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Este estudo tem o objetivo de refletir sobre a importância da construção de uma tomada de consciência acerca do movimento corporal no cotidiano social. Discorreremos sobre as ações corpóreas na sociedade contemporânea e seus efeitos num contexto cultural sobre a população adulta, pois, vemos que desperta questionamentos profícuos para a antropologia e a sociologia. Entenderemos, em parte, com se dá a relação do corpo com o cotidiano da população adulta, suas implicações no que se refere ao contexto cultural na contemporaneidade e onde podemos construir os elementos necessários à reeducação do movimento.

En este artículo retomaré algunas reflexiones metodológicas surgidas durante el proceso de escritura de mi tesis doctoral, cuyo tema es la construcción de vocalidades y corporalidades en cantantes de música popular de la ciudad de La Plata (capital de la Provincia de Buenos Aires, Argentina). Desarrollaré un conjunto de reflexiones acerca de las herramientas y estrategias que elegí como camino metodológico para realizar mi investigación. A partir de mi doble rol en el campo como antropóloga y cantante de música popular, opté por la inclusión de herramientas autoetnográficas en el trabajo de campo, a la vez que situé al arte como una dimensión humana productora de conocimiento. Tratándose de una etnografía que al mismo tiempo me interpela como nativa, mi desafío ha sido pensar una metodología que sirva de puente entre lo que posibilita la ciencia –o el modo de practicarla desde la antropología social del cuerpo y desde la etnografía– y lo que produce el arte –o la investigación artística tal como la hemos de pensar-. Entendemos a la ciencia y el arte como ámbitos de investigación y experimentación que configuran dos modos de producir conocimiento, los cuales pueden dialogar fluidamente, no sin tensiones, pero sí tendiendo a la mayor igualdad posible de condiciones. En este contexto, la autoetnografía me ha resultado útil para habitar reflexiva y críticamente dos prácticas de mi hacer artístico que al mismo tiempo son corporales, hermenéuticas y conceptuales: enseñar canto y cantar música popular. Pensamos la metodología autoetnográfica como vehículo para levantar esa información, así como la potencia que la recirculación de saberes artístico- etnográficos ha tenido en la composición del devenir de mi trabajo.

O presente artigo Arte e Educação: Uma abordagem da cultura da cidade de Embu das Artes para a formação de professores no curso de pedagogia tem como objetivo Articular a cultura local como suporte de formação para o curso de pedagogia e a formação de professores. Dentro dessa perspectiva, a formação inicial dos professores no curso de pedagogia possui um papel relevante, uma vez que prepara os futuros profissionais para refletirem e trabalharem com a diversidade cultural no contexto escolar. Acredita-se assim abrir espaços que permitam a transformação da escola em um local em que as diferentes identidades são respeitadas e valorizadas, consideradas fatores enriquecedores da cidadania. O curso de pedagogia da Faculdade Polis das Artes compreende que a cultura local, constitui-se como um lócus privilegiado, não só para refletir e discutir sobre a identidade de crianças, adolescentes, jovens e adultos, mas também como compreensão do multiculturalismo presente na Cidade de Embu das Artes, sendo assim, um elemento importante na formação dos futuros professores.

La crisis política, social y económica argentina del año 2001, producto de las políticas neoliberales de la década previa, obligó a un sector de la población a generar nuevas formas de organización laboral para poder subsistir en un país regido por la lógica del desempleo. Trabajadores de fábricas recuperadas y cartoneros fueron representados de forma insistente e instantánea en el cine documental en films como El tren blanco (N. García, S. Pérez Giménez y R. García, 2003), Caballos en la ciudad (A. Gershenson, 2004) y Grissinopoli, el país de los grissines (D. Doria, 2004), entre otros. La mayor parte de estos textos representan a sus sujetos de forma similar, privilegiando una actitud pasiva por parte de los realizadores y registrando el accionar cotidiano de un conjunto de sujetos, quienes expresan sus ideas y sentimientos a través de entrevistas. En este artículo analizaremos dos documentales que trabajan esta temática mediante una aproximación distinta: Bonanza (en vías de extinción) (Ulises Rosell, 2000) y Vida en Falcon (Jorge Gaggero, 2004). Estos dos films presentan la historia de personajes de clases marginadas que encuentran medios de supervivencia peculiares (uno haciendo de su auto Ford Falcon una vivienda y el segundo conviviendo con su familia entre chatarras), adoptando estructuras narrativas clásicas de ficción y personajes a los que se les otorgan valores arquetípicos. El objetivo de dicha operación es intentar reducir la distancia con el espectador apelando a personajes y estructuras reconocibles por sobre la denuncia explicita, favoreciendo el “tratamiento creativo de la realidad” que supone el discurso documental.

This article focuses on theorizing theater, with a view to its operational framework in school as a strategy of promoting learning and the inclusion of pupils with special educational needs (SEN), in general, and students with mental disabilities (DM), in particular. To this end, we reassemble the origin of theater, providing some definitions of this multidisciplinary art, its legal framework in the context of SEN and outlining its specificities, namely, the theatrical tools in the classroom, the teacher-director, the team behind the scenes and the importance of the role.

At each moment in history mankind has sought to bring to certain daylight aspect of life that is present but has not been fully seized or identified: bring out the unconscious that era. The art and theater in particular constitute a kind of laboratory where artists intuitively discover what humanity needs to be brought to the surface. The actor's techniques (ie how the actors research) directly reflect what society tries to recognize and integrate into your consciousness. In this article I do not intend to propose a new philosophy or a new system of representation for actors; just want to share some observations about my practical work.

Bacharel em Direito, deputado, Par do Reino e Conselheiro de Estado, José Maria Eugénio de Almeida, um plebeu sem quaisquer pergaminhos aristocráticos, tornou-se conhecido, no contexto do século XIX português, sobretudo pela diversificada e milionária carreira que protagonizou no mundo dos negócios, como financeiro, contratador, especulador, comerciante, industrial e grande proprietário urbano e rural. Nascido há duzentos anos, em 1811, nos finais do Antigo Regime, quando Portugal era ainda um Estado absolutista, economicamente dependente do Brasil, socialmente estagnado, culturalmente distante da Europa, sem estradas, comboios ou fábricas modernas, morreu em 1872, em pleno apogeu do fontismo, detentor de uma das maiores fortunas portuguesas do tempo, numa monarquia liberal voltada para a Europa, medianamente ilustrada, que galgara anos na carreira da civilização e do progresso. José Maria Eugénio de Almeida foi testemunha e obreiro desta radical transformação da modernidade portuguesa. O seu património e apelido perduraram no tempo, e são ainda hoje conhecidos por terem dado nome a uma Fundação, com sede em Évora e actividade nas áreas da cultura, do ensino, da assistência, da agricultura e do património. A vida e as realizações deste self-made-man são assim um testemunho histórico das virtualidades das sociedades meritocráticas e do ethos individualista daquilo a que no presente se chama “empreendedorismo”. Mas por detrás da biografia, e a partir dela, o objectivo deste texto é também o de mostrar o tipo de relações que a economia e a política, ou seja, a sociedade civil e o Estado, mantinham entre si no século XIX português.

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Ce texte prétend souligner l’importance des études interdisciplinaires des interactions verbaleset expliciter la nature et les objectifs du point de vue naturaliste de ces études. Ce point de vue suit l’approche ethnométhodologique et s’éloigne donc des analyses de contenu et du discours habituelles. Au lieu de considérer le sens comme le produit exclusif ou, tout au moins, dominant, dela signification des expressions verbales et de l’articulation des actes de langage qu’elles réalisent, l’approche naturaliste ici défendue prétend plutôt montrer la pertinence non seulement des formes linguistiques, mais aussi des comportements para verbaux et gestuels des interactantsainsi que du cadre interactionnelpour la constitution du sens des comportements verbaux qu’ils échangent.

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Analyzing some representative examples this article attempts to show how the historiographyof the Renaissance, tied to conceptual theories, has not always given due attention to the large contribution of the humanists concerning the knowledge and dissemination of the recently discovered landscapes and peoples. Despite their appreciation fortheGreco-Roman world, the humanists did not keep indifferent to the great changes and news released by the European expansion. In many cases their works were the first to disseminate information on what was called the New World –even when these were reprints of classical texts, carefully completed by those contemporary data and facts. Building an invaluable sum of knowledge, the heirs of classical antiquity were at the same time the main mediators between the old world and the new. Very much aware of the Greco-Roman heritage those humanists looked at the challenges of the contemporary enterprises with the same curiositasthat led same to the knowledge of the past.

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Near-exact distributions are asymptotic distributions built using a different concept and technique in what concerns the approximation of the distribution of given statistics whose exact distribution has a complex structure and expression. In the present paper the author introduces, in simple terms and through two examples, the near-exact distributions as an alternative to common asymptotic distributions. First are introduced the characteristics and the general building process of these distributions. Then, through a couple of examples, a very simple first one and a more elaborate second one, we try to illustrate how in practice these distributions may be developed and to show their very good performance.

This paper aims to understand the relation between television, fictional narratives and identity. To achieve this goal, we isolated a case study of thenational reality –the Azorean Islands, RTP-Açores and its fictional productions. The characteristics of insularity and regionalism still preserve important nuances of a distinguished and observable identity, which led us to question about the ability of fiction titles, produced and aired over the years, to function as spaces of presentation, production and reproduction of an Azorian Indentity, i.e., of Azorianity.

At the beginning of this new era, world perspectives and outlooks are necessarily shifting and turning, becoming an inescapable process in the creation of new intellectual topographies. It may sometimes involve rethinking the whole intellectual construct of the universe, the maps of reality or the topographies of the self and its surroundings.It may even involve stopping on our tracks, surveying our errors of judgment, listening to the voices around us; be it the voices of other peoples we - the heirs of Europe’s empires - have subdued, conquered, and colonized, be it the voice of the Earth, itself. Although this is not usually part of the West’s academic discourse, tainted as it is by the very ideas and ideals that we are here calling into question, it is our intention to focus our attention on the ontologies and epistemologies of the Indigenous Peoples of America, and on the conflicts ensuing from their encounter with the West’s hegemonic mindset. We argue that at the root of the conflicts between the Indigenous cultures of America and the European settler cultures lies their divergent perspective of the Land. If, for the European settlers, the Earth and its creatures were to be subdued, conquered, mastered by Mankind, for the Indigenous peoples of America, they were essentially teachers, guides, or fellow beings in Creation, with specific powers and knowledge; the Land inspired their languages, and instilled its knowledge into the people. It may now be the right time to listen again to those forgotten or silenced voices, so as to outline a new topography of existence.

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The theme of this editorial is a reflection about the impact of the new technologies in our world. Although a short time ago no one thought about it the truth is that the iPad, tablets and smartphones have been destroying thousands of years of traditions related to paper and that newspapers and print magazines are disappearing. There are, however, some who say that there is still interest for printing but, as a matter of fact, it is another type of printing, which can be considered an emergent market and is designated as cloud printing. It is obvious that the new generations read less newspapers and books and look for other sources of information, knowledge and entertainment, like the Internet, that however doesn't mean they read less but that there is a shift in their readin g habits. It is not only a methodological change but also an epistemological transformation. To reflect on this topic, we must also mention the negative contemporary criticisms of Bernard Stiegler and Giorgio Agamben and, before that, those of John Dewey - who complained of what he designated as the "spectator conception of knowledge"- and also Merleau-Ponty´s disapproval. Regarding the historical scope of the theme, we have to be conscious that both Plato and Aristotle, as later Ortega y Gasset, mentioned the historical construction of visuality and the nature of its transference. We can thus conclude that every epoch, just like ours, has been criticized due to its epistemological options and I bring this editorial to a close quoting a written censure by Feuerbach in the 19th century and a visual and pictorial one from the 16 th century by Arcimboldo.

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