RCAAP Repository

This paper reflect on pboetics and autopoetics with attention centered on minifiction as a transgender textual class and within the framework of an own authorial project, conceived as part of an experience of Brazilian life and creation. In this sense, critical readings on the subject are integrated, as well as on autofiction and biofiction. No center of these considerations of theory and criticism, the narrative of Escribas (2013) is analysed in its worldview and composition, delving into the write of imaginary lives as a laboratory of forms.

Western Misogyny, with an inheritance in classical antiquity, is a thought that extended and developed in the Middle Ages. Gil Vicente was not immune to this situation, even having a look ahead of his time. The purpose of this article is, through the comparative method, to investigate four female characters, in plays by Gil Vicente: Auto da Índia (1510), Quem tem Farelos (1515), Auto dos Mistérios da Virgem ou da Mofina Mendes (1515) e Farsa de Inês Pereira (1523), from the perspective of Misogyny studied by Howard Bloch (1995) and Pedro Carlos Fonseca (2017).The article delimits itself around these characters, to show how the comdiographer portuguese sophis-tication misogynist thinking, and, mimeically, it reproduces several of the topoi of the misogynistic culture, while highlighting traces of modernity in the midst of medieval aesthetics.

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The problem of what could be defined as an adequate and much-needed historical re-qualification of the figure of Ivan Ivanovich Sollertinsky (1902-1944) still arises today because contemporary (Western) musicology has deliberately avoided any in-depth investigation of the critical activity as well as the ideological-cognitive process that marked his creative opus. Lack of sources, language barriers and the limited availability of texts have led to a partial transmission of this important legacy. Both non-fiction and popular production are sublimated by analyses and reflections capable of embracing what could be defined as a syntactic process of the artistic-compositional construct. This article focuses on the influences exerted by the Sollertinsky-Bakhtin axis in the works of the early Shostakovich, where the critical-literary symbology allows us to identify cognitive-perceptual models (Dostoevsky-Shakespeare) as well as folkloristic-popular elements (Rabelais) far from the preconceptions imposed by socialist realism. The choice, as we shall see, will fall on some of Shostakovich’s compositions that more than others have the tendency to oscillate more clearly in extra-musical territories, promoting a language of clear Bakhtinian matrix. It is a “compositional parable” that lasts about ten years and that hardly moves away from the subjugation of a premeditated creative process, but offers, especially in these early works, musical stylistic elements imbued with critical literary lexicon and syntax. We are faced with an interdisciplinary involvement that does not involve an overvaluation of one area over another but the exact opposite in favour of a structural intertextuality capable of showing both musical and extra-musical connections. The tripartite-detotalising process, the emblematic critical model introduced by Sollertinsky, is thus presented as an analytical tool of absolute historiographic relevance capable of re-reading both the compositional intent and the stylistic ideal.

Is the experience of laughter destined to disappear in the world of our time? Or can we consider laughter as one of the most powerful human languages on a creative level,  able to perform a logic of overturning, of inferential rapture and of the regeneration of the world? Of course, linguistic communication is not just about words. And the joyful and sacrilegious laughter that overturns the hierarchies and the serious rules of the dominant ideology is an open, intersubjective, liberating laughter. Is impossible to define laughter in a unique sense with a precise designation because the role that the Other plays in laugher entails the indelible ambiguity and polysemy of a very particular sign determined not only by its resistance but also as one of the most effective forms of resistance to the dominant monologism.

This research sought to analyze to what extent digital technologies (DT) can be articulated in the teaching practices of foreign language teachers in a rural school in the city of Cáceres-MT. The study was based on the Theory of Complex Dynamic Systems, which provided an expanded view of the dynamic functioning between the parts and the systemic whole of the Escola do Campo analyzed. The chosen methodology was the Case Study. Data analysis clarified that the use of digital technologies in this context is limited, and is linked to several factors. The data showed that teachers do not have a quantitative prognosis regarding the availability of equipment and logistical resources aimed at students’ internet access in their homes (farms, communities, settlements). This fact makes it difficult to promote practices mediated by DT and, consequently, to work with digital literacy. In addition, data analysis also pointed out that the teachers’ conception of Digital Technologies is closely related to internet access. In other words, for teachers, the possibilities of appropriating digital technologies do not make any sense if they are disconnected from the internet. Thisunderstanding reveals a misalignment with the Common National Curriculum Base (CNCB) that guides contemporary teaching and learning practices in Brazil.

For over 170 years, feminists have questioned the concept of womanhood, noting how the definition of what it means to be a woman encompasses diverse and complex issues. The diversity of what the category “woman” represents has led to the creation of different concepts, theories, and methodologies within the feminist realm, such as intersectionality, standpoint theory, situated knowledges, Black feminism, decolonial feminism, dialogic feminism, and others. Lídia Puigvert and Márcia Tiburi have theorized about dialogic feminism, demonstrating it is possible to think of a feminism that considers social inequalities and fights against different forms of oppression by adopting ethical listening and speaking standpoints, dialogue, and solidarity between different voices. In this paper, we seek to collate ideas from Lídia Puigvert and Márcia Tiburi on dialogic feminism and concepts from Mikhail Bakhtin. Our goal is to verify how a Bakhtinian perspective contributes to dialogic feminism. With this analysis, we observe that several concepts proposed by Bakhtin, such as dialogue, dialogical relations, heteroglossia, axiology, ethic act, alterity, and surplus, may contribute to dialogic feminism, both in theory and in practice, as they may highlight aspects of a powerful heuristic approach that can encourage plural and democratic spaces.

In this article, the propose is to reflect about the relation between utternace and language presented in Bakhtin Circle’s philosophical thinking. The objectives are: a) to comprehend how the group of Russian philosophers elaborate and delimitate their conception of language and utterance; and b) to conceive an ontology able to reflect about human existence. The method dialect-dialogic developed by the Circle sustain the discussion. The study demonstrates that the results of a conceptual construction of language is realized dialogically, in frontier of subjects, mainly of Human Sciences (but not only) – such as music, literature, linguistic, plastic arts, biology, psychology, sociology, among others. These, in turn, are unified around the problem of language, materialized in the enunciative act, as mode of effectuation of the human, in their ethic and aesthetic finishing in the world. The relevance of this reflection turns to the pertinence of the Bakhtinian philosophy of language as contribution to analysis of visual, vocal/sound and/or syncretic utterances, besides and with the verbal materiality, on which the Circle’s thinkers focused in a privileged way.

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O presente artigo se constitui numa análise reflexiva sobre a prática pedagógica nos contextos coletivos de educação e cuidado. Tem como foco de investigação a infância como categoria social e singular, evidenciando as crianças e suas manifestações culturais nos momentos de brincadeiras.  Nesse sentido, este trabalho aponta elementos para a discussão sobre a importância de olhar para as crianças como sujeitos ativos e possuidores de um potencial de imaginação criadora na interação com seus pares.

Este texto apresenta uma discussão sobre o processo de socialização infantil compreendido a partir das experiências subjetivas de crianças que estavam iniciando seu processo de escolarização. Buscamos nesse artigo apresentar e discutir as principais categorias de sentido constituintes do processo de socialização que emergiram dos depoimentos das cinco crianças, sujeitos desse estudo.

Toda política de atendimento à educação infantil organiza-se tendo como norte  concepções  e conceitos em um tempo e lugar específicos, sendo isso apresentado de forma explícita ou não. Para compreendermos tanto as práticas quanto as políticas ligadas à EI, precisamos inicialmente perguntarmo-nos:  a que infância essas políticas ou práticas se referem? O que entendem por infância? A que perspectiva se aproximam? Este artigo tem por objetivo buscar os múltiplos sentidos do conceito de infância, construídos  em diferentes lugares e tempos históricos, partindo do pressuposto de que “o sentido da palavra é totalmente determinado por seu contexto.” (Bakhtin,1990: 106)

Este texto discute o processo em que se constituiu um conceito de infância, destacando os períodos históricos da idade média e da modernidade. Estabelece, ainda, relações com as concepções de corpo correspondentes.

O presente trabalho  analisa a necessidade de institucionalização das creches e o seu papel educativo diante das exigências legais da nova L.D.B. num confronto com a realidade de Pires do Rio -GO. Considera importante identificar a prática exercida nas creches (educação ou assistencialização) e as transformações do direito à creche no contexto estudado. Analisa o papel das creches frente a L.D.B. e o Referencial Curricular Nacional para a Educação Infantil, procurando identificar o nível de formação do profissional que nelas atuam. Emprega na pesquisa o procedimento metodológico de estudo de caso.

Este texto apresenta uma discussão sobre o processo de desenvolvimento, em Descartes e Rousseau, de uma perspectiva de intervenção sobre a corporalidade infantil cujo ponto de partida é concepção do ser humano como uma       dualidade corpo-mente. Pretende-se explicitar como as concepções cartesianas e rousseaunianas sobre a sociedade, o homem e a educação fornecem subsídios para a configuração de pedagogias do corpo que, por sua vez, orientam a organização da escola e a ação educativa dos professores.

Este ensaio procura pensar a dialética do prazer negado e do prazer permitido, na constituição da subjetividade e da educação humanas. Para tal, este processo é analisado a partir de três dualismos: alienação/onilateralidade; liberdade/civilização e heteronomia/autonomia. O autor transita por conceitos filosóficos, psicanalistas e pedagógicos defendendo o argumento de que uma verdadeira liberdade e um verdadeiro prazer pressupõem o compromisso moral com a sociedade, na lógica de construir e manter a civilização. A partir desta tese, e/ou em todo o texto, o autor faz inferências para educação infantil.

Este texto analisa o filme “Kiriku e a Feiticeira”, de Michel Ocelot, tomando como recorte uma reflexão sobre o processo de pedagogização da infância na sociedade moderna.

Dados do volume 2 da revista