Suchergebnisse

This article starts from the analysis of Impressionism, Kazimir Malevich's abstractionism and Hélio Oiticica's penetráveis to think about the process of eliminating the edges of painting. Oiticica's thesis is that, at the moment in which she lived and acted, the painting began to do without the edges, spilling out of it and constituting itself as modus vivendi, thus eliminating the notion of an outside and one inside. With this, it defends the substitution of the spectator by the participant. We wonder if cinema, with its moving edges, is also touched by these changes. For that, we will take Cinema Novo and Cinema Marginal. Finally, we wonder if the school institution, as heir to these questions, has been inserted in this debate and what it has or would be its role. In this sense, the question remains about what to expect from this institution after the dilution of the picture (the great narratives, the modern certainties) and the historical vanguards.

A Constituicao da Republica deu enfase ao controle na administracao publica, de uma forma geral, entre outras inovacoes. O controle e a avaliacao de desempenho na execucao do orcamento, bem como dos fatos administrativos paralelos, de natureza financeira ou nao, sao executados com base nas informacoes geradas pela contabilidade e verificados pela auditoria, de cuja funcao na administracao se ocupa o presente trabalho. (Admin Mun/DÜI)

As possíveis semelhanças entre a poesia e a fotografia é o que analisamos neste texto. A partir da obra do modernista Oswald de Andrade, discutimos alguns elementos de aproximação entre a visualidade fotográfica e a imagem poética. Defendemos que parte da poesia oswaldiana - na qual predomina uma linguagem clara, direta, simples, sem adornos e que apresenta uma visualidade explícita - passa a impressão de que o poeta tenta colocar para o leitor cenas que se assemelham a fotografias.

Even today, the representations of Brasilia that circulate as hegemonic and the Brazilians that appear in them all focus on the original project, even though many of them re-signify their bases linked to progress and capitalist ideals, contrasting reports that emphasize the affections, the feelings, the bodies that coexist between asphalt and concrete, aspects at first sight incompatible with the logic of the city (BEAL, 2015). However, in recent years, certain historically desolate and silenced narratives coming from the periphery of the Pilot Plan have begun to resonate, bringing in the city's imaginary other brasilias that are no longer thought of as an utopia, but as an heterotopia, a subversion of the established order that leads us to the creation of resignified and alternative places (FOUCAULT, 1982). The par excellence space of the creation and vociferation of these stories are the saraus of the peripheries. This article analyzes the images about Brasilia that are built in these literary spaces located in the Administrative Regions, composing, besides the analysis, a file with material that does not circulate beyond this independent and autonomous literary circuit.

The starting point of this article is the realization of "Primeira Exposição Fotográfica de Motivos Belorizontinos", exhibition organized in 1953 through the partnership of a collective of amateur photographers and the Municipality of Belo Horizonte. Our interest is to understand how the vision of the amateur photographer is directed to the city, what is their reach, their conditioning and of course, what images result from this association. In this regard, we need to analyse the photography in parallel to other cultural initiatives supported by the government in the period, as well if it is possible to associate the pictures with a specific political project. The discussion around the exhibition from 1953 would also approach the universe of political propaganda, the relationship between architecture, government and urban life, and questions connected to the visual culture and cultural circularity.

This article reflects about the handling that the actor performs on the dramatic text as a chance to rescue the use of text in the contemporary context. Experiments in postdramatic theater can have text as a stimulating material and not confer on drama a central role. The attitude of the actor of making contact with the words in order to reveal the meaning beyond the speech is essential to find a text function in line with all other elements of the play.

O presente trabalho traça uma discussão sobre o Acervo audiovisual
do Laboratório de Antropologia Visual (LAV), vinculado ao
Departamento de Antropologia e Museologia da Universidade Federal
de Pernambuco a partir da perspectiva da memória, do patrimônio e da
salvaguarda. Abordamos em conjunto a antropologia visual e a
museologia, detendo-se na elaboração de uma analise sobre o acervo
audiovisual do LAV-UFPE enquanto patrimônio cultural acadêmico,
objetivando traçar uma proposta para salvaguardar este patrimônio.
Destacamos neste trabalho a importância da coleção como meio de
transmissão de conhecimentos acerca das atividades de ensino e
pesquisas da instituição, e expressões culturais e artísticas.

This article presents the core of the votive tablets that decorate the old chapel of the Santuário de Nosso Senhor Jesus do Calvário in Parada de Pinhão, Portugal, an ideal place for familiarity and meditation. Until recently the old chapel kept hanging with nails on the walls 67 votive offerings. An ex-voto is a votive offering to the saint that was given in fulfillment of a vow, in gratitude or devotion. The tablets, in rectangular shape and variable measures, oil painted on a sheet of wood or iron, includes text explaining a miracle attributed to the saint. Some of them are dated (from 1852 to 1865) and are examples of popular art. Ex-votos are sources of information on the religious minds of the second half of the 19th century.