiences of collective production, alternative distribution, and new practices of militant cinema are all examples of different modalities of creation.The study of various films, and the confrontation between revolution and cinema, show an offer of many creative potentialities: from anticapitalist movies which follow the process to the uses of Direct cinema embodying the event, and finally, the arising of Good Portuguese People (Bom Povo Português, 1981) by Rui Simões, mark an aesthetical rupture in response to the political change.This dissertation has a dual ambition. First, it is important to propose new enlightments on this yet unknown and underevaluated part of Portuguese cinema, with the help of testimonies from filmmakers and producers of that period. Then, observing practical and visual exchanges between the historical process and aesthetics, the paths explored here would contribute to enriching a history of engaged cinema. ; En se concentrant sur une période courte et libératrice de l'histoire du Portugal contemporain, ce travail vise à établir ce que la révolution, pensée comme processus, événement et rupture, a provoqué dans la production cinématographique. L'aire chronologique correspond donc aux années de la Révolution ...

Focusing on a short and liberating time of recent Portugal history, this work aims to establish that the idea of revolution, understood as a process, but also as an event and a rupture, has provoked a specific film production. The chronological area thus corresponds to the years of the Portuguese Revolution of 1974-1975 and its upheavals until 1982.To grasp this singular moment in all its complexity, the observation of the links between cinema and politics is proposed through the balance of power existing between the regime, the institutions and the cinema world. The existence of a revolutionary cinema able to follow the radical changes in society can be seen through conflicts and power issues. Then, filmmakers would question the possibilities of creation in that context: experiences of collective production, alternative distribution, and new practices of militant cinema are all examples of different modalities of creation.The study of various films, and the confrontation between revolution and cinema, show an offer of many creative potentialities: from anticapitalist movies which follow the process to the uses of Direct cinema embodying the event, and finally, the arising of Good Portuguese People (Bom Povo Português, 1981) by Rui Simões, mark an aesthetical rupture in response to the political change.This dissertation has a dual ambition. First, it is important to propose new enlightments on this yet unknown and underevaluated part of Portuguese cinema, with the help of testimonies from filmmakers and producers of that period. Then, observing practical and visual exchanges between the historical process and aesthetics, the paths explored here would contribute to enriching a history of engaged cinema. ; En se concentrant sur une période courte et libératrice de l'histoire du Portugal contemporain, ce travail vise à établir ce que la révolution, pensée comme processus, événement et rupture, a provoqué dans la production cinématographique. L'aire chronologique correspond donc aux années de la Révolution ...

Following the military coup of April 25th, 1974, Portugal experienced a revolutionary period characterized by unprecedented levels of labor unrest and political radicalization. As the social landscape suffered a profound transformation, key-sectors of the economy were nationalized, many firms went into self-management, and large areas of the south were swept by land occupation. When the country's democratic Constitution was brought to vote on April 2, 1976, it contained numerous references to "socialism," "self-management," "planning," and "agrarian reform," bearing witness to a widespread commitment to build a "classless society." What eventually took shape, however, was a mixed economy under a parliamentary regime, very similar to that of countries like Greece and Spain, both of which experienced far less dramatic democratic transitions. Drawing on the writings of Immanuel Wallerstein, Giovanni Arrighi, and Boaventura de Sousa Santos, this article analyzes the plans and strategies devised to ensure a socialist transition in the semiperiphery of the capitalist world-system during the 1970s.

Just before midnight on 10 November 1975 Portugal's high commissioner in Angola, along with the last remnants of the Portuguese army in Africa, embarked for Lisbon. Earlier in the day he had formally transferred sovereignty not to a successor government but to 'the Angolan people', a formulation which permitted Portugal to 'decolonise' without taking sides in the civil war which was at that time reaching its climax in Angola. Immediately the perfunctory ceremony in Luanda ended, the Portuguese officials left at speed for the harbour and the relative safety of their ships which departed immediately. Thus ended Portugal's 500-year empire in Africa. It is tempting to see Portugal's indecorous withdrawal from Angola as an emblematic climax to an increasingly destructive relationship with the former jewel in its African crown. In this view, the chaotic circumstances of Angola's road to independence had brought Portugal's own fragile and unstable post-revolutionary state to the point of destruction. Yet a quite different view can be proposed. The political and diplomatic challenges thrown down by the Angolan crisis might be seen, on the contrary, to have had a 'disciplining' effect on a revolutionary process in Portugal which was threatening to spin out of control as a result of its own internal pressures. Arguably, rather than exacerbating these pressures, the demands of events in Angola had a unifying effect on an otherwise fragmenting state.

The makers of the Portuguese Revolution of 1974 sought not only the overthrow of a dictatorial regime, but also a reorganisation of Portugal's economy on new lines, securing control of agriculture and industry in the name of workers. The present paper examines the process of revolutionary agrarian reform in the Alentejo region, a major agricultural zone, and describes how, after the end of the revolutionary period, 1974-76, the reforms of that period were reversed, when the Socialists and Social Democrats successively gained power. ; info:eu-repo/semantics/submittedVersion

The makers of the Portuguese revolution of 1974 sought not only the overthrow of a dictatorial regime, but also a reorganisation of Portugal's economy on new lines, securing control of agriculture and industry in the name of workers. The present paper examines the process of revolutionary agrarian reform in the Alentejo region, a major agricultural zone, and describes how, after the end of the revolutionary period, 1974–76, the reforms of that period were reversed when the Socialists and Social Democrats successively gained power.