Cadernos do Arquivo Municipal
https://cadernosarquivo.cm-lisboa.pt/index.php/am
<p>Submission of articles and book reviews to Cadernos do Arquivo Municipal are temporarily made through the journal's e-mail: <a href="mailto:%20am.cadernos@cm-lisboa.pt">am.cadernos@cm-lisboa.pt</a></p>Câmara Municipal de Lisboaen-USCadernos do Arquivo Municipal2183-3176<p>The authors retain copyright and grant the journal the right of first publication, with the work simultaneously licensed under the <a href="https://creativecommons.org/licenses/by-nc/4.0/deed.pt" target="_blank" rel="noopener">Creative Commons Attribution License CC BY-NC 4.0</a> which allows sharing and adapting the text as long as its authorship is correctly attribbuted with recognition of the initial publication in this journal.</p>Um tempo após um contratempo: Reverberações persistentes da Revolução dos Cravos
https://cadernosarquivo.cm-lisboa.pt/index.php/am/article/view/348
Paula GodinhoRicardo Andrade
Copyright (c) 2024 Paula Godinho e Ricardo Andrade
2024-04-162024-04-16211910.48751/CAM-2024-21348Freedom Manifestations, 1974-1977 Archive Photography
https://cadernosarquivo.cm-lisboa.pt/index.php/am/article/view/344
<p>Maecenas sed malesuada ante. Sed laoreet enim sed turpis lacinia posuere. Aenean vehicula faucibus posuere. Nunc sit amet elit ut tellus vulputate facilisis. Pellentesque placerat viverra neque. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per<br>inceptos himenaeos. Nunc tristique metus a turpis placerat molestie. Phasellus id congue quam. Sed eu lorem est. Phasellus id congue quam. Sed eu lorem est. Phasellus id congue quam. Sed eu lorem est.</p>Isabel CordaPaula Figueiredo
Copyright (c) 2024 Isabel Corda & Paula Figueiredo
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2024-03-222024-03-222116310.48751/CAM-2024-21344Nota de Apresentação
https://cadernosarquivo.cm-lisboa.pt/index.php/am/article/view/347
Helena Neves
Copyright (c) 2024 Helena Neves
2024-04-162024-04-16211210.48751/CAM-2024-21347Through the fields and the cities: musical and political activity of the Coro da Juventude Musical Portuguesa (1969-1976)
https://cadernosarquivo.cm-lisboa.pt/index.php/am/article/view/346
<p>This article focuses on the activity of the Coro da Juventude Musical Portuguesa (JMP, Choir of Lisbon), of<br>Lisbon, from the end of the 1960s (c. 1969) until the<br>end of the Portuguese revolutionary period (c. 1976).<br>Considering that, throughout these periods, this choir sought to introduce innovative approaches in the processes of selection, interpretation and presentation of diverse repertoires in different contexts, I highlight the aesthetic and political meanings given by its members to practices that contributed to the dissemination of musical expressions originated from various regions of the country, as a way of appreciation of Portuguese popular culture.</p>Hugo Castro
Copyright (c) 2024 Hugo Castro
2024-04-122024-04-122111910.48751/CAM-2024-21346The 25th of April and the Portuguese Revolutionary Militant Liaison Committee. Contributions to the history of Trotskyism in Portugal
https://cadernosarquivo.cm-lisboa.pt/index.php/am/article/view/343
<p>At the II Congress of the Socialist Party, in 1976, the only opposition list to the leadership of Mário Soares obtained twenty-five percent of the delegates’ votes. At the head of the group were Carmelinda Pereira and António Aires Rodrigues – constituent and first legislature deputies – who, accused of organizing themselves as a trotskyist faction, would be expelled in the following months. This article intends to explain the action of this group in the period opened by the 25th of April 1974, contextualizing its trajectory in the immediately previous years. Among the sources analyzed are interviews carried out with the protagonists, national and international newspapers of the time and documentation from the Centro de Documentação 25 de Abril, the Fundação Mário Soares and the Arquivo Nacional da Torre do Tombo.</p>João Moreira
Copyright (c) 2024 João Moreira
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2024-03-272024-03-272111810.48751/CAM-2024-21343Women workers in the 25th of April: labour struggles in electronic components factories in 1974
https://cadernosarquivo.cm-lisboa.pt/index.php/am/article/view/336
<p>This article intends to rescue the history of thousands of women workers who fought for the right to work and for better living conditions during the Portuguese revolutionary period. We have chosen as object of analysis the sector of electronic components production, where the workforce was mostly women. For this purpose, we mainly selected the factories of the ITT group – Standard Electrical and Semiconductors –, Plessey and Applied Magnetics. With April 25, 1974, the possibilities for change were latent and were experienced by the working class, even though the historiography of this period is predominantly male. Contrary to this perception, we highlight how women not only participated, but were active agents in the struggles unleashed in the various spaces, with emphasis on the factory confrontations.</p>Pâmela Peres Cabreira
Copyright (c) 2024 Pâmela Peres Cabreira
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2024-03-042024-03-042111810.48751/CAM-2024-21336Gender and sexuality: The backwardness of the revolution and the radical influence
https://cadernosarquivo.cm-lisboa.pt/index.php/am/article/view/345
<p>The revolution that began in April 1974 did not guarantee from the outset the issues of gender equality and non-discrimination in relation to sexual orientation. These were issues in which the time of the revolution did not coincide with the legal and social changes that continued in the following decades. Even with the participation of women in the revolutionary process in its <br>different contexts, the ancestral gender subalternity imposed by patriarchy remained after the revolution and was the stage for the existence of a significant women’s movement and, subsequently, for the LGBTI+ (Lesbian, Gay, Bisexual, Transgender and Intersex) movement. The articulation between the two movements from the end of the 1990s, in shared actions around the demand<br>for the decriminalization of abortion, makes evident the common problems and responses. This article seeks to illustrate the decisive influence of a radical component in both movements from 1974 onwards.</p>João Carlos Louçã
Copyright (c) 2024 João Carlos Louça
2024-04-082024-04-082111210.48751/CAM-2024-21345The Carnation Revolution from Spain in the archive of RTVE
https://cadernosarquivo.cm-lisboa.pt/index.php/am/article/view/337
<p>Contemporary audio-visual sources offer us a unique opportunity to learn about the key role of television in the transmission of historical events such as the Portuguese Carnation Revolution of 1974. The objective of this article is to explain how TVE (Spanish Television) told the Spaniards about this popular uprising in order to analyse the evolution of the discourse of the public entity and Spanish society from the end of the dictatorship to the victory of the PSOE (Spanish Socialist Workers’ Party) in 1982.</p>Pablo García Varela
Copyright (c) 2024 Pablo García Varela
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2024-04-162024-04-162111610.48751/CAM-2024-21337Between the revolution and the “normalisation”: Salazar’s head
https://cadernosarquivo.cm-lisboa.pt/index.php/am/article/view/332
<p>Based on the actions regarding Salazar’s statue in San-ta Comba Dão in 1975 and 1978, we aim to reflect on how the democratic “normalisation” imposed a nar-rative based on the reconciliation and pacification of society, the devaluation of the Revolution and the idea that it was the 25th of November, instead of the Revolu-tion, that ensured the pacification and democratisation of the country. The way of evoking the past and its public uses, was fundamental in the political struggle at the turn of the 1970s into the 1980s – a time of greater tension and confrontation than it is usually perceived and pivotal regarding political violence – notably in 1978, a deci-sive year in the process of settling accounts with the past. Representations of that past, especially of the rev-olution, were essential in legitimising the post-Novem-ber 25th status quo, which had not completely closed the debate on the model of society.</p>Francisco Bairrão Ruivo
Copyright (c) 2024 Francisco Bairrão Ruivo
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2024-01-292024-01-292111910.48751/CAM-2024-21332Roux, C., Sá Vilas Boas, M.-H., & Pereira, V. (dir.). Le Portugal depuis la révolution des Œillets : Dynamiques politiques et sociales. Éditions L’Harmattan
https://cadernosarquivo.cm-lisboa.pt/index.php/am/article/view/333
Yves Léonard
Copyright (c) 2024 Yves Léonard
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2024-02-232024-02-23211210.48751/CAM-2024-21333Gomes, R. M., & Ó, J. R. do (Eds.). (2023). A Urgência da palavra impressa: A imprensa dos «intrépidos adolescentes» contra a ditadura (1970-1974). Tigre de Papel
https://cadernosarquivo.cm-lisboa.pt/index.php/am/article/view/339
Luís Farinha
Copyright (c) 2024 Lu
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2024-03-072024-03-07211210.48751/CAM-2024-21339Saraiva, T. (2022). Porcos fascistas: Organismos tecnocientíficos e a história do fascismo. Dafne
https://cadernosarquivo.cm-lisboa.pt/index.php/am/article/view/342
Lourenzo Fernández Prieto
Copyright (c) 2024 Lourenzo Fernández Prieto
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2024-03-042024-03-04211410.48751/CAM-2024-21342José Afonso, the Popular Power and LUAR
https://cadernosarquivo.cm-lisboa.pt/index.php/am/article/view/335
<p>José Afonso renewed his musical work in the Algarve, between 1958 and 1964. This process coincides with the General Humberto Delgado’s presidential campaign, the Opposition candidate. His performances also began to take place in popular associations. He composed “Grândola, Vila Morena” in this context. After Mozambique, between 1964 and 1967, having deepened his anti-colonial awareness, he moved to Setúbal. He collaborated with all anti-fascist forces and despite frequently being identified with the PCP (Partido Comunista Português), he is close to the revolutionary left. He sympathizes with LUAR (Liga de Unidade e Acção Revolucionária), created in 1967, known for the robbery of the Bank of Portugal in Figueira da Foz. After the 25th of April, in solidarity with the workers and grassroots dynamics, internationalist, he was enthusiastic about the Popular Power project, expressed in many of his songs. LUAR ended in 1976, but José Afonso remained an activist in the field of the revolutionary left, although without any party involvement.</p>João Madeira
Copyright (c) 2024 João Madeira
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2024-02-222024-02-222111910.48751/CAM-2024-21335