Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

[...]

This article aims to present dialogues about the new standards of Brazilian women’s bodies visible in the 1920’s by considering an analysis in the fashion displayed in Rio de Janeiro’s magazines Para todos, Careta and O Malho. The 1920’s/1940’s is a pe-riod of significant social, cultural and economic changes in Brazil and it is also the context where the development of the discourses around corporal and sports practices contribu-ted to the idea of corporal care as something related to health, beauty and productivity. The analysis of the magazines is based on a theoretical discussion that intertwines body history, gender issues, fashion, medical and normative discourses. Thus, authors such as Georges Vigarello (2011), Denise Sant’anna (2016), Carmen Lúcia Soares (2011) and Mi-chel Foucault (1999) are considered. The results reveal the construction of gazes based on conventions and stereotypes, limiting individual and social possibilities, for the image of women, whether in photography, text or illustration. The images included in the maga-zines reaffirm the dominant cultural values, including the hierarchy between the sexes.

An analysis of the representation of the female figure in advertisements of the magazine Anuário das Senhoras (1934-1958) This article’s time frame covers adver-tisements starting from the 1940s. The text – guided by the concepts of fashion and ad-vertising – dialogues with discussions developed by Svendsen, Habermas, Lipovetsky, and Wicliams. Understanding fashion as a concept that encompasses multiple meanings, the analysis of the ads in the magazine sought to discuss their contribution to the construc-tion and maintenance of social roles thought for women in the Brazilian urban reality at the time. There was an effort by advertising to balance tradition and modernity, in a movement that opened the doors of consumption and work for women while reaffirming its central role in the domestic environment.

A publication of great success and impressive selling, the magazine Revista Feminina (1915-1936) – founded by Virgilina de Souza Salles, a prominent figure of the São Paulo elite – had the objective of guiding its readers on domestic issues and making them aware of popular causes in a mo-ment of great expansion of the feminist movement (the right to vote and to work). Among the sections in the magazine approaching various topics, it is worth mentioning the one signed by Marinette, which was named Fashion, accompanied by illustrations (such as drawings and photographs) and focused on infor-mation about fashion from Paris, available in major department stores in São Paulo, such as La Saison and Mappin. World War I had a significant impact on the field of fashion, not only in the disappearance of fluid lines and fair skirts of the Edwardian era but also in the social role of women, who took the places of men in the ammunition factories, as well as offices and shops. Reflections on the changes in fashion as a result of the war were evident in the Fashion section of the magazine Revista Feminina, where Marinette, in addition to commenting on them, informed the readers about the reasons for such changes. The purpose of this article is to analyze the said section of Revista Feminina and propose a social and cultural reflection on the position of the magazine through the texts written by Marinette about the transformations in the fashion industry during the years of the First War, as well as its resonances in the behavior of women.

This article investigates the use of visual culture as a vehicle for fashion information and dressmaking techniques published in the periodical A Estação (1879-1904). The study is based on the analysis of Portuguese and French issues of the journal (La Saison, 1883-1908), as well as a cut-and-sew manual that accompanied it. The aim is to understand the use of visual resources in fashion communication and the formation of French dressmaking culture – which entered the country via seaports before reaching the utter ends of Minas Gerais. In order to reach this objective, the textual and imagistic con-tents of the cited journal, the educational legislation of the First Republic, photographs, and a textile object were investigated. As a theoretical-methodological procedure, the ma-terial was intertwined with many other sources from a dialectical perspective. This choice makes it possible to situate the historical context and the visual culture resources, allow-ing us to understand its comprehensiveness when it comes to the absorption of fashion and the teaching of French dressmaking techniques in the Brazilian belle époque.

This article aims to examine how the presence of fashion content inside illustrated magazines in Salvador was decisive to the structural and symbolic disputes around the new female sociabilities regarding their usage of urban space, considering these magazines emerged within the city’s press modernization in the early twentieth century. From the reading of images and texts about fashion, we attempt to understand how the press sought to control the new forms of visuality in women’s usage of the city, while at the same time enabling them some protagonism in social places otherwise unlikely accessible, leading them to question their place and role both in public and private life.

This article presents the approximations between music and fashion as seen in nineteenth-century feminine press in Rio de Janeiro. Theatre and ballrooms are approached as privileged spaces where music mediated the sociability of the elites and middle classes. The paper focuses on female protagonism by identifying women who composed and published sheet music in magazine supplements. The “fashion dances” fre-quently appeared in those pages, alternated with costume illustrations, and music and fashion were both shared by the female readers as objects to be consumed and repro-duced. This present analysis emphasizes, among other things, texts about music published in Jornal das Senhoras (1852-55), as well as the contests for women composers held by A Estação in 1902.

In this article, attention focuses on the fashion content disseminated by A Illustração (Paris, 1884-1892), a periodical that circulated in Portugal and Brazil, but which maintained close relations with the French Le Monde Illustré (Paris, 1857-1940). The objective is to verify the exchanges between these publications regarding the sec-tion dedicated to fashion. The analysis of this material poses thought-provoking questions about the circulation of images, the notion of authorship and the sharing of a common imaginary about the notions of fashion and elegance. It is worth highlighting that the so called “illustrations” made up a specific sector of the periodicals, whose origin dates back to the mid-nineteenth century.

This paper analyzes the section “Assumptos Femininos” (“Female Topics”), published in the Brazilian newspaper Correio da Manhã (Rio de Janeiro, 1901 - 1974), fo-cusing on the 1920s. It aims to understand the profile of its female readers and how this section helped to build the idea of a modern newspaper. It draws special emphasis on the fashion images presented and the articles published in this section. Considering Correio da Manhã was the bestselling newspaper in Rio at the time, its influence on the public opinion must also be addressed. The research was based mainly on material taken from the newspaper and on secondary sources about the historical context of Rio de Janeiro, its press, and the 1920s fashions. The aim is to offer new information about fashion in the newspaper, therefore enabling further developments.

This study aims to investigate the smoking habit among women at the begin-ning of the 20th century, especially between 1910 and 1920, as a privileged way of con-templating different forms of building femininity. From a Cultural History perspective, the observation of cigarette usage by women might unveil relevant aspects of women’s trans-formational process inside the society, shedding light on the balance between traditional moral codes and the desire of freedom and gender equality. In the accelerated era of met-ropolitan life, the spread of habits until then socially condemned rouses a reflection upon the construction of the ‘modern women’ archetype and its social role amid consumerism, industrialization, and mass media growth.