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No hay una obra de Herder en la que no trate del lenguaje, pero el libro en el que lo aborda directamente y lo convierte en tema de análisis es Ensayo sobre el origen del lenguaje. Ahí resalta Herder las múltiples dimensiones del lenguaje, el instrumento del alma humana gracias al cual se manifiestan las capacidades creativas y artísticas del hombre. Para él la lengua no es ningún añadido a lo humano, sino lo humano en su forma más cabal. De manera que preguntar por su origen es preguntar por el hombre mismo, por su razón. Ante este hecho resulta sumamente incohe- rente el uso que con frecuencia se hace de su nacionalismo, atribuyéndole un sentido político que no posee, ya que él se refiere a la cultura de cada pueblo o nación, a la riqueza que cada uno de esos pueblos aporta a la humanidad. ; Each and every work by Herder addresses the topic of language, but the one that directly focusses on it and analysis it is the Essay on the Origins of Language. Herder highlights there the multiple dimensions of language, an instrument of human soul that allows the creative and artistic capacities of men to be manifested. In his view, language is not an add-on to the human, but the human itself in its most complete form. Asking for its origin is then asking for man himself, for his reason. In view of this fact, the sort of use that is often made of his nationalism seems completely incoherent, as if it had a political goal that it has not, given that it is referred to the culture of each people of nation, to the richness with which each of those peoples contributes to humanity.

La versión de editor está disponible en https://www.unav.edu/publicaciones/revistas/index.php/anuario-filosofico/index ; The next origin of the generation of the 98 is inserted in the complex Spanish sociocultural panorama in the end of XIX century. "Regeneracionisme", regionalisme, the social and religious questions, the war against the U.S.A., the loss of Cuba, Puerto Rico and the Philippines, to more of the political crisis of the Restoration, are the circumstances to consider

The rise of Marxist socialism in Spain and its development from the foundation of the party, the political discussions during the Republic, the silence during Franco's dictatorship and the new rise in the sixties of the 20th century. Principal authors and works until 1980. ; Surgimiento del socialismo marxista en España y su trayectoria desde la fundación del partido obrero, los debates de la República, el silencio durante la dictadura franquista y el resurgir en los años sesenta del siglo XX. Autores y obras principales hasta 1980.

This book intends to examine the films of João Canijo and their ties to representations of national identity. For that purpose, we did a review of literature on Portuguese cultural identity in its diverse dimensions (historical, literary and anthropological), focusing on the importance of Salazar's ideology and the current identity debates. In the second part of this thesis, we try to analyse eight feature films made by the director, proposing the idea of a dramaturgy of violence, through intertextuality with Greek tragedy and film melodrama, which gives a perspective of a representation of contemporary Portugal, based on a patriarchal society and its violence. We argue the importance of concepts such as non-inscription, by José Gil, or the repressed, by Eduardo Lourenço, to comprehend the films. At last, our analysis debates the issue of realism in cinema, through the prism of contemporary changes suggested by the work of the filmmaker, which fuses fictional and documentary elements. Finally, we suggest a type of dramaturgy of violence in João Canijo's films that try to question the existing images of Portuguese identity and its cultural representations. - Este livro pretende analisar a obra de João Canijo e a sua relação com as representações da identidade nacional. Para isso, socorre-se de uma revisão bibliográfica sobre a identidade cultural portuguesa, em diversas dimensões (histórica, literária e antropológica), ressaltando, sobretudo, a importância da ideologia salazarista e a tensão identitária da situação atual. Na segunda parte, o livro ensaia uma análise a oito longas-metragens do realizador, propondo a ideia de uma dramaturgia da violência, através de uma intertextualidade com a tragédia grega e o melodrama cinematográfico, que pretende dar conta de um imaginário português contemporâneo, que se baseia numa sociedade patriarcal e na sua violência. Nesse sentido, argumenta-se a importância de conceitos como a não-inscrição, de José Gil, ou o recalcado, de Eduardo Lourenço, para a compreensão dos filmes. Num último momento, esta análise percorre o debate do realismo no cinema, através do prisma das mudanças contemporâneas sugeridas pela obra do cineasta, em que se destaca uma hibridez entre elementos ficcionais e documentais. Sugere-se, finalmente, uma dramaturgia da violência nos filmes de João Canijo que procura rever o imaginário existente no que diz respeito à identidade portuguesa e às suas representações culturais.

Klappentext: El vasco Unamuno, que vivió la segunda mitad del siglo XIX y primera del XX, acumula en su compleja personalidad una suerte de crónica de la vida intelectual, política y literaria de España. No sólo por haber analizado en sus abundantes artículos periodísticos la actualidad en todos esos aspectos, sino por haberlo hecho con su característica pasión, su agonía, que en griego significa lucha. Seguir la trayectoria filosófica, política y literaria de Unamuno es entrar en la historia de la España contemporánea debatiendo sobre su modernización, sobre el sentido del quijotismo, sobre el papel de la Iglesia, sobre la educación, sobre la estética, normalmente a través, todo ello, del hilo conductor de la lengua, la sangre del espíritu, como él decía. Analizar dicha trayectoria en los terrenos filosófico, político y literario es lo que intenta Ribas en este libro.

"In this gutsy, eye-opening examination of the lives of workers in the New South, Vanesa Ribas, working alongside mostly Latino/a and native-born African American laborers for sixteen months, takes us inside the contemporary American slaughterhouse. Ribas, a native Spanish speaker, occupies an insider/outsider status there, enabling her to capture vividly the oppressive exploitation experienced by her fellow workers. She showcases the particular vulnerabilities faced by immigrant workers--a constant looming threat of deportation, reluctance to seek medical attention, and family separation--as she also illuminates how workers find connection and moments of pleasure during their grueling shifts. Bringing to the fore the words, ideas, and struggles of the workers themselves, On The Line underlines how deep racial tensions permeate the factory, as an overwhelmingly minority workforce is subject to white dominance. Compulsively readable, this extraordinary ethnography makes a powerful case for greater labor protection, especially for our nation's most vulnerable workers"--Provided by publisher

"In this gutsy, eye-opening examination of the lives of workers in the New South, Vanesa Ribas, working alongside mostly Latino/a and native-born African American laborers for sixteen months, takes us inside the contemporary American slaughterhouse. Ribas, a native Spanish speaker, occupies an insider/outsider status there, enabling her to capture vividly the oppressive exploitation experienced by her fellow workers. She showcases the particular vulnerabilities faced by immigrant workers--a constant looming threat of deportation, reluctance to seek medical attention, and family separation--as she also illuminates how workers find connection and moments of pleasure during their grueling shifts. Bringing to the fore the words, ideas, and struggles of the workers themselves, On The Line underlines how deep racial tensions permeate the factory, as an overwhelmingly minority workforce is subject to white dominance. Compulsively readable, this extraordinary ethnography makes a powerful case for greater labor protection, especially for our nation's most vulnerable workers"--Provided by publisher.

Review of: Portuguese Cinema (1960–2010): Consumption, Circulation and Commerce, André Rui Graça (2021)
Suffolk: Boydell & Brewer, 238 pp.,
ISBN 978-1-85566-343-5, h/bk, £70
ISBN 978-1-78744-803-2, e-book, £24.99

This work was published in a book funded by national funds through FCT - Fundação para a Ciência e a Tecnologia, I.P., within the project UIDB/04041/2020 (Centro de Estudos Arnaldo Araújo). ; info:eu-repo/semantics/publishedVersion

The next origin of the generation of the 98 is inserted in the complex Spanish sociocultural panorama in the end of XIX century. "Regeneracionisme", regionalisme, the social and religious questions, the war against the U.S.A., the loss of Cuba, Puerto Rico and the Philippines, to more of the political crisis of the Restoration, are the circumstances to consider.

Texto de apresentação do filme "O Sangue", primeira obra do realizador português Pedro Costa. Argumenta-se que esta obra, muito diferente do resto da filmografia deste autor, obedece a uma narrativa específica, onde as personagens estão sempre presas ao passado. Internationally acclaimed for his more recent films, Portuguese filmmaker Pedro Costa has been making previously unheralded work since the late 1980s. After finishing his studies at Lisbon's School of Cinema, Costa worked as an assistant director to a number of Portuguese filmmakers. His first film was a short – called Cartas a Júlia/Letters to Julia – made for a Portuguese National Television (RTP) series and released in 1988. Just a year later he finished his first feature film, O Sangue/The Blood. The 1980s were, in Portugal, a time when the regular production of films, supported by the Portuguese Cinema Institute (a governmental institution for the promotion of cinema), really began. These were times when João Bènard da Costa, a Portuguese cinema theorist (and director of the Portuguese Cinémathèque), begun to talk about a "Portuguese Cinema School", a concept that relates to and describes a particular way of making films, either in relation to a specific view of production or in relation to specific themes. This group was related to the Portuguese nouvelle vague, a movement that radically changed Portuguese cinema in the 1960s. Called "Cinema Novo", this movement included such filmmakers as Paulo Rocha, Fernando Lopes, João César Monteiro and António-Pedro Vasconcelos. The so-called "Portuguese Cinema School" also included a wide spectrum of directors such as António Reis, João Mário Grilo and João Botelho. Manoel de Oliveira, of course, has to be accredited as the master of the various generations, influencing all of them. In the context of the economic growth of the 80s – Portugal joined the European Union in 1986 – the Portuguese producer Paulo Branco started to support (with money from the Portuguese Cinema Institute) a new generation of Portuguese directors such as Botelho, João Canijo and Pedro Costa. It opened the door for a new generation who had its own problems and strategies.