Repositório RCAAP

This paper explores the pivotal status of mountain spaces in the 19th-century imaginary of wild peoples and black races in island Oceania. It adopts the notion of ‘heterotopia’ in order to examine how arrangements of human difference and spatial alterity were productively brought together in racial anthropology and in colonial praxis. Taking the example of the Portuguese former colony of East Timor, the author argues that anthropological theories of ‘mountain Negroes’, local categories of ‘mountain enemies’ and experiences of colonial hostility were mutually reinforcing.

No summary/description provided

No summary/description provided

No summary/description provided

No summary/description provided

No summary/description provided

European integration has had a dual impact on border regions. On the one hand, borders were physically dismantled across most of the EU’s internal territory. On the other hand, they have become a fertile ground for territorial co-operation and institutional innovation. The degree of cross-border co-operation and organization achieved varies considerably from one region to another depending on a combination of various facilitating factors for effective cross-border co-operation, more specifically, economic, political leadership, cultural/identity and state formation, and geographical factors. This article offers a conceptual framework to understand the growth and diversity of cross-border regionalism within the EU context by focusing on the levels of and drives for co-operation.

In this dissertation, we are going to approach the relationship between observation drawing and visual literacy. Bearing in mind the characteristics of the consumer's society, in which image constitutes one of the main factors of communication and visual-aesthetic culture, we considered that the apprenticeship of observation drawing, for its fundamental characteristics, designating, in the field of developing abstraction capacities, idea organization, understanding reality beneath different forms and developing analytic capacities, may constitute a factor of personal and social development. Observation drawing contributes to understanding and criticizing the visual media, comprehending and using images, memory and awareness of visual communication structures, capacities that are inscribed in what we name as visual literacy. Visual literacy allows the adequate reading of daily images, understanding of artistic communication and criticizing complex images. We defined the fundamental categories of the observation drawing, as the registry that results from the direct observation of reality, with the purpose of representing the perception appearances. We analyzed the characteristics, demands and main difficulties of observation drawing, trying to understand the relationship between drawing, teaching and society. We approached the relationship between observation drawing and cognition, trying to understand the evolution of the "graphic personality" and of the perceptual ability, throughout the act of drawing, emphasizing on the transcription of the three-dimensional reality onto the paper, which implies a complex process of abstraction. We observed the link between observation drawing and creativity, specifically on the level of technical abilities concerning the development of self-expression. Examining the path of the drawing teaching in Portugal, we noticed that the conviction, by most people in society, that drawing is an inner ability, took, frequently, to the undervaluation of the apprenticeship related to drawing. Considering that is inside the teaching system that should be assured the adequate formation of visual literacy, namely when the youngster arrives to the abstract thinking level, we noticed that, is precisely on that point in time that teaching less invests on the observation drawing. Requiring, by the student, motivation, abstract capacities, understanding the need of staging the process, self-awareness of the methods and a criticizing approach, the apprenticeship of observation drawing should be completed when the youngster feels its need, after the abandon of the "intellectual realism". If that knowledge should not be given, the youngster would be tempted to abandon the practice of drawing. This dissertation concludes for the interest in the observation drawing apprenticeship to the complete formation of the individual, apprenticeship that we consider should be included in the whole of essential knowledge provided by the teaching structures

No summary/description provided

No summary/description provided

No summary/description provided

No summary/description provided

La tesi presenta una riflessione sullo spazio performativo per la performance art che, dal mio punto di vista, funziona come struttura. Attualmente, infatti, per comprendere il fenómeno, non è più possibile considerarlo in forma processuale ma è necessário comprenderlo nelle diverse vertenti, composto di differenti punti da considerarei, afio síesso tempo, indipendenti e interconnessi. Nel caso specifico 1'indagine vuole individuare se esistono potenzialità conoscitive date dalla relazione specifica performance/spazio, esaminare come la performance implica lo spazio inquanto delimitazione di un luogo, osservare la partecipazione collettiva come scambio d'esperienze attraverso le teorie artistiche e le scienze sociali - soprattutto i processi comportamentali - e finalmente, determinare la sua funzione política, visto che tutto questo incontra specificitá proprie quando relazionato con il corpo dello spettatore. Al centro deill´attenzione c'é l'aspetto, culturale e concettuale risultante, dei "valore" espositivo delia performance. Alilo stesso modo e a parità d´importanza, è necessário interrogarsi sulla configurazione dei prototipi espositivi e a quali necessita e ossessioni danno una risposta. Infatti, il carattere dello spazio é complice dell'occasione creativa in determinati casi ma non in tutti, e non sempre, e, ad una determinaía situazione spaziale corrisponde un tempo di fruizione dell´opera, oltre che una sua condizione di fruizione. Sulla stessa linea di continuità credo impossibile comprendere la complessità e le due prime parti senza considerare il gioco dei ruoli sociali e politici e il cambiamento radicale degli obiettivi dell´arte dei XXI secolo. Sara in discussione, secondo 1'ereditá duchampiana, il próprio modello dei pensare e dei fare arte e, piú precisamente, la validita delia nozione accettata e corrente di performance art nella sua identificazione attraverso i codici dei sistema artístico - garanzia principale dell´artisticitá dell´operazione e/o della mise en act

Este artículo acerca al lector a la historia de la Agregaduría Laboral de la Embajada española en Bonn durante los años sesenta. Analiza las motivaciones, las actividades, la estructura, los objetivos, los logros y los fracasos de esta peculiar institución franquista al servicio de los emigrantes españoles en la República Federal de Alemania. Se centra en la gestión del primer agregado, Luis E. Sorribes, quien concibió su trabajo como una cruzada contra la labor de socialización democrática entre los emigrantes españoles que desplegaban los sindicatos alemanes y las organizaciones antifranquistas.

We propose a refined theory of basic individual values intended to provide greater heuristic and explanatory power than the original theory of 10 values (Schwartz, 1992). The refined theory more accurately expresses the central assumption of the original theory that research has largely ignored: Values form a circular motivational continuum. The theory defines and orders 19 values on the continuum based on their compatible and conflicting motivations, expression of self-protection versus growth, and personal versus social focus. We assess the theory with a new instrument in 15 samples from 10 countries (N 6,059). Confirmatory factor and multidimensional scaling analyses support discrimination of the 19 values, confirming the refined theory. Multidimensional scaling analyses largely support the predicted motivational order of the values. Analyses of predictive validity demonstrate that the refined values theory provides greater and more precise insight into the value underpinnings of beliefs. Each value correlates uniquely with external variables.

This text aims to trace a history of the deaf pupil in Casa Pia de Lisboa during a temporal arch that goes from the XIX century’s twenties until the first decades of the XX century. An approach centred in the deaf pupil as a subject of discursive statements that produce him as an abnormal body is proposed, fixing in those speeches the reference that allows us to consider the formation of subjects as historic beings. The frame considered here is the one of a modern expression educational landscape, inhabited by specialist groups that develop a scientific language having the child as intervention subject. The school and, in the actual case a boarding-school scholarly model, emerges as a disciplinary institution that reflects a new attitude in the child’s government. This is the scenery in which an intervention techniques set which has the pupil as an application point and its normalization as an objective is projected. Along this text deaf students emerge in the educational arena as the Others, though the powers that be in the school tissue are not read in what they would potentially have had of violation of a deaf state, but rather in the productivity that those powers carry by enabling scholars transformation. The educational processes in Casa Pia de Lisboa are centred in a spoken domain, but it was in artistic, hand-made activities and in the senses exploration that they found the scholars’ subjectiveness ways. The central elements in this study are disciplinary, biopolitic and self technologies, addressing deaf in a domain, surveillance and control sense are intensely disengaged from coercive regimes and fix themselves in persuasion fields and in work about the pupil’s soul. In this manner an analysis of theoretic questions in a governmental perspective is made and it is articulated with the practice domain that has marked the formation of the deaf as a student and his identity’s production in a total institution

Par la formation que Luís Caetano Pedro d'Ávila a commencé à l'École Militaire et dês Mathématiques à Goa, ensuite continuée à 1'École Polytechnique de Lisbonne et qu'il a accompli dans Ia qualité d'élève d'architecture (1866-1867) à 1'École Impériale dês Beaux-Arts de Paris, son oeuvre s'est révélée un cas d'étude exemplaire dans le processus d'assimilation de la culture techno-artistique qu'a marque 1'architecture pendant la seconde moitié du XlX'eme siècle. Par sa pratique il a été capable de faire une synthèse entre le savoir de l´ingénieur et celui de 1'architecte. À travers lês projets, Ia direction dês chantiers et Ia modernisation dês édifices, qu'il a fait autant pour des clients prives comme pour l'État, Pedro d'Ávila a maintenu une continuité engagée dans sés options. Il a conçu une langage propre, inscrite dans une matrice classique, simultanément, cosmopolite et éclectique. Par son action, Pedro d'Ávila s'a battu au Portugal, pour Ia juste appréciation de son métier et a essayé de libérer la profession de l'architecte de la subalternité envers lês ingénieurs

No summary/description provided

No summary/description provided

Após mais de três décadas pautadas por um forte silêncio analítico no que diz respeito à presença portuguesa em África no período que constitui o “último capítulo” do império português, esta dissertação discute as memórias, pós memórias e representações que surgem da experiência africana e do abrupto retorno após a revolução de Abril de 1974, tendo como base não apenas os testemunhos daqueles que viveram os espaços africanos entre as décadas de 1950 e 1970 (“retornados”) mas também dos seus filhos. A partir destes últimos relatos, de uma geração que não experienciou o espaço ou o tempo vivido pelos pais, procura-se compreender de que forma a experiência africana se manifestou “à escala” do lar, entre narrativas, silêncios, artefactos e, acima de tudo, como essas manifestações influenciaram as pós-memórias e representações destes indivíduos que vivem entre uma memória nacional dominante, e as memórias familiares. Num presente em que o passado colonial é tantas vezes “demonizado” ou romantizado (notadamente a partir do chamado “marketing da nostalgia” ou “literatura de retornados”), importa compreender as visões daqueles que constituem a última personificação da presença colonial portuguesa no continente africano, assim como dos indivíduos que, num contexto europeu, num Portugal depois de Abril, crescem em lugares onde a África do passado terá estado sempre presente – geração da pósmemória.