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Respect and obedience to fathers more precisely the father, the family chief signified obedience that all should maintain to their superiors: God on the divine domain; and on the earthly world — the Fatherland — its supreme leader, the dictator. In family, school, church, workshop, guild, army quarter or State, authority never exists for itself but for others' Salazar, , p. In this representation all performed their traditionally ascribed roles: Interestingly the men stand next to the sunny outside openings and the women are sheltered in the interior but in spite of the outside-inside locations, they are all on the most sacrum place, inside their own home the etymological origins of home, family, fatherland, and nation can all be intertwined on wide ranging definitions that underline the group or belonging meaning.

House, nest, home were here understood as the primal space of physical and spiritual values safekeeping, refuge from malevolent external influences.

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As a result Home, as symbol, stood for Family and consequently for Fatherland. Therefore the importance of this innocent representation: In this manner these family and home representations were the sum of attributes understood as this pursued abstract concept signifiers. They were intended to represent costumes, details and characteristics easily and broadly regarded as vernacular Portuguese, but that shouldn't be attributed specifically to a particular region, thus creating a mingled reinvented tradition Hobsbawm, , a fake and generic national symbolic repertoire endlessly repeated without acrimonious regional disputes.

Nation and People perceived as a single entity. The Portuguese Home Returning to this paper aim — understand how Estado Novo understood the role of progress and technology on Portugal — it should be analysed how technology was addressed in the trilogy poster. The room, while small in dimensions, accommodates a diverse group of functions: The only house function spaces missing were the sleeping and hygiene ones, both too sinful according to the Christian morality to be represented.

Apart from the devotional ensemble — naturally the most ornate and important room pieces — the other objects forms obeyed mainly to strict constructive and functional simplicity, with discreet decorative details in some furniture and table set items.

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The general spirit was of modesty and poverty, not miserabilist but ascetic; a family proud of its barely but honest possessions. The home was in pristine and ordered condition: While there isn't any display of wealth and luxury on the objects, the abundance of food denoted that there was no famine, and the sustenance and well-being was, at reasonable modest limits, attainable.

Overall the entire scene emanated calm, joy, happiness and bonhomie. Instead of fast automobiles, zigzagged roads, rows of telecommunication poles, mighty cranes, liners, airplanes, warships, submarines, etc. No sign of electric light, a house being lighted with candles, lanterns and oil lamps. Also no signs of plumbing, with earthenware and tinfoil water jugs visible around the chimney. No signs of modernity at all, as the mother continued cooking with caldrons and iron cast pots in the chimney.

None of the domestic appliances long time developed are in sight: In the 's the country electrification was one of the public infrastructures being developed, with the State assuming the task and since the 's the gas and electricity companies were vigorously promoting the use of every kind of electric and gas appliances and educating on its use figure 6. Faria et al.

In reality all objects of this home could be found in a mid 19th c. Almost all of them were the outcome of small artisanal production, and only few were mass-produced, but even these, through methods developed during the Industrial Revolution, at the second half of the 18th c.

Even the family clothes, exception made to the son's Mocidade uniform, could belong to an uchronic time, making it difficult to date. Technology and progress at a conservative country Salazar, or the regime, didn't intend to force Portuguese people, urban or rural, to return to a pre-Industrial Revolution crude way of life, according to luddites principles. In fact it shouldn't be forgotten that great part of the population was still living in similar conditions, specifically the lower classes and the ones outside the cities.

The first posters revealed the demand to modernize the national infrastructures, subsequently improving the population well being, but the regime didn't intend to place the progress and comfort desire reference of the technological contemporaneity at the top of Nation's principles. Not even the Public Works Policy —fundamental to the regime propaganda and acceptance — could be motive enough to alter the corporative system backbone, its traditional values. I would say numbness. I frankly think that the permanent frenzy and exultation in which some regimes maintain their people is a bad and insane thing.

Nobody can deny that we, until now, managed to achieve that goal. The sweetness of a tranquil living I melancholy repeated these words. I think on the flowers, on the people that peacefully wander through Lisbon. I remember the nights when quiet men sit on the belvederes contemplating the city lights, while fados roam through the streets. In Portugal, the people still have time to feel, and guard the pleasure of dreaming.

Anyway, I think again of Salazar in his vineyards, quietly chatting with peasants and stonemasons, unhurried, like he owns eternity. In which other country can we find this spirit today? While Salazar vehemently evoke the Portuguese serenity, it looks like we're hearing a healthy man mourning his sick companions, or a wealthy man bragging his home to the unfortunate ones.

And this triggers in me some sadness. That's why we keep the spirit above everything.

The spirit? That's the keyword, the word that better define Salazar politics. For him, whatever the realm, everything is a projection of the spirit. He believes that the spirit mould and transform men more profoundly than dominant forces.

Didn't he said once that peace is, overall, a creation of the spirit?

You shouldn't forget that one of our agenda items was to bring us up to date since, due to different causes, and in many domains, we let ourselves regretfully to fall behind. Especially when this progress was commonly associated to the Liberal-Bolshevik disruptive modernity, contrary to the continuousness need of a conservative regime, even one making an effort to built a new state.

Lost in a dilemma where the unstoppable modern condition collided with perennial values, and even acknowledging the propaganda demand for facts to self- announce, the regime opted to divide the world in two realms —physical and spiritual — vigorously promoting the latter merits, and subordinating to them the former ones.

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A serene nation on an unrested world Regarded in the broadest sense as fascist, Estado Novo attempted to differentiate itself from other contemporary systems as an original non- belligerent hybrid regime that, while trying to modernize a underdeveloped country, simultaneously kept it lost in a gone-by glorified, bucolic and pious dream.

This position was clear in the national discourses to the Paris and New York expositions, both events about contemporaneity and future: In Paris, Portugal exhibited the modern life art and technique of ruling a country displaying the success of Salazar's regime work through the results avant-gardist mapping. The itinerary climaxed on a contrasting room entirely dedicated to an extensive ethnographic collection of popular artefacts while, on the pavilion terrace, folkloric dance and music played in parties mimicking traditional summer festivities figure 7.

Figure 7 Paris pavilion's popular arts room and three of the decorator-artists dancing with guests dressed in folkloric costumes at the 28th July inaugural ball. In the New York exposition renown for several utopic presentations after a presentation of the Portuguese discoveries role and the country endeavour results, Portugal presented, on bucolic gardens, its own world of tomorrow, an allegoric ensemble of captions, photographs, bas-reliefs, and sculpture placed over a terrace.

The central piece was composed by: The captions emphasized the ensemble ideas quoting Salazar: Once again the traditional over the technology, the spiritual over the physical world. This aversion to technology would delay the necessary and fruitful interdependence between design and a, once again, disregarded industrialization, but in spite of that, the discussion in good taste, culture and identity matters — promoted by the SPN — and its profuse graphic and exhibition production, while seemingly distant from the modernist canon, would support the appearance of the discipline conscience and of a generation of artists that would be the grandfathers of the Portuguese Design, born a few decades latter.

Libraire Plon. Carvalho, R. Costa, M. The Official Book of the Portuguese Representation. Faria, F. Museu da Electricidade EDP. Garnier, C.

Hobsbawm, E. Available from: Rosas, F. Salazar, A. Coimbra Editora. II, In Cruz, M. Venda Nova: Bertrand Editora. Related Papers. A Novel by Emily Giffin Synopsis: More recently, her husband made a fortune selling his tech business, and their adored son has been accepted to Princeton.

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