Jornal Presença (1971): uma manufatura em circulação na imprensa underground brasileira na década de 70
Data
2024-09-30
Tipo
Dissertação de mestrado
Título da Revista
ISSN da Revista
Título de Volume
Resumo
O jornal Presença, publicado em dois números no final de 1971, fez parte de uma série de publicações undergrounds que emergiram no início da década de 1970 no Brasil. Esses jornais fomentaram espaços de reflexão e divulgação das práticas relacionadas à contracultura, estimulando a criação de campos de atuação para uma comunidade de jornalistas, poetas, artistas, escritores e outros agentes, e a formação de um público leitor específico. Embora impresso no Rio de Janeiro e editado por Rubinho Gomes, Antonio Henrique Nitzsche e Joel Macedo, o jornal articulou um circuito envolvendo indivíduos de diversas regiões do país e do exterior. Esta dissertação também inaugura uma análise dedicada ao impresso, propondo, por meio da observação de sua arqueologia, uma leitura da contracultura fora de suas designações rígidas enquanto momento histórico, revisando sua proposta homogênea ao analisar uma atuação “contra a cultura” emergente no período dos anos de chumbo (1968-1972) da ditadura civil-militar brasileira, circunscrita aos fenômenos locais na apropriação das reverberações
desse imaginário que chegavam de outros locais como referência. Na aproximação dos “artistas marginais”, vinculados à vanguarda e ao experimental, com as práticas contraculturais, identificou-se a articulação de uma nova sensibilidade que agenciou ambos imaginários, subvertendo a objetividade na reformulação da linguagem e das formas, enquanto também criticava a sociedade industrial. Essa prática foi reforçada pelo contato com outros grupos, publicações e referentes culturais de contextos geográficos variados, como Nova York e
Londres, permitindo a apropriação de modelos editoriais da imprensa underground em uma rede de contatos transnacional que ampliou a circulação dessas fórmulas no Brasil. Para tanto, o estudo tomou como método analítico a materialidade enquanto forma produtora de sentido, o exame dos modelos de leitura, espaços de circulação e atuação dos intelectuais na mediação desses trânsitos culturais para identificar os referentes partilhados, assim como suas redes de sociabilidade, identificadas e examinadas a partir de correspondências, entrevistas e publicações na imprensa, de modo a investigar como suas representações atribuíram elementos para a elaboração da “imprensa subterrânea” brasileira como parte de uma rede que envolveu a circulação de sujeitos e impressos.
The newspaper Presença, published in two issues at the end of 1971, was part of a series of underground publications that emerged in the early 1970s in Brazil. These newspapers fostered spaces for reflection and dissemination of practices related to counterculture, stimulating the creation of fields of activity for a community of journalists, poets, artists, writers and other agents, and the formation of a specific readership. Although printed in Rio de Janeiro and edited by Rubinho Gomes, Antonio Henrique Nitzsche and Joel Macedo, the newspaper articulated a circuit involving individuals from various regions of the country and abroad. This dissertation also inaugurates an analysis dedicated to the printed press, proposing, through the observation of its archaeology, a reading of the counterculture outside its rigid designations as a historical moment, revising its homogeneous proposal by analyzing an action “against culture” emerging in the period of the years of lead (1968-1972) of the Brazilian civil-military dictatorship, circumscribed to local phenomena in the appropriation of the reverberations of this imaginary that arrived from other places as a reference. At bringing together “marginal artists”, linked to the avant-garde and the experimental, with counter-cultural practices, we identified the articulation of a new sensibility that brought together both imaginaries, subverting objectivity in the reformulation of language and forms, while also criticizing industrial society. This practice was reinforced by contact with other groups, publications and cultural references from varied geographical contexts, such as New York and London, allowing the appropriation of editorial models from the underground press in a transnational network of contacts that expanded the circulation of these formulas in Brazil. To this end, the study took as its analytical method materiality as a form that produces meaning, examining reading models, circulation spaces and the role of intellectuals in mediating these cultural transits to identify the shared references, as well as their sociability networks, identified and examined through correspondence, interviews and publications in the press, in order to investigate how their representations attributed elements to the development of the Brazilian “underground press” as part of a circuit that involved the circulation of subjects and printed matter.
The newspaper Presença, published in two issues at the end of 1971, was part of a series of underground publications that emerged in the early 1970s in Brazil. These newspapers fostered spaces for reflection and dissemination of practices related to counterculture, stimulating the creation of fields of activity for a community of journalists, poets, artists, writers and other agents, and the formation of a specific readership. Although printed in Rio de Janeiro and edited by Rubinho Gomes, Antonio Henrique Nitzsche and Joel Macedo, the newspaper articulated a circuit involving individuals from various regions of the country and abroad. This dissertation also inaugurates an analysis dedicated to the printed press, proposing, through the observation of its archaeology, a reading of the counterculture outside its rigid designations as a historical moment, revising its homogeneous proposal by analyzing an action “against culture” emerging in the period of the years of lead (1968-1972) of the Brazilian civil-military dictatorship, circumscribed to local phenomena in the appropriation of the reverberations of this imaginary that arrived from other places as a reference. At bringing together “marginal artists”, linked to the avant-garde and the experimental, with counter-cultural practices, we identified the articulation of a new sensibility that brought together both imaginaries, subverting objectivity in the reformulation of language and forms, while also criticizing industrial society. This practice was reinforced by contact with other groups, publications and cultural references from varied geographical contexts, such as New York and London, allowing the appropriation of editorial models from the underground press in a transnational network of contacts that expanded the circulation of these formulas in Brazil. To this end, the study took as its analytical method materiality as a form that produces meaning, examining reading models, circulation spaces and the role of intellectuals in mediating these cultural transits to identify the shared references, as well as their sociability networks, identified and examined through correspondence, interviews and publications in the press, in order to investigate how their representations attributed elements to the development of the Brazilian “underground press” as part of a circuit that involved the circulation of subjects and printed matter.