Suchergebnisse

In this article, we examine the vertical influence of the European Union (EU) policy on recognition of prior learning (RPL) in one Southern European country (Portugal) and in a Central European one (Slovenia). We stress the influence of the EU policy on adult education (AE) policies and the development of RPL granting professional qualification. Although not widely acknowledged in adult education theoretical discussions, we use the RPL models introduced by Judy Harris to debate the main aims of core official RPL national policy documents from 2000 to 2018 using documentary analysis. Comparative analysis of the two countries is made, and similarities and differences between the RPL provisions are debated. Our findings indicate the relevance of the utilitarian approach to RPL within national policies. Furthermore, these findings allow us to question why employers give little attention to adult learners' qualification acquired through RPL. ; info:eu-repo/semantics/publishedVersion

En este artículo de investigación se discute sobre las expresiones educación permanente, educación a lo largo de la vida y aprendizaje a lo largo de la vida en los discursos proferidos por organizaciones internacionales como la UNESCO y la Unión Europea en diversos documentos producidos desde la década de 1970. La variación en las expresiones utilizadas apunta a diferencias en las finalidades concedidas a las políticas públicas de educación de adultos. En estas alteraciones, se destaca la progresiva valorización del aprendizaje a lo largo de la vida entendido como una estrategia de desarrollo económico y de gestión de recursos humanos, en paralelo con la progresiva ausencia de sentidos que remitan a políticas públicas de educación de adultos de carácter democrático y emancipatorio. ; This article includes a theoretical discussion on lifelong education, throughout life education and lifelong learning in policy discourses of international organisations such as UNESCO and the European Union since the 1970s. Changes in the use of these expressions in policy discourses point at differences in aims concealed to public policies of adult education. Among these changes, the increasing valuing of lifelong learning as an economic development and human resources management strategy is highlighted. At the same time it can be noted an increasing absence of meanings referring to democratic and emancipatory adult education policies.

The article first discusses the aims of lifelong learning proposed by the European Union and then analyses the reinterpretations present in the Portuguese policies of adult education in the last two decades. Finally, the influence of the European Union on policy discourses in Portugal is stressed, with increasing attention paid to the usefulness of adult education in relation to economic development and human resource management, while humanistic meanings and aims concerning critical education may be found to a lesser extent. ; V članku so najprej obravnavani cilji vseživljenjskega učenja, kot jih predlaga Evropska unija, v drugem delu pa so analizirane reinterpretacije portugalske politike izobraževanja odraslih v zadnjih dveh desetletjih. V sklepnih ugotovitvah je poudarjen vpliv Evropske unije na diskurz teh politik na Portugalskem, v okviru katerih vse bolj pridobiva pomen uporabnost izobraževanja odraslih v povezavi z gospodarskim razvojem in upravljanjem človeških virov, medtem ko je humanističnih pomenov in ciljev, povezanih s kritičnim izobraževanjem, vse manj.

Tabitha Aykroyd, Martha Brown, Nancy and Sarah Garrs were just a few of the very many girls and women working as domestic servants in early Victorian Britain. The main purpose of this article is to analyze the precise context and conditions in which they were employed in Haworth Parsonage, where the Brontë sisters lived for most of their lives (1820–1855), and the influence that they had on the well-being of this famous family and on the imagination and literary activity of the sisters. Aspects connected with the following will be explored and problematized: the value and respect that the Brontës attributed to or showed these domestic laborers and their work, including sharing in their tasks and duties; brief but useful connections of these figures with the sisters' own professional activities as middle-class women (namely, when serving as teachers and governesses themselves); and also comparison with some relevant literary representations of the figure and role of the "female servant" in the Brontës' novels. A complementary purpose is of a more transatlantic nature: to compare their earlier British domestic context with Louisa May Alcott's later American one, and their literary representations of the female servant with Alcott's own extensive treatment of that neglected figure in some of her fictional works. The justification for this comparison does not lie so much in the known influence that the works written by the Brontës, in particular Charlotte's, had on Alcott, but more in their sharing of very similar concerns as regards this topic, in spite of very specific (transatlantic) differences that can be revealing of their respective attitude towards servitude.

No prelo ; Apparently contradictory concepts, History and Imagination sometimes 'walk hand in hand' and in ways that can be mutually illuminating or suggestive. Given the many bicentennial celebrations at present, one would do well to recall the succession of shattering but decisive events that took place in the Peninsula 'just' two hundred years ago; these events (a French invasion, guerrilla warfare, English rule and popular uprisings), did not only radically change the course of European history, and of political thought itself, but also produced a significant body of imaginative literature that refashioned cultural identities and the different arts. The focus of this essay will be on the transitional period between the Napoleonic Wars and the Liberal Uprisings in Europe (from 1810 to 1840), with an emphasis on the Iberian Peninsula and, particularly, on Portugal, and how the respective conflicts and their varied political, geographical and human scenarios impacted on the literature of the British Isles at this time. The essay will analyse both earlier and later Romantic texts, written by poets such as William Wordsworth, Robert Southey, Ana L. Barbauld, Byron, Percy B. Shelley, Felicia Hemans, Charlotte E. Tonna and the Brontës, in order to find evidence and explain these authors' specific interest and engagement in those scenarios, as well as to trace the evolution of their political and intercultural thought, and respective literary representations of these foreign events. Conclusions will be reached as to how this 'encounter' with the Iberian Other not only radically reshaped those artists' identity and respective writing but also eventually paved the way for later authors and their respective artistic experiments and encounters with a Europe which, by the late 1840s, was in conflict again. The essay will ground its analysis on recent theoretical criticism pertaining to the fields of Historical Romanticism, (Inter)Cultural Studies, Literary Imagology, and Poetry and ...

A aguardar publicação. ; In terms of the representation of apocalyptic vision in modern English literature, there is a set of texts produced around 1816 by a group of Romantic authors that constitutes the most immediate response to climate change – a sense of the end of the world caused by untimely darkness and stormy weather. A brief three-year period of reduced sunlight in the northern hemisphere, caused by a major volcanic eruption, suggested to Byron a world in which human civilization, having lost every vestige of social contract, was finally extinguished in cannibalism. Though less famous than Mary Shelley's novel, and its scenery of frozen Alpine wastes, Byron's poem "Darkness" (1816) expresses in even more vivid imagery the sense of impending doom, the imminent collapse of social order, and the consequent threat to the human species that pervades Frankenstein (1818). The poem has been read both as a dream-vision with references to the Apocalypse and the De Rerum Natura of Lucretius and as a kind of figurative biography, an unfiltered response to the chaotic upheavals that rocked Byron's personal life during the year of its composition. A more political dimension may also be derived from this text if we have in consideration its historical context of the aftermath of the Napoleonic wars in Europe. Indeed, within the artistic framework of the lyric in blank verse, Byron's personal, political and ecological visions of the world are here jointly presented. In particular, the multiple levels of chaos that are implied grant particular significance to the ideas formulated in the poem's final lines; 'Darkness' becomes a new and tangible entity, capable of shaping the universe in her own image. The possibility of a new universal order is represented by the dominion of a powerful universal femininity, whose disturbing sublimity is constructed upon the essentially masculine domain of the 'old world' that crumbles. ...

Peer review (revisão por pares) ; This article aims to readdress the issue of the pervasive appropriation of the poetic and political trope of the exilic and migrant Other in some English women's poetry of the eighteenth, nineteenth and twentieth centuries, in order to understand and to demonstrate how the literary representation of this haunted figure of existential displacement has evolved in the specific context of women's writing in England. Some personal, cultural and historical contexts (marriage, death, revolution, war, colonial expansion, economic crisis) for the emergence of this Other Self will thus be retraced and analysed in parallel with a reconsideration of the poetic genres and forms (the epic, the memoir, the verse epistle, the travelogue, the narrative in verse, the dramatic monologue) that have privileged an approach to the issues of geographical and cultural displacement or mobility in literature. The individual and collective memories of the exilic and migrant Other that these women poets from different periods experience, recall and reconstruct in their texts could serve either as a powerful metaphor or trope for women's identification with difference and otherness in an increasingly multicultural world or function eventually as a critique of male geographical de-rootedness and historical forgetfulness. ...

"Second International Conference of the Intercontinental Crosscurrents Network. 'The Dynamics of Power: Inclusion and Exclusion in Women's Networks during the Long Nineteenth Century'" ; This article/chapter aims to address the ways in which some major Victorian women poets, writing approximately between the 1820s and the 1890s in Britain, negotiated and experienced different forms of inclusion and exclusion within both emerging and well-established social, political and artistic networks or communities of women, and how those dynamics of power were in turn variously played out, manifested and explored in some of their respective poetic works, thus seeming to exhibit a sophisticated intellectual awareness at a time of almost exclusive male dominance. Starting with a brief analysis of the earlier poets Felicia Hemans and Letitia E. Landon, who created a niche and support structure for the writing, publication and dissemination of women's poetry in a decisive historical context (the aftermath of the Napoleonic Wars), it will proceed to an exploration of mid-Victorian poets like Elizabeth Barrett Browning and Christina Rossetti, and their respective poetry, namely by looking at the first one's spiritualism and her role in the formation of salons for the political campaigns of Italy (national unification) and the U.S.A. (abolition of slavery), and the second one's social/religious initiatives within the 'Anglican sisterhood' solidarity group (around 'fallen women') and the eventual artistic creation of a 'feminine Pre-Raphaelitism'. The article will conclude with an overview of some later poets' feminist and artistic networks – namely those of Augusta Webster, Mathilde Blind and Amy Levy – in the larger context of the struggles for female suffrage and higher education, but also the one of creation of alternative artistic circles and selves within the male-dominated Decadent and Aesthetic movements. The article thus hopes to show how women's political and artistic networking were connected and how this connection ...

The critical recuperation of late nineteenth-century women poets, most still waiting in the margins of the literary canon, has owed significantly to the renovated interest and study of the poetical works of Augusta Webster, Mathilde Blind and Amy Levy (1860-90) by the postmodern reader. One of the reasons for this 'salvage' may be that they represent and embody the profound and extraordinary changes encompassing the British fin-de-siècle, in which the transition from the Victorians to the Moderns implied the transformation or reconfiguration of certain myths or (hi)stories and the critical re-use or 'recycling' of major literary forms. If, for Webster and Blind, involvement in radical politics (namely, feminism and socialism) certainly implied a stance as outsiders, Blind and Levy were even more set apart by their foreignness, with Levy's different religion and sexuality increasing the distance even further. With recourse to close reading and cultural critique, this paper will analyse how these three women poets re-use fragments ('verbal ruins') of national and international history, as well as classic myth, in order to question and transform the images and representations of man and woman in their respective connections with the world. It will demonstrate that while Webster's poetry (Dramatic Studies of 1866 and Portraits of 1870) is firmly grounded on social demands and the exploration and dramatization of the nature of female experience, Blind's epic and dramatic verse (The Ascent of Man of 1889 and Dramas in Miniature of 1891) creates new myths of human destiny, reclaiming the Poet's role as the singer of the age's scientific deeds, and Levy's lyrics (Xantippe of 1881 and A Minor Poet of 1884) signal the New Woman poet's role as victim of the pressures of emancipation. With the support of critics as Isobel Armstrong, Helen Groth and Angela Leighton, the paper will furthermore discuss the way in which these poets explore the selves that women inherit and create and the languages that re-define them, often ...

For long considered as exclusive male preserves, war and military conflict have affected and interested a background of a singular poem by Charlotte E. Tonna, The Convent Bell (1819, 1845), about an ill-fated romance between an Irish soldier and a Portuguese nun during the first years of the campaign. Dedicated to Wellington, this Romantic plot "endowed with a strong political and military subtext" (Saglia, 2000: 226) presents an official, male-sanctioned discourse of the conflict, being a (re)presentation of the submissive number of female authors in the nineteenth century. The Peninsular War (1808-14), in particular, is the foreign female figure as the rescued/dominated territory. But it, furthermore, closely resembles other poetic writings by well-known Romantic female authors, such as those of Felicia Hemans on the Peninsular Wars (England and Spain of 1808 and Domestic Affections of 1812), who herself had personal, political and artistic interests in Iberian subjects and the representation of women in European history. ...

This article intends to explore the image of the mythical woman (Athena) in one of the first Victorian works on a feminist utopia, Alfred Tennyson's long mock-heroic narrative poem The Princess (1847), and how contemporary women poets such as Elizabeth Barrett Browning in Aurora Leigh (1857) responded not only to his representation of the feminine, and of the battle of the sexes enacted in it, but also to his way of writing. As its subtitle A Medley indicates, the poem is a deliberate mixture of different genres and genders: the lyrical and the epic, the feminine and the masculine, suggesting not only innovative experimentation in terms of traditional literary forms but also a problematization of essentialist images and concepts. Yet, for Tennyson, the resolution of the political conflict is dependent on the resolution of the love plot, which ultimately results in the highly contested transformation of the feminist 'Ida' in a domestic figure. ; Este artigo propõe-se explorar a imagem da mulher mítica (Atena) numa das primeiras obras vitorianas sobre uma utopia feminista, The Princess de Alfred Tennyson, poema heróico-satírico publicado em 1847, e a forma como autoras contemporâneas, nomeadamente Elizabeth Barrett Browning em Aurora Leigh (1857), responderam a esta representação do feminino e à 'guerra dos sexos' que é por ele encenada. Tal como o subtítulo do poema, A Medley, indica, trata-se de uma 'mistura' deliberada de diferentes modos e géneros: o lírico e o épico, o feminino e o masculino, que sugere não apenas uma inovadora experimentação ao nível de formas literárias tradicionais, mas também uma problematização de imagens e conceitos essencialistas. No entanto, a resolução do conflito político passa necessariamente em Tennyson pela resolução do conflito amoroso, resultando na transformação altamente contestada da revolucionária 'Ida' numa figura doméstica. ...

William Thackeray created, in the 1840s, two notorious versions of the British picaresque hero: one masculine and the other feminine – Barry Lyndon and Becky Sharp. Written from two different narrative perspectives, one autobiographical and the other omniscient, the respective stories develop a series of intrigues and adventures in high British society and in grand historical scenarios. Thackeray's tales of relentless social climbing proved that the modern hero/heroine had indeed a thousand faces, not all of them palatable. Lyndon and Sharp are clearly anti-heroic figures that reveal a very dubious morality, including the practice of fraud/imposture and crime/murder. Yet these brilliant satirical portrayals would be misinterpreted in modern adaptations to the cinema, emerging as beautified and/or regenerated versions. Stanley Kubrick's classic Barry Lyndon (1975) and Mira Nair's post-feminist/post-colonial Vanity Fair (2004) may, therefore, be mere projections of the respective directors' political and philosophical agendas rather than works that problematise acquired ethical structures. ; Fundação para a Ciência e a Tecnologia ...

This article proposes to investigate an elegiac poem, "The Description of Cookham", which Aemilia Lanyer (1569-1645) wrote and published in 1610-11 at the request of her patron Margaret Clifford, Countess of Cumberland – the first estate poem in English literary history and the first written by a woman. Property assumed a central role in the concepts of self and society, particularly as around the sixteenth century it began to be thought of in territorial and possessive terms. Lanyer's poem, inserted in her proto-feminist work Salve Deus Rex Judaeorum, celebrates the existence and, at the same time, mourns the loss of a unique paradise – a feminocentric locus amoenus. The legal system of Patrilinear descent is overturned in the text by the creation of a separatist feminine community. Cookham metonymically represents not the political integrity or good stewardship of its owner, but the subjectivities of its female guests and chronicler. In manipulating features of Petrarchism, the pastoral and the country-house genre, Lanyer fashions herself as a nature poet by using material that traditionally had silenced women. ; Este artigo propõe-se investigar um poema elegíaco, "The Description of Cookham", que Aemilia Lanyer (1569-1645) escreveu e publicou em 1610-11 a pedido da sua patrona Margaret Clifford, Condessa de Cumberland, constituindo o primeiro estate poem na história da literatura inglesa e o primeiro escrito por uma mulher. A propriedade assumiu um papel preponderante nos conceitos de sujeito e de sociedade, particularmente a partir do século XVI, altura em que se começou a pensar em termos territoriais e possessivos. O poema de Lanyer, inserido na sua obra proto-feminista Salve Deus Rex Judaeorum, celebra a existência e, ao mesmo tempo, lamenta a perda de um paraíso único – um locus amoenus feminocêntrico. O sistema patriarcal de herança é revertido neste texto através da criação de uma comunidade feminina separatista. Cookham representa metonimicamente não a integridade política ou a boa administração do ...

Victorian women poets were confronted with the need to reassess the Romantic concepts on Man and Nature and to 're-present' the natural world as also a feminine realm or domain. Poets such as Emily Brontë and Mathilde Blind – themselves professing a sort of nature religion – have not only questioned the notion of Creation as a male myth but also challenged the prevailing anthropocentric view of life on Earth. Brontë and Blind have not only generally reconsidered the place of feminine consciousness in the ecological web but also responded to their bioregional sensibilities, namely by expressing a strong sense of place/space. In their respective and diverse attempts to 'translate' Nature into Language, the two women poets seem both to cooperate with the natural realm by 'writing with' it and to diverge from it, thus subverting the traditional conceptions. They see themselves as fundamentally divided between creative imagination and natural reality, dramatically confronting Nature and Text. These poets' lines abound with vivid, deliberately placed depictions of the environment: weather, landscape and the seasons, communicating an excess of vital stimulation. But besides exalting community with a living, breathing Nature, Brontë and Blind expound an existential philosophy that, in spite of its implicit pantheism, is concerned with the ultimate destination of the human soul. In their often sudden and fleeting visionary flights, they see themselves as self-taught philosophers or prophets, imbued with Shelleyan ardour, whose audacity signals their refusal to subscribe to a particular religious or political system. Both Brontë and Blind denounce human competition and violence and both seek ways of coming to terms with human redemption through love and the imagination. By analysing the constraints that are general to humanity, their respective poems assume a sort of universal relevance and ...