RCAAP Repository

En los últimos años comenzaron a circular diversos textos en blogs y revistas culturales que debatían la aparición de una “nueva” literatura de “jóvenes” escritores argentinos. Una primera manera de acercarnos a este objeto y de preguntarnos por sus efectos en el campo será desde el modo en que los críticos lo construyen. Por ello, tomando la teoría de los campos de Bourdieu, analizaremos tres libros: Los prisioneros de la torre. Política, relatos y jóvenes en la postdictadura (2011) de Elsa Drucaroff, Ficciones argentinas. 33 ensayos (2012) de Beatriz Sarlo, y Los gauchos irónicos (2011) de Juan Terranova, ya que son las publicaciones que de manera explícita y desde diversas posiciones se proponen estudiar esta narrativa.

O que a estética da ars erotica significa para pensarmos as Artes Cênicas na atualidade? Com base nesse questionamento apresentamos as peças teatrais Medéia de Eurípides e Romeu e Julieta de Shakespeare, como significativas para se pensar a ars erotica neste texto. Essas obras abrem possibilidades de vivenciarmos outras estéticas na contemporaneidade seja no teatro, na dança ou no cinema. Investigamos a ars erotica buscando compreender como a mesma pode contribuir para a reflexão sobre o corpo e sexualidade no contexto das Artes Cênicas. Utilizamos como referencial metodológico a análise de imagens a partir de representações cênicas e cinematográficas.

El campo cultural argentino de los años sesenta y setenta evidenció una marcada transformación que incidió en las diversas prácticas artísticas. El cine nacional se caracterizó por una renovación estética, manifestando una reflexión sobre el medio expresivo en el cruce de apropiaciones foráneas y especificidades locales. El propósito de este trabajo consiste en realizar un análisis fílmico del cortometraje experimental argentino del período, tomando como referencia exponentes extranjeros. Para ello, examinaremos en primer lugar las características teóricas del cine experimental y estudiaremos las condiciones culturales e históricas de posibilidad y emergencia de dicha cinematografía en nuestro medio. En última instancia, abordaremos el apartado analítico tomando tres grandes tendencias dentro del cine experimental –el cine de animación experimental; el cine estructural y el cine de vanguardia.

Gustavo Teixeira produziu poesia de 1908 a 1937 fazendo significativo uso de temas botânicos. O objetivo deste trabalho foi avaliar a flora citada nesta obra. Foram feitas três leituras da mesma, durante as quais foram colhidos os nomes de plantas. O fragmento do poema onde nome de planta estava referido era retido e armazenado em planilha. A identificação botânica foi feita com dicionários e obras específicas. Foram registradas 483 referências a nomes de plantas, perfazendo um total de 90 “espécies” diferentes. “Rosa”, com 130 citações, foi o nome mais citado, seguido pelo “Lírio” (60 citações), “Violeta” (42); “Jasmim” (28); “Açucena (=Cecém)” (15); “Craveiro (=Cravo)” (13), “Camélia” (10) e “Urze” (9). Apenas três famílias tiveram cinco ou mais nomes citados: seis de Asteraceae, cinco de Leguminosae e de Poaceae. São nomes de plantas estrangeiras introduzidas no Brasil 63,3 %, enquanto 12,2 % são nomes de plantas nativas.

O primeiro espaço permanente dedicado às representações teatrais em Portugal foi construído em finais do século XVI por Fernando Díaz de la Torre, espanhol residente em Lisboa. Ao longo do século seguinte, inúmeras companhias espanholas se apresentaram em Portugal, divulgando o amplo repertório seiscentista castelhano que influenciaria de forma inexorável o teatro produzido em terras lusas. Naturalmente, os edifícios teatrais de Lisboa seguiam a mesma tipologia dos corrales de comedias espanhóis. No que diz respeito à América Portuguesa, os primeiros registos de teatros públicos permanentes datam do início do século XVIII, e, segundo a documentação ainda preservada, não somente os edifícios apresentavam algumas características da arquitectura teatral desenvolvida na Península Ibérica nos séculos precedentes como também o repertorio castelhano parece ter sido amplamente difundido no ultramar português. O presente artigo pretende analisar alguns aspectos relativos à actividade teatral desenvolvida na América Portuguesa nas primeiras décadas do século XVIII, em especial, a arquitectura teatral empregada e o repertório representado nos dois teatros permanentes construídos durante o reinado de D. João V: o teatro do Rio de Janeiro e a primeira Casa da Ópera de Vila Rica.

Es innegable la importancia de la Expresión Plástica en el crecimiento global del niño, con todo, intervinientes en el proceso didáctico y muchos teóricos consideran que el arte en la educación se encuentra en una posición menospreciada (BARBOSA, 2001, 2002; EFLAND, 2002, 2004; HERNÁNDEZ, 2000; MARTINS, 2002; LÓPEZ GARCÍA, 2003; OLIVEIRA et al., 2004; WAGNER, 2001). Estas consideraciones llevan a cuestionar las prácticas pedagógicas de los educadores infantiles, la forma como desarrollan su currículo, las oportunidades educativas que ofrecen a los niños, o sea, importa percibir si la Expresión Plástica se desenvuelve con calidad pedagógica en contextos de Educación Infantil. En este sentido, el problema planteado conduce a la necesidad de conocer nuestra realidad y a presentar caminos congruentes con el tiempo en el que vivimos, donde el concepto de arte e imagen invaden y amplían nuestras experiencias cotidianas que necesitan ser descodificadas para que sean entendidas. Así, este trabajo pretende exponer un diagnóstico de las prácticas educativas ejecutadas por educadores infantiles del distrito de Oporto (Portugal) en el dominio de la Expresión Plástica.

El presente artículo presenta una síntesis e interpretación de un cuerpo considerable de datos empíricos recolectados a lo largo de una serie de experimentos que procuraron estudiar diversos aspectos de la interacción conductual que tiene lugar entre bailarines y músicos de danza en el curso de la performance de un ejercicio en el contexto de una clase de técnica de danza. Los datos revelan que la complejidad de la interacción, dada por la multiplicidad de modalidades perceptuales implicadas, las diversidad de las experiencias perceptuales de los actores involucrados y la disparidad de mecanismos cognitivos comprometidos, trasciende la problemática de acoplarse a una pauta de regularidad fuertemente establecida (como un mecanismo de entrainment simple) e involucra detalles más sutiles de intercambio intersubjetivo. Se identifica primordialmente un período de negociación a través del cual, músicos de danza y bailarines co-construyen el marco métrico sobre el cual el ejercicio de danza tiene lugar. Las aportaciones que cada uno realiza difieren en la naturaleza perceptual y cognitiva.

“Do women have to be naked to get into the Metropolitan museum?” was the question put up by the Guerrilla Girls to all New York inhabitants seeking to shake art world consciousness. After making a study on the subject they have raised that even if a minority of women artists is represented in the museums, 85% of the nudes are female. Having the body of the Odalisque by Ingres with a gorilla head has a starting point; a story of the female nude throughout history will be criticized since the erotic painting of Venus by Titian. The same perfect body of the classical canon has been used for completely different ends. If one wants to get a place in society by being seen and the only way of being seen was using its beauty, the other demands a place in society by all means less beauty… never by using the perfect body. While to some this may seem obvious, the significance of this interpretation should not be underestimated. In fact, this assessment of the unique inflections of the body meaning and female power nowadays at the same time that quotes and evokes Antique art, attacks it in the heart by distorting it in terms of morphology, iconography, function and meaning.

Often, works of art are praised for their “presence”. What exactly this term means, however, is less frequently specified. In this article, presence is defined as a trait of an artwork to cause the vague and possibly subconscious feeling in a viewer that a depicted figure is a living being that is really there, although the viewer is aware that this is not actually the case. By means of an extensive literature review, this article provides criteria for the assessment of presence in any work of art. A methodology for applying these criteria is presented, which is put to the test by assessing the degree of presence in the cover art of the New Wave band Blondie's first six albums (1976-1982). The results of this analysis are then compared to two test samples: other New Wave album covers, and Heavy Metal covers.

Brazil has, since 2008, been the seat of heated debates on putting music back into public and private schools. Recent legislation (Law 11.769) declared music a required subject in all Brazilian schools from preschool through high school. Much has been discussed, however, as to the professionals who will take on this challenge, the methodology and content involved as well as the role of music in the schools. Here, I present some personal observations and reflections based on experiences during my career as a music educator in a Waldorf school as well as a professor in Music Education programs at two universities in São Paulo State. In supervising student teachers or giving pedagogy courses, I am witness to innumerous queries from musicians and music educators having to do with the return of music to the schools. This paper describes the intent the music education curriculum used inside Waldorf schools. Waldorf education in Brazil has an over 50-year history since its beginnings in 1955. The many trails already forged offer possibilities and recommendations for Music Education both in traditional schools as well as in educational social programs. This text offers a brief description of Waldorf pedagogy and will describe the music curriculum used from preschool through high school. I also discuss the human formation of teachers, of their knowledge, abilities, attitudes and skills. Finally, I present suggestions for possible applications of these experiences for music education in other contexts.

El presente ensayo aborda la heterodoxa propuesta dramática del director de teatro Tadeusz Kantor. Influido por románticos, simbolistas y pensadores afines a la Escuela de Frankfurt, Kantor elaboró una poética teatral de “ínfimo rango”, anti-naturalista y anti-representacional, ajena a todo poder, absoluto o totalidad, y desde la que fue reduciendo a cero todos y cada uno de los elementos escénicos hasta convertirlos en “auráticos restos”. Asimismo, frente al pragmatismo de la secularizada sociedad del capital, propuso un “teatro metafísico” concebido como un juego gratuito destinado a poner al hombre en contacto con el niño que había sido

The find in 1777 of the frescoes adorning Villa Peretti Montalto-Negroni in Rome was a unique opportunity to foster the renewed interest in ancient painting that Enlightenment Europe was feeding.Protagonists of the excavations in the surroundings of present Termini railway station were the Aragones diplomat Jose Nicolas de Azara (promoter) and his Bohemian intimate friend Anton Raphael Mengs (drawer), the artist who went down in history as the painter philosopher. The frescoes that Mengs could admire and copy, along with his writings on art theory, influenced the European taste, especially in the parietal decoration of private houses in England, as well as in distant Russia where Czarina Catherine II decided to entirely decorate the Silver Cabinet in the style of the recently found frescoes. This paper presents four unreleased and illuminated engravings, which are stored in the locals of the Archaeological Museum of Seville, but until now had escaped all inventories.

Throughout history, Islamic signs and signification were recognized and appreciated by both Muslim and Non-Muslim scholars. The Islamic style of architecture is not only used in mosques, but also in other Islamic buildings and even in gardens. The architecture encompasses both secular and religious artistic styles. The aim of this study is to contextualize the concept of Islamic architecture. It seeks to make the readers appreciate the heritage of Islamic architecture, and to clarify on misconceptions about Islamic architecture. This study examines various types of Islamic architecture and conducts a semiotic analysis of these works. The study defines the meaning and scope of Islamic architecture. It highlights the qualities and characteristics that make it unique and distinctive from other forms of architecture. It looks into the meanings and characteristics of the structures and explores the decorative styles used. Further, it explores the concept of Islamic architecture and analyses the meaning of some of the signs and significations. The findings indicate that the most common styles are calligraphy, geometry and floral designs. The study also finds that Islamic architecture encompasses both secular and religious artistic styles and has been influential in designing, constructing and decorating buildings in other cultures during both the ancient times and in the present day.

The symbols of the new popular music that arose, starting in the 1870's in the city of Rio de Janeiro are unmistakable. The piano, representing status and power for the dominant class and an emblem of its very romanticism, was, little by little, incorporated in the living rooms of the popular classes, where it occupied a very special place in the "choro" group, the mark of popular music in the belle époque. At the same time, the flourishing of new popular musical genres, among them the Brazilian tango, that dominated at this very moment the musical production for piano, brought as protagonists the so-called "pianeiros".

This article seeks to reflect on the body, experience and performance artists in contemporary differentiated bodies. The study also aims to analyze the course of demonstrating that the paradigm of postmodern art, mainly em performative theater, humans com differentiated bodies that had previously been relegated to the margins of the processes and artistic products are gaining ground, and artists Performing different languages realize that bodies can and should be differentiated treat that as a possibility given to any body: making art. In this perspective, describes the creative process and the presentation of "Kahlo em mim Eu e (m) Kahlo", performance, developed in the research of my master, and aims to address the mechanisms of social and cultural development stigma and Frida Kahlo used as poetic matrix.

The western philosophers’ perspective of art is quite different from the Islamic philosophers’ philosophy of art because western philosophers repeatedly employed their western criteria and norms in evaluation of Islamic art. Consequently, this research analyzes art philosophy from Islamic philosophers’ perspective so as to have a deep understanding of art, its forms and values. The main objectives were o analyze the philosophy of art based on Islamic philosophers’ perspective, to determine what influences Islamic philosophers’ perspective of art and to understand the important role of art in Islamic culture. Methodology used was a cross sectional survey that was descriptive with qualitative research and quantitative research being employed. Specifically, research participants only included Islamic philosophers derived from different regions. Findings reveal that Islamic philosophers exteriorize and visualize what hidden inwardly in metaphysics and revelation art is. Moreover, it was revealed that majority of the Islamic philosophers believed that western philosophers misunderstand their perspective of art. In addition, the Islamic philosophers strongly agreed that Art should mainly express submission to God and that artwork that is nonconforming to Islamic worldview is unsuccessful artistically. Another philosophy of artwork is that it should reflect Divine Unity and consideration of beauty was of great importance in art according to Islamic philosophers. It was concluded that art and what constitutes art significantly depend on the culture and believes of individual groups or religious affiliations. Islamic philosophers have a radical different perspective of art philosophy where man is considered as divinity instrument created by Supreme Allah.

The mechanical pattern and, in a wider sense the industrial universe, have served as a source of inspiration for the Modern Movement, both formally and conceptually speaking. According to these postulates, in this paper we analyse a collection of industrial spaces that, agreeing with the logics of Modernity show the possibilities of industrial architecture as a field open to innovation and experimentation.

This article aims to discuss the longevity and the innovations of one of the most important in Brazilian instrumental groups, the trio Azimuth. The study provides an overview of all their work, and presents through-time contextual analysis of some of their most significant albums. It also examines the mixture of samba and jazz, explores some of the reasons for Azymuth's rich and long-productivity and also presents some of the technical innovations that they brought to the music - and to the musicians, changing the panorama of Brazilian instrumental music. The approach was to listening to these albums and discussing their work, mixing the author's personal impressions and analysis with a short research of the group's history and output. The authors, of course, have been long time admirers of the Azymuth's music. The paper aims to bring Azymuth's music to a discussion in the academic environment based on the belief that their music to be relevant and cutting edge in the Brazilian music history.

El teórico teatral Patrice Pavis, define a la composición paradójica como la técnica dramatúrgica con la que cuenta el escritor con el fin de invertir la perspectiva de la estructura dramática. La noción de perspectiva también nos parece interesante evocar dado que nos remite a la idea de una mirada que se construye. A esto se le puede agregar, que el escenario puede pensarse como aquel lugar en el cual se calcula cómo será mirado lo que se expone. Esta variable, poco atendida, permite reconstruir el tipo de convención presupuesto. Asimismo, el procedimiento de la composición paradójica no sólo es un recurso textual sino que tendrá efectos estilísticos en tanto que será más frecuente encontrar composiciones paradójicas en algunas obras determinadas ¿Será entonces posible asociar este procedimiento a determinados estilos teatrales, autorales o epocales? Nos arriesgamos a señalar que si prestamos atención a una serie de escenas cortas en las que se observen en su puesta en escena reminiscencias de humor negro a través del análisis y comparación de sus poéticas, se podrá apreciar entonces cómo funciona esta categoría estética como uno de los recursos de la composición paradójica para invertir la perspectiva de la estructura dramática de una obra.

Geograficamente a região que compreende as províncias de Trás-os-Montes e Alto Douro (Portugal) e de Zamora (Espanha) comunga de rituais ancestrais comuns e únicos, apesar das fronteiras políticas, diluída nos dias de hoje em consequência da integração na Comunidade Europeia. Pretendemos abordar os conceitos já explorados de “Sagrado” e “Profano”, no presente caso parecem não ser antagónicos, senão interdependentes, nas pequenas comunidades rurais portuguesas e espanholas. O conceito foi explorado e descrito através de dois óleos sobre tela, da autoria de Luís Canotilho, tendo como base exploratória as “Festas de Inverno em Trásos- Montes e Alto Douro” e as “Mascaradas de Invierno de Zamora” e a manifestação religiosa que constitui a romaria católica da “Senhora do Nazo”, perto da cidade de Miranda do Douro.