scholarly journals Testemunho: memória da praça, sinaleira, carroça, latinha

2006 ◽  
Vol 32 (1) ◽  
Author(s):  
Maria Luiza Martini
Keyword(s):  
Key Words ◽  
Cultural Production ◽  
Fairy Tales ◽  
Street Children ◽  
Cultural Elements ◽  
The Social ◽  
Key Words Memory

Este artigo trata do imaginário de crianças e adolescentes em situação de rua, numa perspectiva de longa duração, a partir do conto de fadas, em grupos focais, indo aos lugares onde esta população atua, dando preferência a entrevistas por comentário. Reúne correlações de variáveis de questionários estruturados, descrições de elementos culturais constituintes de seus quadros sociais de memória. Abstract This article is about the imaginary of street children. Working from fairy tales, in focal groups, going to the places where this population acts, giving preference to interviews and comments; this work collects correlations of variables from structured questionnaires, descriptions of cultural elements constituents of the social frameworks of memory. Palavras-chave: Memória. Produção cultural de referência. Situação de rua. Key words: Memory. Cultural production of reference. Street situation.

scholarly journals i - Deciphering the Binary Code “Egyptian versus Foreigner” in Egyptian Cinema

1970 ◽  
Vol 16 ◽  
pp. 368-384
Author(s):  
Delphine Pages-El Karoui
Keyword(s):  
Key Words ◽  
Cultural Production ◽  
Binary Code ◽  
Social Imaginary ◽  
Transnational Cinema ◽  
The West ◽  
Everyday Lives ◽  
The Social ◽  
The Everyday ◽  
Egyptian Cinema

In 2016, emigration is more than ever a massive phenomenon in Egypt which both strongly affects the everyday lives of Egyptians and is central in Egyptian cultural production. This article aims to explore how the Egyptian cinema contributes to forging a binary code that differentiates between “Egyptian” and “For-eigner”. It argues that Egyptians who live abroad may also be perceived as potential foreigners for those left in Egypt. After briefly describing the corpus of seven emigration films, the article sketches a cartog-raphy of the geographic imaginaries of migration, which is paradoxically more oriented toward the West, while in fact the majority of Egyptians abroad are in the Gulf. Finally, it demonstrates how movie directors have produced a very pessimistic vision of emigration, in a manner that is equally critical of the countries of arrival as of Egyptian society. Their discourse on the theme of the migrant’s identity, on the personal, familial and national levels, resonates with the social imaginary concerning migration, which is dominated by a nationalist paradigm. Are we nevertheless witnessing the emergence of a transnational cinema, that is, one that envisages the possibility of an identity that is simultaneously of here and elsewhere?Key words: Egypt, cinema, migration, transnational, foreigner

Balancing Act: Identity and Otherness among Latin American Immigrants and their Food Practices

2016 ◽  
Vol 4 (2) ◽  
pp. 72-83
Author(s):  
Paulette Kershenovich Schuster
Keyword(s):  
Latin American ◽  
Cultural Production ◽  
Communication Systems ◽  
Social Contexts ◽  
Cultural Perceptions ◽  
Cultural Elements ◽  
Food Practices ◽  
Food Research ◽  
Private And Public ◽  
Latin American Immigrants

This article deals with the identity construction of Latin American immigrants in Israel through their food practices. Food is a basic symbolic element connecting cultural perceptions and experiences. For immigrants, food is also an important element in the maintenance of personal ties with their home countries and a cohesive factor in the construction of a new identity in Israel, their adopted homeland. Food practices encode tacit information and non-verbal cues that are integral parts of an individual’s relationship with different social groups. In this case, I recruited participants from an online group formed within social media platforms of Latin American women living in Israel. The basic assumption of this study posits that certain communication systems are set in motion around food events in various social contexts pertaining to different national or local cuisines and culinary customs. Their meaning, significance and modifications and how they are framed. This article focuses on the adaptation and acculturation processes because it is at that point that immigrants are faced with an interesting duality of reconstructing their unique cultural perceptions to either fit the existing national collective ethos or create a new reality. In this study, the main objective is to compare two different immigrant groups: Jewish and non-Jewish women from Latin America who came to Israel during the last ten years. The comparative nature of the research revealed marked differences between ethnic, religious and cultural elements that reflect coping strategies manifested in the cultural production of food and its representation in two distinct domains: private and public. In the former, it is illustrated within the family and home and how they connect or clash with the latter in the form of consumption in public. Combining cultural studies and discourse analysis, this article offers fresh insight into new models of food practices and reproductions. The article’s contribution to new food research lies in its ability to shed light on how inter-generational and inter-religious discourses are melded while food practices and traditions are embedded in a new Israeli identity.

The Alluring Nature of Children's Culture: Fairy Tales, the Carnival and the World Wide Web

2015 ◽  
Vol 8 (2) ◽  
pp. 169-184
Author(s):  
Željka Flegar
Keyword(s):  
Children's Literature ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Mikhail Bakhtin ◽  
Children’S Literature ◽  
Social Construct ◽  
Time Out ◽  
The Social ◽  
Children's Culture ◽  
Language And Ideology

This article discusses the implied ‘vulgarity’ and playfulness of children's literature within the broader concept of the carnivalesque as defined by Mikhail Bakhtin in Rabelais and His World (1965) and further contextualised by John Stephens in Language and Ideology in Children's Fiction (1992). Carnivalesque adaptations of fairy tales are examined by situating them within Cristina Bacchilega's contemporary construct of the ‘fairy-tale web’, focusing on the arenas of parody and intertextuality for the purpose of detecting crucial changes in children's culture in relation to the social construct and ideology of adulthood from the Golden Age of children's literature onward. The analysis is primarily concerned with Roald Dahl's Revolting Rhymes (1982) and J. K. Rowling's The Tales of Beedle the Bard (2007/2008) as representative examples of the historically conditioned empowerment of the child consumer. Marked by ambivalent laughter, mockery and the degradation of ‘high culture’, the interrogative, subversive and ‘time out’ nature of the carnivalesque adaptations of fairy tales reveals the striking allure of contemporary children's culture, which not only accommodates children's needs and preferences, but also is evidently desirable to everybody.

Cultural interface

2018 ◽  
Author(s):  
Andrew Kahn ◽  
Mark Lipovetsky ◽  
Irina Reyfman ◽  
Stephanie Sandler
Keyword(s):  
Cultural Production ◽  
Russian Literature ◽  
Court Culture ◽  
Literary Field ◽  
Ritual Performance ◽  
Civic Spaces ◽  
The Social ◽  
Cultural Interface ◽  
New Vision ◽  
The Church

The chapter contextualizes the literary developments of the second half of the seventeenth century, including the changes in education and print culture. A new vision of court culture, expanding administration, and ecclesiastical reforms provided new contexts for writing, as well as innovations in the theater and in poetry. The spaces represented in Russian literature were, as previously, the monastery and the church. The court moved into the limelight as a center of cultural production. The social reality of the period did not entirely foster the creation of civic spaces or an autonomous literary field, and writing had to adapt to the control of the authorities. Opportunities for the ritual performance of the liturgy and at court expanded considerably during the last decades of the seventeenth under the aegis of Tsar Aleksei. Orthodox proponents of neo-humanist culture who worked in Moscow succeeded in transforming the uses of rhetoric during ceremonial occasions.

Collaboration and Concepts of Authorship

PMLA ◽  
2001 ◽  
Vol 116 (2) ◽  
pp. 370-379
Author(s):  
Robert L. Carringer
Keyword(s):  
Cultural Production ◽  
Continental Philosophy ◽  
Free Form ◽  
Degree Zero ◽  
New Wave ◽  
Political Commitment ◽  
The Social ◽  
French Culture ◽  
History Of ◽  
Written Word

It was not long ago that one prefecture of french culture was reinventing the idea of authorship while another one was trying to kill it off. The New Wave movement and post-structuralism, fundamental opposites in almost every respect, emerged at the same cultural moment. Roland Barthcs's Writing Degree Zero (1953) and François Truffaut's seminal essay in Cahiers du cinéma that instated auteur criticism (the first phase of the New Wave) appeared less than a year apart; the appearance of Michel Foucault's Madness and Civilization (1961) coincided with the triumph of New Wave filmmaking; and in the interval between 1966 and 1970, which saw the publication of The Order of Things, Of Grammatology, and S/Z, Jean-Luc Godard, the most iconoclastic of the New Wave critic-directors, released fourteen feature films, including four masterworks. In its classic phase poststructuralism was fixated on the written word, involved disciplined thought inflected by mainstream Continental philosophy, took on itself the burden of refashioning modern European history along Marxist lines, and could be uncompromisingly rectitudinous. The New Wave spoke the language of images, involved a loose and—except for its radical stylistics—rather tame avant-gardism, valued an aleatory, free-form aesthetic over political commitment, assailed mainstream French culture, and championed alternative forms of cultural production such as American popular movies. Yet the teleologies were similar: to inscribe a unique place in the history of authorship. To supplant the biographical author from the textual site, one of the primary motives of poststructuralism, was to make the collective space available for a higher entity, the philosopher-critic who is the author not of individual texts but of textuality, the social meaning of texts. In the same way, in claiming the textual site for a film author—a radical conception for the time—the auteur critics scripted a role for themselves that they would subsequently occupy as film directors.

Generazioni e valutazione sociale delle occupazioni

2009 ◽  
pp. 81-97
Author(s):  
Amalia Caputo ◽  
Daniela Napoletano
Keyword(s):  
Labor Market ◽  
Key Words ◽  
Social Desirability ◽  
Social Stratification ◽  
Generational Differences ◽  
Evaluation Criteria ◽  
Social Evaluation ◽  
Labor Flexibility ◽  
The Social ◽  
The Impact

- In this article the authors analyse the social evaluation of occupations, examining the impact of generation on the judgments about the social desirability of occupations. The authors show that some generational differences are noticeable when looking at the criteria that respondents use to order occupations.Key words: Generation, Labor flexibility, Evaluation criteria, Labor market, Social Stratification, Occupational Stratification Scale

scholarly journals A humanistic gift from the Brazilian Emperor D. Pedro II (1825 - 1891) to the Brazilian nation: the first lunatic asylum in Latin America

2013 ◽  
Vol 71 (2) ◽  
pp. 125-126 ◽  
Author(s):  
Antonio E. Nardi ◽  
Adriana Cardoso Silva ◽  
Jaime E. Hallak ◽  
José A. Crippa
Keyword(s):  
Latin America ◽  
Key Words ◽  
19Th Century ◽  
Psychiatric Patients ◽  
Lunatic Asylum ◽  
Specialized Treatment ◽  
Key Words Psychiatry ◽  
The Social ◽  
The 19Th Century ◽  
The City

Until the beginning of the 19th century, psychiatric patients did not receive specialized treatment. The problem that was posed by the presence of psychiatric patients in the Santas Casas de Misericórdia and the social pressure from this issue culminated in a Decree of the Brazilian Emperor, D. Pedro II, on July 18, 1841. The “Lunatic Palace” was the first institution in Latin America exclusively designed for mental patients. It was built between 1842 and 1852 and is an example of neoclassical architecture in Brazil, located at Saudade Beach in the city of Rio de Janeiro. In the 1930s and 1940s, the D. Pedro II Hospital was overcrowded, and patients were gradually transferred to other hospitals. By September of 1944, all the patients had been transferred and the hospital was deactivated. Key words: psychiatry, history, madness.

scholarly journals Memória e identidade: um estudo das trabalhadoras do Banco do Estado do Rio Grande do Sul – 1943-1945

2006 ◽  
Vol 32 (1) ◽  
Author(s):  
Aurea Tomatis Petersen
Keyword(s):  
Key Words ◽  
Rio Grande ◽  
Rio Grande Do Sul ◽  
Key Words Memory

Este artigo discute brevemente a questão da memória e da identidade e detémse na exposição de pesquisa realizada no final da década de 1990 que utilizou história oral e apoiou-se na memória das primeiras trabalhadoras que ingressaram no Banco do Estado do Rio Grande do Sul entre 1943-45, procurando construir a identidade do grupo em estudo. Abstract This article briefly argues the question of the memory and the identity and is lingered in the exposition of research carried through in the end of the decade of 1990 using verbal history, and it was supported in the memory of the first workers who had entered the BANRISUL between 1943-45, looking for to construct their identity of the group in study. Palavras-chave: Memória. Identidade. Bancárias. Key words: Memory. Identity. Workers of banks.

Neoliberalism in Mexican Cultural Theory

ARTMargins ◽  
2018 ◽  
Vol 7 (3) ◽  
pp. 86-87
Author(s):  
Ignacio M. Sánchez Prado
Keyword(s):  
Visual Culture ◽  
Cultural Production ◽  
Common Sense ◽  
Global Economy ◽  
Shadow Economy ◽  
Cultural Theory ◽  
War On Drugs ◽  
The Social ◽  
Theoretical Frame ◽  
Mexican Politics

This essay reviews two theoretical books on neoliberalism written by Mexican cultural critics: Capitalismo gore (Gore Capitalism), by Sayak Valencia, published originally in Spanish in 2010 and translated into English in 2018, and La tiranía del sentido común ( The Tyranny of Common Sense) by Irmgard Emmelhainz, published in Spanish in 2016 and yet to be translated into English. These works are pioneering in their discussion of the correlation between neoliberalism, subjectivity, and culture in Mexico, and they have become widely influential in broader discussions of art, visual culture, literature, and cultural production. They add to the work of economic and political historians, such as Fernando Escalante Gonzalbo and María Eugenia Romero Sotelo, by connecting landmark moments in neoliberalization (from the financialization of the global economy in the 1970s to the War on Drugs in the 2000s) to changing paradigms in art. Author Ignacio M. Sánchez Prado contextualizes both books within larger discussions of Mexican cultural neoliberalism and describes the theoretical frame works through which both authors read Mexican politics, art, and popular culture. In Valencia's case, Sánchez Prado discusses her idea of “gore capitalism”: a framework for understanding how neoliberalism relies on dynamics of the shadow economy and on the subjectification of gore (what Valencia calls endriago subjectivity) to function at the social and artistic levels. In the case of Emmelhainz, Sánchez Prado engages with the author's idea of semiocapitalism, a term borrowed from theorist Franco “Bifo” Berardi, which Emmelhainz deploys to account for the interrelation between culture and capital in the era of neoliberalism. As such, Sánchez Prado argues, Emmelhainz and Valencia provide ways of reading artistic and visual production, including museum curatorship and narcocultura, in ways that show their organic relationship to neoliberal economic and political reforms. Find the complete article at artmargins.com .

Sign in / Sign up

Export Citation Format

Share Document