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Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Pós Ciências Sociais (REPOCS) is the property of Revista Pos Ciencias Sociais (REPOCS) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present paper aims at analyzing the representations of the smallpox epidemics which plagued the city of Rio de Janeiro in 1908, leaving a final balance of over 6,400 deaths, in the short story “A peste”, by João do Rio. Exemplary of what Paes (1985) categorizes as grimace-literature of the art nouveau aesthetics, the short story originally published in Gazeta de Notícias and later collected in the volume Dentro da noite (1910), has as its main narrator the snob Luciano Torres, who reports the tragic outcome of his beloved Francisco´s contamination by the smallpox to an unnamed interlocutor. Starting from the premise that João do Rio observes the condition of epidemiological breakthrough (McNEILL, 1998) in his own time, the real pestilence is transfigured into a meaningful literary motif, inasmuch as, by means of the representations of the pest presented in the story, the writer articulates the disease and its processes – dissemination, contagion, isolation, deformity, death – with a critical view of the city, reaching beyond the euphoric perspective of the belle époque modernization; a dysphoric view (GOMES, 1994) which perceives its evils under the veil of the ideology of progress. In this sense, “A peste” reveals the paralyzing condition of a flâneur facing the empty city (MARTINS, 2021), contaminated by the “bladder disease”: a Saint Sebastian mortal wound, ruled by the Obaluaiê haunting sign and analogous to the catastrophic experience of the battlefield. [ABSTRACT FROM AUTHOR]

Copyright of Revista FAMECOS - Mídia, Cultura e Tecnologia is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Anagramas is the property of Editorial Universidad de Medellin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Palíndromo is the property of Universidade do Estado de Santa Catarina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Throughout the centuries, Grotesque referred to the literary aesthetics as well as to the arts. One of the literary examples is Bernardo Guimarães' A dança dos ossos, a tale in which we aim to discuss as horror literature. Taking as the main objective the identification of Grotesque and the meaning behind it, we listed the concept of Horror, based on H. P. Lovecraft, memory and orality, based on Halbwacks, Bergson and Zumthor, respectively, aiming at the analysis of fragments of the tale. We hope, thus, on adding to the literary studies that deal with such themes. [ABSTRACT FROM AUTHOR]

This essay aims to explore poetic of the photographic work of the JapaneseBrazilian, Haruo Ohara. Particularly, it's intendedto demonstrate an unexpected approximation of your photographs with Roland Barthes's aesthetics elaborated by him from the publication of The Empire of signs, in 1970. [ABSTRACT FROM AUTHOR]

This article aims to describe the construction path of the discipline "Art and Aesthetics in International Relations", its objectives and how the interaction occurred in the classroom. To this end, we begin with a theoretical discussion on the role of art and aesthetics in the teaching of International Relations and then we present the structuring and development of the minicourse "Art and International Relations", which served as a stimulus for the emergence of the discipline. Finally, we will approach how the discipline took place, as well as the students' perception of it, for this the "open" interview model was applied. This text is based on the action research methodology - particularly on participant observation -, in which the investigation is instrumentalized to understand, develop and improve the practice; in this case, the goal is to improve alternative pedagogical practices in the teaching of International Relations, strengthening the logic of peacebuilding through the arts. [ABSTRACT FROM AUTHOR]

Copyright of Arte & Ensaio is the property of Arte & Ensaio and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The cultural production of the first years of the 20th century is commonly named as premodernism; in some cases, the same production is referred as postromaticism. These nomenclatures, which are coined in a posterior moment to the production itself, correspond to the period in which most of the work of José Pereira da Graça Aranha is published. His first novel Chanaan, published in 1902, is frequently referred as a typical example of a premodern piece, both in academic publications and textbooks. Inspired by the exercise of José Paulo Paes, this paper tries to unveil some specificities of this production to beyond the designation of generic labels, such as the germanist language and a possible Art Nouveau aesthetics, and mainly as experimentations of Brazil. [ABSTRACT FROM AUTHOR]

Copyright of Trans/Form/Ação is the property of Trans/Form/Acao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present article is devoted to the «musealisation» of art from an aesthetic point of view. By analysing the essay Museum Valéry Proust by Theodor W. Adorno, we propose to consider the process of «musealisation » of art as an effective condition of possibility for its aesthetic experience. The positions on the subject set forth by Paul Valéry in Le problème des musées and by Marcel Proust in A l’ombre des jeunes filles en fleurs, as presented by Adorno, are the touchstone of this article. Accordingly, it is our purpose to discuss the (subjective) experience of the artistic object as its potential «second life» [Zweites Leben], opposed to the processes of cultural neutralisation of such an object. The recent studies on Odilon Redon developed by Dario Gamboni – and his concept of art suggestif, which comprises a remarkable notion of aesthetic experience – will be analysed. [ABSTRACT FROM AUTHOR]

Copyright of Veritas is the property of EDIPUCRS - Editora Universitaria da PUCRS and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Gama is the property of Revista Gama and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)