Quadros e costumes na Revista Cultura Política: intelectuais e o Estado Novo (1941-1942)

• Ano de defesa: 2017
• Autor(a) principal: Bertolino, Ana Maria
• Tipo de documento: Dissertação
• Tipo de acesso: Acesso aberto
• Idioma: por
• Instituição de defesa: Universidade Federal de Uberlândia; Brasil; Programa de Pós-graduação em História
• Palavras-chave em Português: DIP; Cultura Política; Quadros e Costumes; Graciliano Ramos; História; Ramos, Graciliano, 1892-1953; Marques Rebelo; Political Culture; Pictures and Customs; CNPQ::CIENCIAS HUMANAS::HISTORIA::HISTORIA DO BRASIL
• Link de acesso: https://repositorio.ufu.br/handle/123456789/21117; http://dx.doi.org/10.14393/ufu.di.2018.31

Amid clashes and political conflicts, Getúlio Vargas, through a coup, assumed the presidency of Brazil, in 1930. Not being able to calm the political scenery not obtaining hegemony face to the society, another coup was implemented, inaugurating, this way, the dictatorship of Estado Novo (New State) (1937-1945). Thus, the government intensified the ideological propaganda of an authoritarian, conservative and elitist character of such regime, creating, for that purpose the Department of Press and Propaganda (DIP- in Portuguese), which also had the function of censorship. DIP had several means of spreading their ideology, and one of the most important was Cultura Política magazine, considered their official magazine. So that it could work, it added and, sometimes it joined intellectuals from the most diverse theoretical currents in order to assist in the structuring and dissemination of such ideology. At Cultura Política (Political Culture magazine) there was a specific column about regions of Brazil, named Pictures and Customs, which was divided between that from the Northeast and the one from Center and South, both being written by authors like Graciliano Ramos and Marques Rebelo. Such columns showed the politics, society and customs of those regions in dialogue with some points of the ideology of Vargas. This dissertation aims to analyse both sceneries and the participation of these authors, verifying to what extent they responded to Varga’s regime’s wishes.