Ensaio sobre o campo artístico contemporâneo. Johnny Rotten VS John Lydon = KO

One of the figures that stood out the most in the British punk counterculture scene, from 1976 to 1978, was the charismatic vocalist of Sex Pistols, Johnny Rotten, who shouted "Anarchy in the United Kingdom" or "There is no Future". As soon as the musical project devised by the late Malcom McLaren ended in 1978, Johnny Rotten returns to his baptismal name, John Lydon, and starts the experimental musical project Public Image Ltd, better known as PIL.Meanwhile, after about forty-one years of PIL's existence, John Lydon, residing in Los Angeles, USA, in 2020, made public his opinions about former American President Donald Trump, which were a reason for scandal and shock, especially among punk aficionados, most of whom are anti-racists and of left-wing political tendencies.Through this text and the caricatures we can observe a decadent trajectory of a musician who, apparently, is located in the antipodes of 1977. However, this turning point is legitimized by the political and cultural “gaps” of Democracy, a system that is always in danger precisely for its openness to different political views and to the continuous dialogue between ideological forces, often opposed. By using an “anarchy-fascism” dialectic, the author's points of view, based on films, songs and thinkers, evolve throughout her analysis. The aim is to open doors for broader analyzes in relation to democracy that do not contemplate the “black and white” view of the majorities in relation to current politics.

Somos Todos Artistas. Um exercício de reflexão a respeito da autonomia criativa e das formas de classificação relacionadas à criação

This article is about the construction of identities of artists working in the streets taking as reference the movemnt "Life is a party". This movement occurs since 2002 and put all together artists from the music, visual arts, dramatic art, literature of "cordel", "Tambor de Crioula", poetry and "Bumba meu bi" with performances every thursday in the center of the brazilian city São Luís do Maranhão. This approach includes reflections about expressions showed in this event as "art of the streets" or "art in the streets", as a singular mode of solidarity among the artists and a way to build social relations. In the case analysed here, the production of art implies a identity of artist that deny the institutional and market relations of meaning.

Adolescência e feminilidade no Anexo Secreto

This paper focuses on adolescence development under difficult circumstances, the practice of a genocide. It analyses Anne Frank’s writings as forms of self-expression, according especially to Simmel and Foucault. The Secret Annex, her refuge, is a heterotopia or no place. Furthermore, this paper questions genocides as biopower since several millennia. In the context of power relations in her hideout, Anne achieves individuality, develops herself as a protagonist, and reaches her subjectivity. She interrelates the search for new femininities, political reflections and a rigorous self-criticism, leading her to continuous rethinking.

Music venues in transition: States of autonomy, dependence and subcultural institutionalization

: Taking into account changing spatial structures of local music scenes and processes of music production, urban regeneration, and the commercialization of live music during the last decades, this article examines how ongoing transformations of socio-spatial environments exert influence on originally do-it-yourself music venues as a specific kind of urban music space. Venues are understood as individual actors that develop in relation to their initial spatial and cultural strategies. Therefore, the status of these venues reaches from traditionalist but highly dependent to paradoxical forms of “subcultural institutionalization”. Based on empirical data from three case studies in Hamburg, Germany, fieldwork shows that DIY-driven clubs increasingly become hijacked or taken-over spaces that apply different strategies in order to preserve their idea(l)s of self-governed and collective cultural work.

“I want to find real readers, discover their responses to books and their reading practices”. The story of printed production by Martyn Lyons

Martyn Lyons is an Emeritus Professor of European History and Studies at the University of New South Wales, Australia. Specialist in the nineteenth and twentieth centuries, his main research interests are the history of the book, reading and writing, French history and Australian history. He published around sixteen books with the results of his work and gave us this interview at the Third Argentine Colloquium on Book and Edition Studies (CAELE), held in Buenos Aires, Argentina, from November 7 to 9, 2018. As a guest of honor, he presented the opening speech of the event entitled "The century of the typewriter. How the typewriter influenced writing practices" and generously, he agreed to give this interview to two young researchers in the field of publishing, book and reading in Brazil.

Entre playas y distopías: Río de Janeiro, ex ciudad capital, y la recepción cinematográfica

Based on the reception of four Brazilian films, the article tries to identify imaginations about the city of Rio de Janeiro through a dystopian lens typical of our day. The comparative analysis involves “critical-cinematographic” practices that conceive a sociocritical reading assuming that social elements are found in the works themselves, and are also external to them. The criticism of the following films will be verified: Rio fantasia [Rio Fantasy] (1957), by Watson Macedo, and Rio, 40 graus [Rio, 40 degrees] (1955), by Nelson Pereira dos Santos; Rio, verão & amor [Rio, summer & love] (1966) and El Justicero [The Punisher] (1967), of the same directors, consecutively. The documents will highlight dystopian aspects both in the works and in their readings, as well as in the social configurations of the time in a temporal relationship with Brazil today