Historia, ciencias, saude--Manguinhos最新文献

This article analyzes how palm trees were represented in the nineteenth century as majesties of tropical nature by European botanists and horticulturists amid an imagination of colonial domination. To this end, I will examine texts and images in horticultural publications, printed in England, France, Belgium and Portugal, which repeatedly conveyed the idea of the tropics as a place governed by its nature, in which the palm tree gained centrality, in contrast to Europe, taken as a model of civilization. It was in this context that the sumptuous palm houses came to be constructed, which also functioned as privileged symbols of European domination over the tropics.

The collections of the Instituto de Investigação Científica Tropical were integrated into the Universidade de Lisboa in 2015, leaving the Museu Nacional de História Natural e da Ciência responsible for their management, preservation and access. This historical and scientific heritage includes archives, libraries, natural history, archaeological and ethnographic collections, scientific instruments and the Jardim Botânico Tropical. Most of the collections were created as part of colonial scientific missions promoted by the Portuguese government during the nineteenth and twentieth centuries. This article reflects on this heritage in light of contemporary debates on the legacies of colonialism, presenting the museum's work to address, identify and describe its historically and culturally sensitive collections.

Learning about the actors associated with the development of collections helps trace the signs of coloniality in museum discourse. The case of João dos Santos Pereira Jardim, the main donor of a collection in the ethnography section of the Municipal Museum of Figueira da Foz, confirms that military campaigns in colonial territories were key to enriching the collections of Portuguese museums. By reconstructing the journey of this military officer and the significance of two objects he collected, we reveal how this type of actor contributed to the growth of collections and prevailing Eurocentric narratives in museums.

The collections of the former Anthropology Museum at the Faculty of Science (established in 1912) are now part of the Natural History and Science Museum at the University of Porto. The museum contains 125,000 objects in archaeology, ethnography, biological anthropology and numismatics, including some collections of non-European origin. This study investigates how the non-European ethnographic collections (around 1,100 objects) were incorporated throughout the twentieth century, examining documentary sources and surveying biographies of the objects and collections to identify provenance and associated actors. Exploring how objects were incorporated and documented allows us to glimpse how changes in the scientific paradigm reflect in the organization of collections in memory institutions.

Over two thousand transnational objects (most with colonial origins) are currently in the Museu Nacional de Arqueologia in Lisbon and the Museu Municipal Santos Rocha in Figueira da Foz. Their histories are linked to nationalism, colonialism and the development of prehistoric archaeology in the late nineteenth and early twentieth centuries. This article cross-references multiple sources and periodicals to trace the journeys of these collections (primarily involving military campaigns in Africa) and the power networks that brought these objects to Portugal. The Eurocentric narratives, descriptions and categorizations that have endured since that time show how provenance research is essential to document and confront the colonial legacies of museums.

This article addresses one layer of the history of a collection gathered by missionaries from the Congregação do Espirito Santo during the colonial period in Angola. This collection comprised a missionary museum in the 1950s and 1960s, and after the April 25 Revolution and Angola's independence was transferred to the Museum and Anthropology Laboratory at the University of Coimbra (now known as the Science Museum at the University of Coimbra). We reexamine research on this collection, considering some issues raised in recent projects dedicated to provenance studies on colonial collections, and discuss collections associated with religious missions as legacies where religion, colonialism and heritage intersect.

Because of its colonial history, Portugal holds many collections of African objects from its former possessions. They were generally gathered by colonial administrators, the military, merchants, simple settlers or travelers, and today are maintained by their heirs, but are also found among other groups including intellectuals, specialists, entrepreneurs, gallery owners and artists. This study looks at collections of "African art" belonging to three contemporary artists with different aesthetic orientations (Cruzeiro Seixas, Eduardo Nery and José de Guimarães) and considers their experiences and representations of "Africa," how the collections came to be created, and the influence of these pieces on the personal career and work of each of these artists.

This article uses concepts of post-colonial studies (like the need to revise the colonial historical archive, critiques of Eurocentrism and recovery of silenced memories) to promote an epistemological renewal of Western knowledge, characterized by Said, Chakrabarty and Mignolo as a hegemonic practice that marginalizes other cultures and peoples. Given the topical and urgent nature of these theories, recognizing and valuing modern African art is a practice that can renovate dominant ideas and transcend Eurocentric practices. In a concrete example of this recognition, we analyze four works by African or African-descent artists featured in the Calouste Gulbenkian Foundation's collection: António Ole, Grada Kilomba, Kiluanji Kia Henda and Mónica de Miranda.