RCAAP Repository

In Music, an escape is a composition where several voices dialogue, ask and respond, pursuing each other in a rich counterpoint in symmetries and inversions. In the context of a prison escape the word acquires a more complex meaning that goes beyond the body's escape to the walls and barbed wire of the prison: the body is stuck, but the spirit can not handcuff. Today's presentation tells stories of how piano music gave wings to fly. From the counterpoint between the voices of the participants of two projects in two Portuguese prisons is the path that reveals new ways of making music in the community, exploring the principles of inclusion, democratization and active participation as foundations of all work.

In this investigation, result of a doctoring thesis, we discuss the study of neuro-science in its respectic pertinente topics relating to musical art, linked to the body-mind-instrument integration. Our definition of the problem carried out a survey about the musicians 'understanding of the cognitive, motivational and emotional processes integrated in the body as well as the performance of the musical performance. According to our general objective, we evaluated the professionals' perceptions about the body's role in musical execution, determining the problem. We applied closed questionnaires using the Likert scale in parallel to the qualitative approach questionnaire whose evaluation used the Bardin method of content analysis. The general hypothesis was that in the perception of the musicians since their formation the idea that musical performance is optimized by body-mind-instrument integration is present. Once the ten hypotheses have been validated, it is confirmed that the cognitive aspects are important for the body-mind-instrument integration in musical art.

This article presents a reflective perspective on the vision or interpretation given to the northeastern Sertão in Aria "Cantiga" of the Bachianas Brasileiras Series by Heitor Villa Lobos. Considering the problematic of the "being northeastern" and "regionality" that surrounds the theme, the piece was analyzed from the concept of topics (Agawu, 1982; Piedade, 2013), elements understood as commonplace, from where rhetorical syllogisms and dialectics are produced. From this concept, one will seek to understand in the work points or topics that can reveal the "atmosphere" of the Sertão, and consequently its musical discourse. The question we raise is how the northeastern Sertão can be perceived in the music of Villa Lobos. For this, two procedures of analysis, one of topics and the other empirical descriptions, were carried out in order to identify approximations or distances of the theme in the piece. The contribution we hope to bring with this text is that through the Brazilian Bachianas, it is possible to elaborate new interpretations about the region considering the historical and cultural ties built around it.

The present study is about Origami Geometry, solving the problem of doubling the cube and the angle trisection. In order to find an answer to this question, we propose to achieve the following general objective: to know the Huzita-Hatore axioms to solve the problems of doubling the cube and the trisection of an angle, regarding the specific objectives: 1) theoretical and methodological analysis of the Huzita-Hatore axioms to solve the problems of doubling the cube and the trisection of an angle; 2) interpret the Huzita-Hatore axioms to solve the problems of doubling the cube and the trisection of an angle and 3) solving methodically the proplemas of doubling the cube and tricessection of an angle to arrive at the solution of the cubic equation , where a Bible study was chosen. The research sought mainly theoretical support for the postulates written by Euclides of Alexandria.

Knowing what the future may bring about unexpected social, political and economic changes, due to the rapid technological and concrete development in the area of artificial intelligence, he is a believer that the arts can suffer an impact as well. Bearing in mind these premises for those presented in this article, from a dystopian scenario (or because it does not show a scenario similar to "singularity" as the one proposed by Raymond Kurzweil), a possibility of theater to suffer a deep interruption not only in modes of presentation and the means used, but also from the point of view of (hypothetical) audiences in this art. In this accompaniment, the role that humans and androids use, or geminids (to use the name of Hiroshi Ishiguro), or even other forms of "life" (artificial?), Which are not yet possible, those that are considered as the very art paper and their respective descriptors.

The act of creation as an act of resistence, is set in this Simposium, reflecting anout two fundamental premises. The first reveals the experience of the moment the teacher was no longer the repositor of knowledge, questioning about the constant discordant "new" that each of his students brings in their genesis of creator and consequently the complicity with this transforming disobedience; The second one reveals the awareness that the act of creation is inscribed in a constant rupture that allows the questioning, also constant of the teacher, of the student, of the system, of the constructed knowledge. Based on concepts of a philosophical nature, the idea of Art and Activism is reiterated here by contemporary artistic practice and the testimony of Unesco reports (2015-2016) on the violation of the rights to free expression of Art and Culture.

The present article has the aim of investigating and discussing the concept of musicality based on a research in the social psychology field that had as a study object the experience of music workshops with workers in the business context. The questions emerging from the participants testimony, as to whether or not they feel themselves as "musician", were put in dialogue with various authors views on the subject of art and music. We discuss the role, meaning and ways of music making by ordinary people, manifested in a ubiquitous and perennial way in society, in support to the idea that, beyond the world of the trained musicians or professional musical activity, musicality presents itself as an inseparable attribute of the human being.

It is difficult to frame Anton Raphael Mengs in a specific stylistic movement nowadays that the chronological divisions and the consequent definitions of the art of the Enlightenment are going to be more and more controversial. Because of his eclectic and cosmopolitan activity, his ideas about Ideal Beauty spread across the countries affected by the apprehensions and hopes related to the 18th century. The bohemian painter dedicated his entire life to the study of ancient art; his marble collection of the statues from the great Italian collections interested the artists coming to the Eternal City, and he consecrates esthetic models of different epochs. Mengs never get away from these models – Ancient Greece, Raffaello Sanzio, Tiziano Vecellio, Antonio Correggio. His presence in Spain was favored by propitious circumstances: the coronation of an erudite, educate king, lover of Fine Arts, Charles III of Spain, a king so intimately close to the painter to guarantee him his protection in the difficult relation between Mengs and the San Fernando Academy of Fine Arts in Madrid. The relation between the Institution and the Bohemian get complicated because of the different ideas about the organization of the academy and the education of the students. Because of the little original sources, several matters have not been resolved, for example the issue about the false ancient fresco of Jupiter and Ganymede, or the controversy about the Peña case, that brought to the final breakup between the artist and the consiliarios in San Fernando Institution. Mengs focused his attention in an even worse matter about the direction of the academy: concretely, which competences had to have the consiliarios and which the teachers. When Mengs asked to be accepted in the academy, he undoubtedly thought that the Institution was structured as the other great one in which he took part in Italy, San Luca National Academy in Rome. Within Mengs’ proposals to raise the level of the Academy in Madrid there was the institution of anatomy and surgery teachings, which intent was to revolutionize the concept of painters and sculptors. In spite of the difficulties that the first painter of Charles III had during his stay in San Fernando, his acting had a fundamental role in developing the Art Theory and particularly in the European artists’ training.

In the periphery of São Paulo has been conforming since 2001 a new map that takes as points of reference literary spaces called "saraus of poetry" that are, to define them quickly, meetings in bars of several neighborhoods of the suburban regions of the city where residents declam or read their own or others' texts in front of an open microphone for a period of about two hours. These poetic spaces have been conforming a new cartography that is completed by a network of participants who goes from neighborhood to neighborhood following a schedule that completes the agenda of the week almost every day. The proposal of this article has to do with thinking the idea of cartography from two specific space conceptions generally linked to culture: the idea of "circuit" and its counterpart, that of "scene", in order to understand the dynamics and meanings that happen there.

The Santa Cecilia Music Academy (AMSC) is a technical cooperation project signed between the Diocese of Campina Grande, the Paraíba Technological Park Foundation (PaqTcPB) and the Federal University of Campina Grande (UFCG), and aims to work in the field educational and artistic, attending students between 8 and 17 years. The action is inclusive and aims, in addition to the technical aspects, to promote integration between children and adolescents from different economic, social and cultural contexts and with special needs or learning disorders. In this experience report, we will cover the first stage of the project, which took place between October and December 2016. The goal is to describe the activities carried out and to reflect on the process of inclusion and interaction between children and adolescents with different trajectories and, more particularly, that the proposed activities contributed to the development of a child diagnosed with Periventricular Leukomalacia (PVL).

This article proposes a discussion of Sociology of the Theater (non-existent subject in Portugal, although it appears undercover in a few scholar curriculums, that propose to establish a conjugation between theater and society) meanwhile devoted the the observation of social phenomena of this kind, giving a few clues about the way how social science thing of this dimension, suggesting ways of investigation and focusin specifically the concept of »epistemology of scene» as na analysis operator.

The objective of this article is to make an approach to the work of the exhibitor and distributor José U. Calderón as an initial platform for the production of Mexican cinema business initiated later through his sons (Pedro, José Luis and Guillermo), along the decades. For that purpose, we will show the foundation of Azteca Films, Inc. (enterprise dedicated to the exhibition of Mexican cinema in United States) and of the movie theatres located in cities on both sides of US-Mexico borders, noticing their corresponding relevance for the regional and international development of Mexican cinema. We find that the work of Calderon in the Mexican cinema industry, taking into account his role as a diffuser of that industry outside the national territory, has been of great importance; and if we understand that there are very few historiographical references about his place as an entrepreneur, we consider it is necessary to make an historical approximation about his activities and the family enterprises he founded. The analysis will connect the concept of transnationalism to the advance of those industrial ventures, framing the Mexican cinema in its first decades of development around a search that exceeds the strictly national boundaries.

From 2011 to 2014 Fiocruz celebrates the centenary of the expeditions of the Oswaldo Cruz Institute to the sertões do Brasil (1911-1913), when Carlos Chagas, Belizário Pena and others described the health situation in deep poverty spots of the time. The Pernambuco Expedition, which had the theme "Culture for overcoming poverty with health, science and education", had two activities: the Holiday Course and the Forum for integration with art and citizenship for culture with health, science and education . The course of vacations happened from January 23 to 27, 2012, with 40 hours, in Paudalho, a municipality in the interior of Pernambuco. In this context, a workshop was held entitled "Science and Health through Music", which lasted for 3 hours. In addition to the holiday course, four workshops were developed, with the same title and in the same period, with two hours each. The workshops provided 20 vacancies and all of them were filled. Two workshops were offered to city teachers, one to students and one to health workers. The activities were carried out using a multimedia projector, personal computer, slide presentation containing the lyrics of the songs that were listened to and discussed, sound equipment, and CDs of Brazilian popular music. The five workshops were evaluated orally by participants at the end of the course. The recordings of the evaluations were made with the consent of the participants and was done through the recorder of the smartphone iPhone 3GS, Apple Inc. The participants were very happy, excited and even excited about the work done. The offer of workshops, interaction with friends and colleagues who participated in the work, as well as contact with the welcoming people of a city like Paudalho, make us wait for opportunities for new scientific expeditions.

In this paper, we aim to fit gender studies and their evolution into post-gender studies – associated with body modifications using technological instruments and scientific experiences – in contemporaneous cultural studies. Consequently, we bond the discussion on cyborgs to that on the body without gender associated to the androgynous archetype. In order to demonstrate the post-human role in symbolic exchange and in the global imaginary, we illustrate our arguments with reference to famous audiovisual and literary contents.

O texto das páginas seguintes corresponde a uma versão editada da palestra proferida na cerimónia de entrega dos diplomas de Mestrado, Pós-graduação e Formação Avançada da Faculdade de Ciências Humanas da Universidade Católica Portuguesa, em Março de 2009.

Following the publication of Thilo Sarrazin’s book Deutschland schafft sich ab. Wie wir unser Land aufs Spiel setzen (“Germany is Annulling Itself: how we risk our country’s future”), this article presents a reflection on cultural xenophobia and racism in contemporary Europe. The author shows the roots of Feindbild Islam and how it was built up over centuries, invoking a Manichean world and relieving social and political frustrations. Benz demonstrates that today, as in the past, the xenophobic discourse, which is growing in Germany and Europe in general, above all reveals a profound ignorance about Islam.

The first two chapters of this article explain the tension experienced since the foundation of the Ecumenical Movement around the understanding of Christian unity, on the one hand, as a mere practical condition to accomplish the Christian mission of gaining proselytes, and, on the other, as a dialogue between the Churches, an attitude of discovery to reach a united Church. Some events that marked the path of ecumenism are analyzed in a short historical memory: from the World Missionary Conference, held in 1910 in Edinburgh, now considered the beginning of the Movement, until the Vatican II and its “Ecumenism” decree. Furthermore, in this regard, we detail some of the positions of prominent Catholic and Protestant theologians on ecumenical practices as a dialogue that leads to an understanding of the reality of different Churches and the value of difference. Chapter 3 addresses the issues of “other” and of otherness. Next, in chapter 4, we focus on the sociological changes that have occurred in Western Europe in the last 70 years, with consequent problems for ecumenical dialogue in a context of religious pluralism. In Chapter 5, two biblical stories of coexistence in diversity are presented: the case of Abraham in the Old Testament, and Pentecost in the New Testament. The last chapter concludes that Christian unity requires a change in the perspective of life by the Christian Churches, which would endow them with an attitude of true understanding about differences centered on the mystery of the other and the mystery of God.

Modernity – associated with the European Enlightenment – has questioned the importance of nearly everything associated with the word religion. The new paradigm was science, an absolute condition of social and human progress, by itself able to forge a better world. Dramatically, the twentieth century came to deny this illusion and made us understand that great religions should be part of public space and dialogue, and should also be present in public education, even in a secular state. Textbooks are one of the main vehicles for the dissemination of school curricula. They therefore reflect not only the place of the religious phenomenon in the education system, but also the relationship between religion and society. The text presented is a synthesis of research conducted in 2007 for the Religious Liberty Commission, which aimed to understand how religions are perceived in textbooks.

Barbie Zelizer é uma das mais notáveis investigadoras da atualidade na área do jornalismo e cultura. É professora na Annenberg School for Communication (Universidade da Pensilvânia), onde ocupa a Raymond Williams Chair of Communication. É fundadora e coeditora da revista científica Journalism: Theory, Practice, and Criticism. Tem desenvolvido inúmeras pesquisas, nomeadamente sobre autoridade jornalística, memória coletiva, bem como sobre imagens jornalísticas em tempos de crise e de guerra. Nesta entrevista abordamos alguns dos temas centrais à compreensão dos media enquanto produto e reflexo da cultura ocidental.

This article describes the production of paintings by college students during a Creativity Workshop. The workshop, a member of the PhD research in Educational Sciences, aimed at developing creative potential, through exercises, artistic expression and group experiences. In this qualitative research-action study, 30 students from the Vale do Acaraú State University (UVA), Sobral, Ceará, Brazil, participated. In the activity we use gouache paint, applied with the hands on wood paper. The results were paintings with free themes that presented in a playful and poetic way, snapshots of the students. The most explored themes were landscapes: the sea, the house, the tree, the flowers and sketches of the human figure. The vivid colors in the representation of nature dialogue with symbolic elements such as the home. In addition to the discussion about the artistic quality of the productions, it was important to experience the process, in which the paintings provided a reencounter with affective memories and with the creative potential of the students.