scholarly journals Associação de Pais e Amigos dos Excepcionais (APAE): delineamento de uma gênese histórica

2020 ◽  
Vol 27 (1) ◽  
pp. 97
Author(s):  
Giovani Ferreira Bezerra
Keyword(s):  
Cultural Context ◽  
American Citizenship ◽  
History Of Special Education ◽  
De Se ◽  
History Of ◽  
The 1950S ◽  
The 1960S ◽  
Keywords Education ◽  
Siglo Xx ◽  
Specialized Institution

O artigo aborda como a então designada problemática do excepcional, confi gurada no começo do século XX, possibilitou, no Brasil, a emergência da primeira Associação de Pais e Amigos dos Excepcionais (Apae), na década de 1950, estendendo as análises apresentadas até o começo da década de 1960, quando surgiu a Federação Nacional das Apaes. Apesar de sua longevidade e capilaridade no país, pouco se tem abordado sobre a gênese da instituição Apae, o que tem impedido de se problematizar o contexto sócio-histórico, político e cultural em que esta emergiu. Para tanto, recorreu-se às contribuições de pesquisas histórica e bibliográfica. Com os dados encontrados, pôde-se constatar que a Apae surgiu impulsionada pelos princípios do pragmatismo e do modelo liberal de cidadania estadunidenses, pautada na fi lantropia e na ótica da higidez social, bem como recebeu infl uência do trabalho de Helena Antipoff . Entre as décadas de 1950 e 1960, a instituição se ramifi cou pelo país, levando à necessidade de se criar, já em 1962, uma Federação Nacional para congregar as associações e formular diretrizes de ação, o que ampliou seu espectro de atuação e sua difusão institucional.Palavras-chave: Educação de excepcionais. História da Educação Especial. Instituição especializada. Movimento apaeano.Associação de Pais e Amigos dos Excepcionais (APAE):development of a historical genesisAbstractThe article discusses how the so-called problem of the exceptional, confi gured at the beginning of the 20th century, made possible, in Brazil, the emergence of the fi rst Associação de Pais e Amigos dos Excepcionais (Apae), in the 1950s, extending the analyzes presented until the beginning the 1960s, when the Federação Nacional das Apaes emerged. Despite its longevity and capillarity in the country, little has been discussed about the genesis of the Apae institution, which has prevented the problematic of the socio-historical, political and cultural context in which it emerged. To this end, we used contributions from historical and bibliographical research. With the data found, it could be seen that Apae emerged driven by the principles of pragmatism and the liberal model of American citizenship, guided by philanthropy and the perspective of social health, as well as infl uenced by the work of Helena Antipoff . Between the 1950s and 1960s, the institution branched across the country, leading to the need to create, already in 1962, a National Federation to congregate associations and formulate guidelines for action, which expanded its range of action and its institutional diffusion .Keywords: Education of exceptional. History of Special Education. Specialized institution. Apaeano movement.Associação de Pais e Amigos dos Excepcionais (APAE): delineamiento de una génesis históricaResumenEl artículo analiza cómo el llamado problema de lo excepcional, configurado a principios del siglo XX, hizo posible, en Brasil, la aparición de la primera Associação de Pais e Amigos dos Excepcionais (Apae), en la década de 1950, ampliando los análisis presentados hasta el comienzo. la década de 1960, cuando surgió la Federação Nacional das Apaes. A pesar de su longevidad y capilaridad en el país, poco se ha discutido sobre la génesis de la institución Apae, que ha evitado la problemática del contexto sociohistórico, político y cultural en el que surgió. Para este fin, utilizamos contribuciones de investigaciones históricas y bibliográficas. Con los datos encontrados, se pudo ver que Apae surgió impulsado por los principios del pragmatismo y el modelo liberal de ciudadanía estadounidense, guiados por la filantropía y la perspectiva de la salud social, así como influenciados por el trabajo de Helena Antipoff. Entre las décadas de 1950 y 1960, la institución se expandió por todo el país, lo que llevó a la necesidad de crear, ya en 1962, una Federación Nacional para congregar asociaciones y formular directrices para la acción, lo que amplió su rango de acción y su difusión institucional.Palabras clave: Educación de excepcionales. Historia de la Educación Especial. Institución especializada. Movimiento apaeano.

Frontiers of Visibility

Transfers ◽  
2013 ◽  
Vol 3 (2) ◽  
pp. 24-46 ◽  
Author(s):  
Franziska Torma
Keyword(s):  
Twentieth Century ◽  
Current Understanding ◽  
Machine Age ◽  
History Of ◽  
Three Stages ◽  
The 1950S ◽  
The 1960S ◽  
Popular Images ◽  
Cinematic Technology

This article deals with the history of underwater film and the role that increased mobility plays in the exploration of nature. Drawing on research on the exploration of the ocean, it analyzes the production of popular images of the sea. The entry of humans into the depths of the oceans in the twentieth century did not revitalize myths of mermaids but rather retold oceanic myths in a modern fashion. Three stages stand out in this evolution of diving mobility. In the 1920s and 1930s, scenes of divers walking under water were the dominant motif. From the 1940s to the 1960s, use of autonomous diving equipment led to a modern incarnation of the “mermen“ myth. From the 1950s to the 1970s, cinematic technology was able to create visions of entire oceanic ecosystems. Underwater films contributed to the period of machine-age exploration in a very particular way: they made virtual voyages of the ocean possible and thus helped to shape the current understanding of the oceans as part of Planet Earth.

The ‘Brazilian Connection’ in the History of American Linguistics

1999 ◽  
Vol 26 (3) ◽  
pp. 355-382
Author(s):  
Cristina Altman
Keyword(s):  
New York ◽  
The United States ◽  
South American ◽  
Columbia University ◽  
Structural Linguistics ◽  
History Of ◽  
Roman Jakobson ◽  
The 1950S ◽  
The 1960S ◽  
The One

Summary When mention is made of Brazil in connection with American linguistics, it usually amounts to a reference to the Linguistic Circle of New York, where Roman Jakobson (1896–1982) and Claude Lévi-Strauss (b.1908), who had come from Brazil where he had done ethnological work, met and exchanged ideas. This singular event has cast a shadow on other contacts between Brazil and American linguistics, of which, the one between Jakobson and the Brazilian linguist Joaquim Mattoso Câmara (1904–1970) was much more consequential, at least as far as the implementation of structural linguistics in Brazil and in South America generally during the 1950s and the 1960s is concerned. Mattoso Câmara came to the United States and spent most of his time in New York City (September 1943 till April 1944), where he got exposure to Praguean type structuralism, notably through Jakobson’s lectures he attended at Columbia University and at the École Libre of New York, which had been established by European refugees at the time. He also participated in the first meetings of the Linguistic Circle of New York in 1943 as one of its co-founders. Following his return to Rio de Janeiro, Mattoso Câmara proposed, in 1949, as his doctoral thesis a phonemic description of Brazilian Portuguese. The work was published a few years later, in 1953. His most influential work, Princípios de Lingüística Gerai, first published in 1954, had two more revised and updated editions (1958, 1967) and served to introduce several generations of Brazilian as well as other South American students to structural linguistics during the 1950s and 1960s.

Who Framed Theatre? The ‘Moment of Change’ in British TV Drama

1999 ◽  
Vol 15 (1) ◽  
pp. 58-74 ◽  
Author(s):  
Madeleine MacMurraugh-Kavanagh ◽  
Stephen Lacey
Keyword(s):  
Cultural Context ◽  
New Technology ◽  
Television Drama ◽  
Doctoral Research ◽  
British Drama ◽  
History Of ◽  
Post War ◽  
The 1960S ◽  
The Moment ◽  
The University

It has long been the received wisdom that television drama has become increasingly ‘filmic’ in orientation, moving away from the ‘theatrical’ as its point of aesthetic reference. This development, which is associated with the rejection of the studio in favour of location shooting – made possible by the increased use of new technology in the 1960s – and with the adoption of cinematic as opposed to theatrical genres, is generally regarded as a sign that the medium has come into its own. By examining a key ‘moment of change’ in the history of television drama, the BBC ‘Wednesday Play’ series of 1964 to 1970, this article asks what was lost in the movement out of the studio and into the streets, and questions the notion that the transition from ‘theatre’ to ‘film’, in the wake of Ken Loach and Tony Garnett's experiments in all-film production, was without tension or contradiction. The discussion explores issues of dramatic space as well as of socio-cultural context, expectation, and audience, and incorporates detailed analyses of Nell Dunn's Up the Junction (1965) and David Mercer's Let's Murder Vivaldi (1968). Madeleine MacMurraugh-Kavanagh is the Post-Doctoral Research Fellow on the HEFCE-funded project, ‘The BBC Wednesday Plays and Post-War British Drama’, now in its third year at the University of Reading. Her publications include Peter Shaffer: Theatre and Drama (Macmillan, 1998), and papers in Screen, The British Journal of Canadian Studies, The Historical Journal of Film, Radio and Television, and Media, Culture, and Society. Stephen Lacey is a lecturer in Film and Drama at the University of Reading, where he is co-director of the ‘BBC Wednesday Plays’ project. His publications include British Realist Theatre: the New Wave and its Contexts (Routledge, 1995) and articles in New Theatre Quarterly and Studies in Theatre Production.

The Cul-de-Sac of Social Democracy

2018 ◽  
Author(s):  
Alan M. Wald
Keyword(s):  
New York ◽  
Social Democracy ◽  
Left Wing ◽  
Social Democratic ◽  
New York Intellectuals ◽  
The Social ◽  
History Of ◽  
Irving Howe ◽  
The 1950S ◽  
The 1960S

A history of Irving Howe and Dissent magazine is used to examine the strengths and weaknesses of the social democratic alternative that became the Left wing of the New York intellectuals during the 1950s. This is followed by an examination of the life and work of Harvey Swados, which also express the ambiguities that would render this tradition problematic during the era of new radicalization in the 1960s.

scholarly journals Film and the "Other" Singaporean

2007 ◽  
Author(s):  
Edna Lim
Keyword(s):  
Golden Age ◽  
Film Industry ◽  
The Other ◽  
History Of ◽  
The 1950S ◽  
The 1960S ◽  
Air Film ◽  
Second Period

COMING UP FOR AIR: FILM AND THE "OTHER" SINGAPOREAN The history of Singapore's film industry is marked by two distinct periods. The first period, which lasted from the 1950s to the 1960s, is considered the golden age of Singapore films due to the prolific outpouring of primarily Malay films produced by the local Cathay and Shaw studios. The second period, which began in the 1990s, constitutes a revival of sorts for Singapore film, and is marked by the recent spate of local productions that began with Medium Rare in 1991 and continues to the present. What is interesting about this current "resurgence" of local films is that while these films have resuscitated the previously dormant film industry in Singapore, and can, therefore, be considered a "revival," they are in fact very different kinds of films from the ones that were made during the golden age, just as the current...

scholarly journals A diglossia literária em Patrick Chamoiseau: o caso de seus romances autobiográficos Antan d’enfance e Chemin d’école / The Literary Diglossy in Patrick Chamoiseau: the Case of His Autobiographic Romances Antan D’Enfance and Chemin D’École

2020 ◽  
Vol 25 (3) ◽  
pp. 237
Author(s):  
Annick Marie Belrose
Keyword(s):  
Cultural Context ◽  
Aime Cesaire ◽  
Patrick Chamoiseau ◽  
Edouard Glissant ◽  
West Indians ◽  
The People ◽  
De Se ◽  
History Of ◽  
Relationship Of ◽  
The Relationship

Resumo: Patrick Chamoiseau (1953) é um escritor martinicano contemporâneo que produziu romances, ensaios, peças de teatro e contos filosóficos. Considerado sucessor de grandes autores martinicanos como Aimé Césaire e Édouard Glissant, Chamoiseau é um autor comprometido que questiona em seus textos a noção de literatura, a tradição literária francesa, a história das Antilhas francesas e a relação dos escritores antilhanos com o mundo e seus papéis no contexto cultural globalizado. Este trabalho de reflexão é realizado pelos personagens de seus romances, bem como pelos diferentes narradores. Chamoiseau construiu seu discurso teórico principalmente em filiação com o pensamento de Edouard Glissant. A poética da Relação de Glissant (1990) constitui a linha diretriz a partir da qual ele desenvolve sua reflexão. Ele dedica grande parte de seu trabalho a tentar entender, explicar e resolver o dilaceramento diglóssico experimentado por ele e pelo povo da Martinica, presos entre a língua crioula (língua dominada) e a língua francesa (língua dominante). Assim, mostrar-se-á como em seus romances autobiográficos Antan d’Enfance-Une enfance créole I (1996), Chemin-d’école – Une enfance créole II (1996), mas também o seu ensaio teórico Écrire en pays dominé (1997), o autor reflete essa busca. Neles, Chamoiseau revela as questões identitárias geradas no seu encontro com as duas línguas, relata a complexidade dos mecanismos psicológicos e relacionais, as dificuldades de se construir como indivíduo e como membro de uma comunidade. A escrita de Chamoiseau procura traduzir esse conflito e busca resolvê-lo, criando uma linguagem híbrida, poética e polissêmica, onde a língua crioula habita em uma narração em francês, e onde os gêneros se misturam.Palavras chave: literatura; autobiografia; diglossia; oralidade; identidade.Abstract: Patrick Chamoiseau (1953) is a contemporary Martinican writer who wrote novels, essays, plays and philosophical tales. He is considered the successor of great Martinican authors like Aimé Césaire and Édouard Glissant. Chamoiseau is a committed author who questions in his texts the notion of literature, the French literary tradition, the history of the French West-Indies, as well as the relationship of the west-Indians writers with the world and their roles in the globalized cultural context. This reflection work is carried out by the characters of his novels, as well as by the different narrators. Chamoiseau constructed his theoretical discourse mainly in affiliation with the thinking of Edouard Glissant. The poetic of Relationship of Glissant (1990) constitutes the guideline from which he develops his reflection. He dedicates a large part of his work trying to understand, explain and resolve the diglossic tearing experienced by him and the people of Martinique, caught between the Creole language (dominated language) and the French language (dominant language). Thus, we will show how in his autobiographical novels Antan d’Enfance – Une enfance créole I (1996), Chemin-d’école – Une enfance créole II (1996), but also his theoretical essay Écrire en pays dominé (1997) the author reflects this search. In them, Chamoiseau reveals the identity issues generated in his encounter with the two languages, reports the complexity of the psychological and relational mechanisms, the difficulties of building himself as an individual and as a member of a community. Chamoiseau’s writing seeks to translate this conflict, and seeks to resolve it, creating a hybrid poetic and polysemic language, where the Creole language lives in a narration in French and where the genres are mixed.Keywords: literature; autobiography; diglossy; orality; identity.

WHERE TO? FILMING EMIGRATION ANXIETY IN PREWAR LEBANESE CINEMA

2019 ◽  
Vol 51 (2) ◽  
pp. 183-201
Author(s):  
Ghenwa Hayek
Keyword(s):  
Cultural History ◽  
Cultural Narratives ◽  
The Social ◽  
History Of ◽  
The 1950S ◽  
The 1960S ◽  
New Research ◽  
Research Avenue

AbstractI propose that careful reading of films and film coverage provides a new research avenue for scholars interested in the social and cultural history of the 1950s and the 1960s in Lebanon. Looking specifically at the manner in which George Nasser's 1957 filmIla Ayn?(Where To?) embraces and modifies the generic conventions of neorealist melodrama to articulate anxieties over the effects of emigration on Lebanon, this article explores the manner in which contemporaneous cultural critics used the film to, in turn, express their dismay at migration from Lebanon. Reading the film closely for the affects it contains and for those it produced in its readers, I argue that this technique, attendant to both sides of this dynamic, affords us new insights into the manner in which cinema produced during Lebanon's golden period interacted with and complicated the dominant cultural narratives of that era.

Marschak and Utility Measurement at Yale

2018 ◽  
pp. 239-246
Author(s):  
Ivan Moscati
Keyword(s):  
Decision Making ◽  
Expected Utility ◽  
Expected Utility Theory ◽  
The Other ◽  
Yale University ◽  
Percent Correct ◽  
History Of ◽  
The 1950S ◽  
The 1960S ◽  
Experimental Findings

Chapter 14 continues the history of the experimental attempts to measure utility by discussing two further experiments performed at Yale University in the early 1960s, one by Trenery Dolbear and the other by Jacob Marschak in association with Gordon Becker and Morris DeGroot. Like the experiments conducted in the 1950s, these were also based on expected utility theory (EUT) and aimed at measuring the utility of money of individuals on the basis of their preferences between gambles where small amounts of money were at stake. There are some differences in the designs of the experiments of the 1950s and those of the 1960s. Like the experimenters of the 1950s, however, Dolbear, Marschak, Becker, and DeGroot also confidently assessed their experimental findings as validating EUT: the theory was not 100 percent correct, but in an approximate sense, it appeared to be an acceptable descriptive theory of decision-making under risk.

HISTÓRIA DE UM LEGADO: as etnografias de religiões de matrizes africanas no discurso patrimonial

2018 ◽  
Vol 15 (26) ◽  
pp. 187-208
Author(s):  
DESIRÉE TOZI ◽  
ANDRE LUIS NASCIMENTO DOS SANTOS
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Cultural Background ◽  
De Se ◽  
History Of ◽  
Find Projection ◽  
Siglo Xx

O presente ensaio, á  luz da influência de se pensar a ficcionalidade e cientificidade do discurso etnográfico, propõe-se a analisar como os pareceres e laudos antropológicos que instruá­ram os processos de tombamento de terreiros pelos Iphan, ao longo dos últimos 30 anos, reproduzem, como referência de ”verdade”, as etnografias produzidas sobre os candomblés baianos, na primeira metade do século XX. Defendemos a tese de que a ausência de um recorte mais preciso e de uma análise mais ficcional dessas obras tem produzido um modelo de terreiro de candomblé que não encontra projeção nos processos de tombamento de terreiros que ainda se encontram em aberto nessa instituição da salvaguarda do patrimônio cultural brasileiro. Como itinerário metodológico, inicialmente, realizaremos uma breve sá­ntese das etnografias que inspiraram a produção desses discursos patrimoniais ao longo do século vinte e, num segundo momento, analisaremos os documentos dos processos de tombamento já finalizados pelos Iphan.Palavras-chave:  Etnografia. Patrimônio. Terreiros.  HISTORY OF A LEGACY: the ethnographies of religions of African matrices in the patrimonial discourseAbstract: This essay proposes to, in light of the influence of thinking about the fictionality and scientificity of ethnographic discourse, analyze how the anthropological opinions and reports that instructed the processes of terreiros landmarking by IPHAN during the last 30 years, reproduce, as a reference of "truth", the ethnographies brought forth on the Bahian candomblés, throughout the first half of the 20th century. We defend the thesis that the absence of a more precise indenture and a more fictional analysis of these works have produced a model of candomblé terreiro that does not find projection in the processes of landmarking terreiros that are still existing in this institution in respect to safeguarding the patrimony cultural background. Initially, applying a methodological itinerary, a brief synthesis of the ethnographies that inspired the production of these patrimonial discourses throughout the twentieth century will be presented, and secondly, the documents of the processes of landmarking already finalized by IPHAN, will be analyzed.Keywords: Ethnography. Patrimony. Terreiros.  HISTORIA DE UN LEGADO:  las etnografá­as de religiones de matrices africanas en el discurso patrimonialResumen: El presente ensayo, a la luz de la influencia de pensar en la ficcionalidad y la cientificidad del discurso etnográfico, se propone analizar como los dictámenes y laudos antropológicos que instruyeron los procesos de oficialización de patrimonio a los terreiros por los Iphan, a lo largo de los últimos 30 años, reproducen, como referencia de ”verdad”, las etnografá­as producidas sobre los candomblés bahianos, en la primera mitad del siglo XX. Defendemos la tesis de que la ausencia de un recorte más preciso y de un análisis más ficcional de esas obras ha producido un modelo de terreiro de candomblé que no encuentra proyección en los procesos de oficialización de patrimonio a los terreros que aún se encuentran abiertos en esa institución de salvaguardia del patrimonio cultural brasileño. Como itinerario metodológico, primeramente, realizaremos una breve sá­ntesis de las etnografá­as que inspiraron la producción de esos discursos patrimoniales a lo largo del siglo veinte y, en un segundo momento, analizaremos los documentos de los procesos de oficialización ya finalizados por los Iphan.Palabras clave:  Etnografá­a. Equidad. Terreiros.  

The Nigerian Records Survey Remembered

1993 ◽  
Vol 20 ◽  
pp. 391-394 ◽  
Author(s):  
P. E. H. Hair
Keyword(s):  
Early Career ◽  
National Archives ◽  
History Of ◽  
The 1950S ◽  
The 1960S

Since all of today's trained African historians took up their burden in the 1960s or later decades, it is gratifying to be an untrained African historian who began in the 1950s, inasmuch as my early career can now be immodestly presented to younger researchers as historical documentation. This thought has arisen when reading in HA 18 a contribution by Simon Heap on the Nigerian National Archives at Ibadan. The archive's inspired founder, Kenneth Onwuka Dike, being long dead, a note on the history of the archives, or rather on its prehistory, can be offered from probably the Only Survivor.

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