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| Author(s): |
Thais Chang Waldman
Total Authors: 1
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| Document type: | Master's Dissertation |
| Press: | São Paulo. |
| Institution: | Universidade de São Paulo (USP). Faculdade de Filosofia, Letras e Ciências Humanas (FFLCH/SBD) |
| Defense date: | 2010-01-21 |
| Examining board members: |
Fernanda Arêas Peixoto;
Marta Rosa Amoroso;
Paulo Teixeira Iumatti
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| Advisor: | Fernanda Arêas Peixoto |
| Abstract | |
The present study examines Paulo da Silva Prado\'s (18691943) work, achievements and legacy, focusing on his social network and insertion. A well-recognized key character among intellectuals and artists involved in the 1922 Week of Modern Art, Paulo Prado is quite often disregarded by scholars and acknowledged as a backstage personality with a supporting role. Besides being a leading coffee producer and exporter at that time, Paulo Prado wrote two books about the history of São Paulo and the development of Brazilian people: Paulística (1925) and Retrato do Brasil (1928). He also wrote editorials, articles, and reviews for major publications, (re) published original documents on the colonial period, founded and managed modern journals, and was a major promoter and supporter of the 1922 Week of Modern Art, among others. Paulo Prado served as an important liaison in different settings, and there lies the interest of the present study. On one hand, he promoted at the age of 53 the 1922 Week of Modern Art and, on the other hand, he was a decisive connection between modernists and a group of intellectuals of a previous generation, his uncles, the journalist and monarchist Eduardo Prado (18601901). In addition, he developed a strong relationship with Cearás historian Capistrano de Abreu (18531927), a central figure of modern Brazilian historiography who was introduced to him by Eduardo Prado. Finally, in a sense, Paulo Prado established a link between 1920`s essayism and the essayism that flourished in 1930 with the works of Sérgio Buarque de Holanda (19021987), Gilberto Freyre (19001987), and Caio Prado Júnior (19071990) (notably, all of them had personal and friendship relations with Paulo Prado). I believe that the analysis of Paulo Prado production against the background where it was conceived, as they are very closely associated, will allow to establish his central role in the intellectual world of that time and to critically review his ideas and concepts which fall in between art and science, literature and history. (AU) | |