Artigos em revistas nacionais
URI permanente para esta coleção:
Navegar
Entradas recentes
- Tisser des souvenirs entre violence symbolique et témoignage dans la dictature brésilienne de 1964 : une expérience du PiauíPublication . Rios, João Victor da CostaThis article analyses the multiple dimensions of authoritarianism in Piauí during the 1964 civil-military dictatorship, highlighting the need to understand Brazil beyond its major urban centres. Drawing on declassified documents and activists’ memoirs, it examines how political, symbolic, racial, and gender-based repression affected both opponents and civilians, thereby shaping collective memory and social relations. Mobilising the concepts of symbolic violence, habitus, and field developed by Pierre Bourdieu, as well as Paul Ricœur’s reflections on memory and testimony, the study underscores the complexity of authoritarian dynamics in peripheral contexts. The qualitative methodology, centred on specific case studies, demonstrates how the 1964 dictatorship targeted social profiles within local structures and spheres of power, reinforcing inequalities and imposing silence. The study contributes to a deeper understanding of dictatorial practices in regions distant from the centre-south, by analysing the traces of authoritarianism in Piauí and their relevance to Brazilian history.
- O par Pierrot/Arlequim em Almada NegreirosPublication . Carvalho, João PedroThis study examines the manifestations of two figures from the commedia dell'arte, Pierrot and Harlequin, in the oeuvre of Almada Negreiros. Owing to the diversity of their manifestations, these figures form a particularly useful corpus for studying interart relations in the creations of the Portuguese artist. The manifestations of Pierrot and Harlequin across different artistic genres are therefore compared in order to distinguish them according to the specificities of each art form. This article is structured into chapters that focus primarily on each of these genres, seeking to describe a fragmentation of the artist’s oeuvre in accordance with to the intra-artistic singularities in the interpretation of the Pierrot/Harlequin theme. The results call into question the conceptualization of the disappearance of interart boundaries in Almada’s work — as exemplified by the use of the term “Total Art” in Almadian studies.
- Death of the fairy: children’s science writing and the reinvention of fairyland in nineteenth century BritainPublication . Lago, SofiaIn this article, I examine how the nineteenth-century British writers’ insertion of fairies into children’s science writing as a narrative device promoted Britain as a nation that had progressed past the age of superstition. Throughout the nineteenth and early twentieth centuries, science writers like Buckley framed their narrative through a folkloric lens rather than adopted a scientific lens through which to frame a folklore narrative. Through an analysis of children’s science writing and connected texts, this article reveals the way in which the insertion of fairies and other folklore figures into educational works as a narrative device implicitly, or explicitly, promoted the image of Britain as a nation that had progressed past the age of superstition.
- Between demythologization and transcendence: Faulkner’s poetics of historical traumaPublication . Constandache, IoanaThis paper offers a critical analysis of William Faulkner’s status as an unconventional novelist, examining how short prose decisively contributes to the construction of his mythopoetic universe. Building on Malcolm Cowley’s observation that Faulkner does not write traditional novels but fragments of a discontinuous macrotext, this study argues that narrative fragmentation—expressed through the rejection of linearity, the plurality of voices, and temporal distortion—constitutes the authentic mode of his literary modernism, as evidenced in ‘‘The Bear’’ and ‘‘That Evening Sun’’. The analysis focuses on the ways in which these short stories, though formally autonomous, are later organically integrated into major novels, revealing a circular compositional strategy and Faulkner’s sustained engagement with memory and historical consciousness. Yoknapatawpha County is approached as a symbolic, mythical space where memory, trauma, and history intersect within a nonlinear, stratified temporality, linking personal experience to collective inheritance. In contrast to Hemingway’s stylistic economy, Faulkner’s discourse is marked by density, ambiguity, and cumulative meaning, embodying two opposing paradigms of representing reality. In Faulkner’s vision, myth no longer guarantees ontological stability but becomes fluid and contested, shaped by modernity’s identity crisis, as his narratives negotiate historical trauma and its ethical implications. From this perspective, the paper reassesses Faulkner’s influence on narrative postmodernism and reconsiders short prose as the generative nucleus of a tense, original literary mythology.
- O que significa “comentar” em filosofia na época do humanismo português?Publication . Carvalho, Mário Santiago deSticking to the sixteenth-century Portuguese case, the present article aims at two goals: to contribute to characterize the philosophical commentary, and to propose a new interpretative model of the well-known “Coimbra Course”. Putting forward the possibility of an evolution in Pedro da Fonseca’s mental path regarding the place of logic and metaphysics and interpreting its implication in characterizing the object here at stake (the philosophical commentary), the article considers two typologies, one genetic (Góis/Couto), the other analytical-resolutive (Fonseca), which can be sustained by the fact that Fonseca and Manuel de Góis diverge from each other on how to conceive the beginning of philosophy, metaphysics for the former, physics for the latter.
- Retórica política quinhentista: o mito na caracterização da adulatio e do adulatorPublication . Soares, Nair de Nazaré CastroMedieval allegorical interpretations of classical mythology continued into the Quattrocento, notably in the fifteen books of Giovanni Boccaccio's Genealogiae deorum gentilium, already considered the magna charta of the new universal dignity achieved by literature. Thus, from the dawn of the Renaissance, a period when Greek authors were published, often in Latin translation, mythology began a remarkable journey in all areas of art. But it is in literature that myth and mythological motifs inform all genres and recur in authors from different periods, from the Middle Ages and Renaissance to modernity. In Portugal, over time, the influences of classical mythology, particularly in 16th century literature, both Latin and vernacular, in poetry and prose, have acquired special significance in political rhetoric, where the mythical personification of non-humanistic values, such as adulatio and adulator, flattery and flatterer, takes place, imprinting emotional enargeia and argumentative force on the denunciation of their pernicious action.
- Carlos Manuel Nogueira Fino/O longo Rio DnieprePublication . Rodrigues, Liliana; Rodrigues, Liliana
- Ensaio psicanalítico do filme Sonata de Outono (1979)Publication . Santos, Maria Eduarda dosO ensaio propõe uma leitura psicanalítica do filme Sonata de Outono (1979), dirigido por Ingmar Bergman, cineasta reconhecido por sua singularidade ao explorar a alma humana por meio de intensos close-ups e do uso expressivo de luz e sombra - elementos que frequentemente revelam o íntimo dos personagens. O trabalho foca-se no núcleo central do filme: a relação conturbada entre mãe e filha, e como essas feridas se originam na infância e se prolongam até a vida adulta, evidenciando o impacto do cuidado materno no desenvolvimento saudável da filha. Destaca-se, assim, como o processo de individualização e a construção da imagem de si, refletida no espelho, podem ser profundamente comprometidos, influenciando a estruturação da baixa autoestima e da insegurança latente diante o outro.
- Territórios do corpo arqueométrico: poder, doença e finitude em BergmanPublication . Paola, Grécia“Territórios do Corpo Arqueométrico: Poder, Doença e Finitude em Bergman” propõe uma leitura dos espaços físicos, psicológicos e simbólicos dos filmes Morangos Silvestres e Gritos e Sussurros, de Ingmar Bergman, através do conceito de “corpo arqueométrico” (Matos, 2025). Ao articular biopoder e necropoder através do cinema de Bergman, questionamos quem exerce poder sobre o corpo e quem testemunha a sua deterioração: quem o vê, quem o mede e quem administra a morte. Através desta autoetnográfica, reflete-se sobre as oscilações do corpo doente a partir da vivência da autora como pessoa com diabetes tipo 1 e sobre a sua inscrição na experiência constante da medição. O conceito de “corpo arqueométrico” é mobilizado como ferramenta analítica através da luz, da cor, do som e do enquadramento, elementos que operam enquanto métricas sensoriais para ler o corpo doente. A doença crónica ou prolongada apresenta uma relação intrínseca com a temporalidade e com o lugar e valor atribuídos aos corpos doentes. Este enquadramento permite ainda explorar a relação intertextual entre cinema, artes plásticas e performatividade a partir de Pina Bausch, Robert Gober, Michael Landy e da produção artística autoral, estabelecendo diálogos entre corpo, finitude e poder.
- Um fazer-da-imagem em BergmanPublication . Castro, RomyNeste ensaio sobre cinema, pretendemos explorar concetualmente, o modo de fazer-da-imagem em Bergman, através de interações contemporâneas que permitem uma incorporação na experiência cinematográfica do realizador, tendo como base para criar novos entendimentos e perspetivas, a realidade apreendida das imagens-movimento do cineasta. A imagem que está sempre presente nas obras, coincide com a objetualidade das suas vivências existenciais, que se relacionam com o contexto em que ocorrem, caraterizando as mesmas com um novo modo de abordagem simbólica, onde predominam “close-ups” intensos e fusões que criam expressões específicas, que visam incorporar outras experimentações, para mostrar as questões fundamentais da experiência humana, o que torna o cinema mais autêntico, realista, possibilitador e contemporâneo, porque só o cinema, enquanto objeto de perceção e representação, possibilita o novo fazer da imagem, tornando-a linguagem universal no devir artístico deste fazer. Interrogaremos este conceito de fazer-da-imagem, uma fórmula de Samuel Beckett, seguida de considerações por Deleuze, a partir do cinema de Ingmar Bergman, revelando como a estética do realizador imprime no ecrã um novo realismo nas imagens, que apela aos sentidos, por meio de estratégias experimentais inovadoras, que suscitam o envolvimento emocional dos espetadores, num provocar que estimula afetivamente, o pensamento crítico