Suchergebnisse

Estudo sobre as origens textuais e visuais da discriminação do Outro, do Estrangeiro, do Estranho.

This text proposes a reflection on art education, more specifically on plastic and visual expression and some of its main problems at a theoretical and practical level. Starting by analyzing the path of teaching and learning throughout history, we question today, its practices, between traditional teaching and the need to find alternative paths, appropriate to a world in permanent change. We try to understand the conception of art from which we started and its importance in educational practices, as well as the influence of the philosophical conception of the human being by teachers and educators, regarding the way they approach the educational proposals they develop.

L'accès des personnes handicapées à une scolarisation en milieu ordinaire est un gain dans l'histoire de l'éducation. Pourtant, des barrières à l'apprentissage et à la participation rendent le quotidien scolaire de ces élèves difficile, la mobilisation de ressources - humaines, physiques, politiques etc. - dans les écoles et les communautés se faisant nécessaire. La présente recherche, s'appuyant sur l'identification des barrières et des ressources concernant l'apprentissage et la participation d'une élève déficiente visuelle, scolarisée dans une classe ordinaire, a eu pour but d'investiguer la qualité du travail d'inclusion qui lui a été offert, et ses résultats ont signalé l'existence de situations d'inclusion comme d'exclusion dans la vie scolaire de l'élève en question. L'absence d'ajustements curriculaires envisageant l'accessibilité mène à une exclusion de contenus, qui sont transmis synthétiquement à l'élève, de sorte que le travail d'inclusion fait par l'école peut être considéré faible. Quoique la socialisation de l'élève semble préservée, son apprentissage est partiellement négligé. ; Access to general schools for people with disabilities is an advance in the history of education. However, barriers to learning and participation hinder the school routine of inclusive students, hence the need for resources - human, tangible, political etc. - from the schools and their communities. This study aimed at investigating the quality of inclusive service offered to a student with visual impairment enrolled in a mainstream class through the identification of barriers and resources to learning and participation. Results showed that in the school routine of the student subject matter of this study there are inclusion and exclusion situations. The lack of accessibility-oriented curriculum adjustments leads to the exclusion of content, which is briefly conveyed to the student. Therefore, the school can be considered as having a low level of inclusion. Although the student seems to socialize with others, her learning process is being partially neglected. ; El acceso a la escuela regular para personas con discapacidad es una ganancia en la historia de la educación. Sin embargo, las barreras al aprendizaje y a la participación dificultan el cotidiano escolar de los alumnos en situación de inclusión, haciendo necesaria la movilización de recursos - humanos, físicos, políticos etc. - en las escuelas y comunidades. El objetivo de este trabajo fue investigar la calidad de la atención inclusiva ofrecida a una alumna con deficiencia visual que frecuenta aulas regulares, por medio de la identificación de las barreras y los recursos en su aprendizaje y participación. Los resultados mostraron que compaginan situaciones de inclusión y exclusión en el cotidiano escolar de la alumna foco de la investigación. La ausencia de ajustes curriculares para la accesibilidad resulta en exclusión del contenido, que se le da a la alumna sintéticamente, de tal manera que se puede considerar que la escuela tiene bajo grado de inclusión. Aunque la socialización de la alumna se vea preservada, su aprendizaje está parcialmente descuidado. ; O acesso à escola regular para pessoas com deficiência é um ganho na história da educação. No entanto, barreiras à aprendizagem e à participação dificultam o cotidiano escolar dos alunos em situação de inclusão, sendo necessária a mobilização de recursos - humanos, físicos, políticos etc. - nas escolas e comunidades. Esta pesquisa teve como objetivo investigar a qualidade do trabalho inclusivo oferecido a uma aluna com deficiência visual que frequenta classe regular, por meio da identificação de barreiras e recursos à sua aprendizagem e participação. Os resultados apontaram que no cotidiano escolar da aluna foco da pesquisa há situações de inclusão e exclusão. A ausência de adequações curriculares para a acessibilidade resulta na exclusão do conteúdo, que é passado sinteticamente à aluna, de forma que a escola pode ser considerada como tendo baixo grau de inclusão. Embora a socialização da aluna pareça preservada, sua aprendizagem está sendo parcialmente negligenciada.

The text analyzes historically the presentation of African cities in the film Appunti per un'Orestiade Africana (1969), by filmmaker Pier Paolo Pasolini (PPP), which proposes a historical-mythical interpretation of late 1960's Africa through the Aeschylus's The Oresteia. PPP uses the play to interpret the historical transformations of Africa at that time, portraying urban environments as "neocapitalist", but identifying too in these the signs of archaic culture that showed the resistance of what he called the "Third World" subproletarian culture. We analyze the tropes and icons used as ethnographic keys of interpreting the "other" in the PPP's film and texts. Using iconology and narratology we address the following questions: What is the uniqueness of urbans landscapes presented by PPP? What were and where were the tropes mobilized by the filmmaker? What is the way of seeing/thinking African and Italian otherness of the late 1960s?

Entrevista realizada com a historiadora Ana Maria Mauad de Sousa Andrade Essus, professora do Programa de Pós-Graduação de História Social da Universidade Federal de Fluminense (UFF), referência nos estudos em história oral e história visual no Brasil.


Ana Maria Mauad, pesquisadora de reconhecida atuação no mètier da história visual no Brasil. Seus estudos acerca de temáticas ligadas à História Oral, História Visual, História Pública, com especial interesse à reflexão crítica sobre fotografia e suas ressonâncias nacionais e internacionais. Pós-doutora em História pelo Museu Paulista da Universidade de São Paulo (USP, 2004), doutora em História Social pela Universidade Federal Fluminense (UFF, 1990). Atualmente coordena o Programa de Pós-Graduação em História Social da UFF, conceito máximo pela CAPES. É pesquisadora do Laboratório de História Oral e Imagem da LABHOI/UFF, membro da Associação Brasileira de História Oral-ABHO. Ao longo de sua carreira acadêmica publicou mais 50 artigos em periódicos nacionais e internacionais, organizou e/ou publicou 14 livros e aproximadamente 70 capítulos de livros. Esteve em 151 bancas de defesas de dissertações e teses. Orientou 55 monografias de graduação, 68 monografias de especialização, 62 dissertações e teses, tendo supervisionado 10 estágios pós-doutorais na UFF. Atuou como professora visitante em instituições internacionais como a University of California e a Universidad de Santiago de Chile. Participa do Conselho Editorial de importantes periódicos nacionais e internacionais na área de história.

"By examining the work of a large number of photographers of immigrant families, the author documents the social uses and artistic dimensions of photography in Brazil from approximately 1890-1930. Supplemented with testimonies of travelers and artists such as Richard Burton and Jean Baptiste Debret, who describe everyday life in 19th-century Brazil. Also uses methods of visual anthropology to achieve a better understanding of historical photography. Includes bibliography and many reproductions"--Handbook of Latin American Studies, v. 58

In this article, considering as a theoretical-methodological reference the discourse studies based on Michel Foucault (2004, 2005, 2007) and the definitions of colonial dispositive and ethniCity (NEVES, 2015) to understand the visual statements spread in the landscapes of Belém in the second decade of the 21st century, representing different places of enunciation about the history of the city and the indigenous peoples.I analyze the frontal of the most famous catholic church of the city and a bronze sculpture to mark the discourse of the colonization and, in contrast, I analyze graffiti of two local contemporary artists that retake the indigenous memory of Belém in their productions.In a way, update the ancient metaphor coined by Fr. Antonio Vieira, but now, as opposed to marble, not the myrtle but graffiti and its transience.

This paper presents researches carried out from 2011 to 2018, in the sertão of Alagoas, and were focused on literacy and culture actions, developed in the sertão community during the period of the civil-military dictatorship (1970-1985), based on Oral history, Alberti (2008) and Bosi (1994), privileging interviews and photographs as sources. These reports have as purpose to present the memorialistic narratives, about several Alagoas' sertões, with emphasis on the education and culture of the people of the countryside. These narratives go against official history, which reinforces the stigmas about this region, led by the project of colonial domination that is perpetuated in the hegemonic discourses currents of our country even in nowadays, and constantly fights for the domination of powers and knowledge. The oral and visual sources brought new reflections in relation to the place – Alagoas' Sertões – and made us realize that resignifications were possible, even during the military dictatorship. ; Este texto retrata las investigaciones realizadas durante el período de 2011 a 2018, en los sertones de Alagoas, cuyo foco fueron las acciones de alfabetización y cultura, desarrolladas en la comunidad sertaneja durante el período de la Dictadura civil-militar (1970-1985), con base en la Historia oral, Alberti (2008) y Bosi (1994), privilegiando las entrevistas y fotografías como fuente. El objetivo de estos escritos es presentar las narrativas memorialísticas, sobre muchos sertones alagoanos, con énfasis en la educación y la cultura del pueblo sertanejo. Estas narrativas se contraponen a la historia oficial, que refuerza los estigmas sobre la región sertaneja, encabezados estos por el proyecto de dominación colonial que se perpetúa en los discursos de las corrientes hegemónicas de nuestro país, en lucha por la dominación de los poderes y los saberes. Las fuentes orales y visuales trajeron nuevas reflexiones con relación al lugar – sertones alagoanos- y nos permitieron entender las resignificaciones que han sido ...

In Rio de Janeiro from the first decades of the 20th century, technologies and new economic and symbolic functions of images and products mark the birth of media culture with an intense flow of typographic and visual information. Literary chronicles regist new ways to see and narrate the city, from the dialogue with the images that alter the structure of the perception of the subjects. Taking the chronicles of João do Rio, Olavo Bilac, Benjamin Costallat and Lima Barreto as reference, the article analyzes the impact of the cinema, the press and the magazine's showcases on the production of new sociabilities and sensibilities in the urban space. For the approach on what was agreed to call Belle Époque we consider as a time frame the period 1890-1920 and will be used, in reflection, concepts of W. Benjamin, Friedrich Kittler, Georg.Simmel, Jonathan Crary and Jean-Yves Mollier.

Augustus has been represented in many ways in Western culture, but we must point out that in the big and small screen (except for some more recent productions), the audiovisual narratives about him are less common than those dedicated to other political leaders in Rome. Throughout the twentieth century, films set in Classical Antiquity emerged within a framework of late appropriation of the eighteenth century visual and literary culture, integrating narratives and images about Augustus that anticipated his filmic appearance. On one hand, representations of Imperial Rome on the screen tended to show a globalized and multicultural society and projected vague ideas of melting pot or American pax; on the other, we have seen recreations that balance between authenticity, entertainment and moralizing attitudes. Between these boundaries, various narratives and audiovisual compositions have been shaped around the historical figure of Augustus, which, in our opinion, must be reinterpreted within the framework of the so-called Studies of Reception, Film Studies and the History of Culture itself. ; Augusto ha sido representado de distintas maneras en la cultura occidental, pero debemos señalar que, en la gran y la pequeña pantalla (a excepción de algunas producciones más recientes), las narrativas audiovisuales al respecto son menos comunes que las dedicadas a otros líderes de Roma. A lo largo del siglo XX, la película histórica sobre la Antigüedad Clásica surgió en un marco de apropiación tardía de una cultura visual y literaria ochocentista que incorporó narrativas y figuraciones sobre Augusto en referencias anunciadoras de su aparición cinematográfica. Por una parte, las representaciones de los comienzos de la Roma imperial en la pantalla se han inclinado a enseñar una sociedad globalizada y multicultural, proyectando asimismo ideologías difusas demelting potopaxnortemericana; por otra, se han valorizado reinvenciones que oscilan entre una deseada autenticidad, el entretenimiento e la moralización de las costumbres. Entre estas fronteras se han moldeado narrativas variadas y composiciones audiovisuales en torno a la figura histórica de Augusto, que, en nuestra opinión, deben ser reinterpretadas en el marco de los denominados Estudios de Recepción, de los Estudios Fílmicos y de la propia Historia de la Cultura. ; Augusto tem sido representado de formas diversas na cultura ocidental, mas devemos assinalar que, no grande e no pequeno ecrã (excetuando algumas produções mais recentes), as narrativas audiovisuais a seu respeito são menos comuns do que as dedicadas a outros líderes políticos de Roma. Ao longo do século XX, o filme histórico sobre a Antiguidade Clássica surgiu num quadro de apropriação tardia de uma cultura visual e literária oitocentista que incorporou narrativas e figurações sobre Augusto em referências prenunciadoras da sua aparição fílmica. Por um lado, as representações dos inícios de Roma imperial no ecrã tenderam a mostrar uma sociedade globalizada e multicultural e projetaram ideologias difusas de melting pot ou pax americana; por outro, têm-se apreciado recriações que oscilam entre uma pretendida autenticidade, o entretenimento e a moralização de costumes. Entre estas fronteiras se têm moldado variadas narrativas e composições audiovisuais em torno da figura histórica de Augusto que, em nossa opinião, devem ser reinterpretadas no quadro dos denominados Estudos de Receção, dos Estudos Fílmicos e da própria História da Cultura.

This article systematizes the poetic journey of Selma Parreira – a Brazilian artist from the state of Goiás – based on her exhibition Desuso (Disuse), (2016), a development of her project Machina: Memória e Poética do Espaço e Objetos (Machina: Memory and Poetics of Space and Objects) (2015). By means of pictorial signs, Selma uses her childhood memories and contemplates the machinic space – a rice field shed in the city of Anápolis, Goiás (part of her family's estate) – to deepen investigation into visual poetics. These signs intertwine memory, history, time/space/place, aesthetics, cultural performance in Goiás, and politics. To do so, I adopt an interdisciplinary approach supported by the works of Jacque Rancière, Walter Benjamin, Michel de Certeau, Michael Serres, Charles Baudelaire, Henri Bergson, Jacques Lacan, among others, as well as Selma Pereira's oral narrative and written texts by Nei Clara de Lima. ; O artigo sistematiza o percurso poético da artista goiana Selma Parreira, a partir da exposição Desuso (2016), desdobramento de seu projeto Machina: memória e poética do espaço e objetos (2015). Por meio de signos picturais, a artista recorre às memórias de infância, contempla o espaço maquínico – um galpão de uma arrozeira em Anápolis, GO –, espólio de sua família, para aprofundar a investigação em poéticas visuais. Neles se entrecruzam memória, história, tempo/espaço/lugar, estética, performance cultural goiana e política. Para tanto, faço um enfoque interdisciplinar apoiado em Jacque Rancière, Walter Benjamin, Michel de Certeau, Michael Serres, Charles Baudelaire, Henri Bergson, Jacques Lacan, entre outros, narrativa oral da artista e texto escrito de Nei Clara de Lima.

Through an analysis of the transformations and persistencies in the image­-power­-knowledge relationship that result from the spread of digital communication's technologies, our goal is to characterize the emergence of a conflict that, in the politics of visuality and the cyberspace's techno­political configuration, reflects similar tensions that constitute the actual power relations diagram. The research begins with an investigation of the historical background that influenced Thomas Hobbes Leviathan's images production, where a given visual order corresponds to a new power order. Then, we analyze the changes of this specific configuration – that is perceptible as the Leviathan image regime's metaphor - in face of the analog and digital image production technologies. Our hypothesis is that the disputes (aesthetic, legal, economic) that attempt to regulate the image within the digital media domain and that shape a particular politics of visibility, are similar to those tensions that affect the cyberspace conditions to become a different 'sensible' surface (medium), that potentially mobilizes other forms of knowing, other models of organization and production. To examine this issue, we analyze the ongoing conflict between different social forces that point out both for new practices and meanings that emerge in the cybercultural arena, and for the trends that attempts to impose over the digital medium the regulatory mechanisms established in the context of analog medium. At the end we characterize the current power diagram, and we argue that cyberspace aesthetic and political configuration depend upon a capacity to intervene over the very fundamentals that regulate its field of enunciation and visibility. Finally, we take it as a struggle for others modes of thought and social organization models, as a war over the virtual and imaginary production, therefore a war that is oriented to the future.

From their king's decision to embrace Catholicism at the turn of the sixteenth century to the advent of imperial colonialism in the late eighteen hundreds, the men and women of the central African kingdom of Kongo creatively mixed, merged, and redefined local and foreign visual forms, religious thought, and political concepts into the novel, coherent, but also constantly evolving worldview of Kongo Christianity. Sartorial practices and regalia in particular showcased the artful conversion of the realm under the impetus of its monarchs and aristocrats. In their clothing and insignia, the kingdom's elite combined and recast foreign and local, old and new, material and emblems into heralds of Kongo Christian power, wealth, and, eventually history. I propose to use the concept of the space of correlation as a key to analyze these elaborate, and constantly evolving religious, political, and material transformations through an attentive focus on cultural objects such as clothing, hats, swords, and saint figures. ; Da decisão do rei de abraçar o catolicismo na virada do século XVI até o avanço do colonialismo imperialista do final do século XIX, os homens e mulheres do reino do Congo na África central criativamente misturaram, fundiram e redefiniram formas visuais locais e estrangeiras, pensamento religioso e conceitos políticos numa visão de mundo original, coerente e em constante evolução do cristianismo congo. Práticas de vestimenta e, em especial, insígnias reais demonstram a astuciosa conversão do reino sob o ímpeto de seus monarcas e aristocratas. Através de suas vestimentas e insígnias a elite do reino combinou e remodelou o estrangeiro e o local, o velho e o novo, materiais e emblemas nos arautos de poder, riqueza e, inevitavelmente, história cristã no Congo. Proponho utilizar o conceito de espaço de correlação como elemento-chave para analisar essas elaboradas transformações religiosas, políticas e materiais, em evolução constante, de forma a estabelecer um foco minucioso em objetos culturais tais como indumentária, chapéus, espadas e imagens religiosas.