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Copyright of Direito e Práxis is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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.)

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Copyright of Religião e Sociedade is the property of Instituto de Estudos da Religiao 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 Religião e Sociedade is the property of Instituto de Estudos da Religiao 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 Religião e Sociedade is the property of Instituto de Estudos da Religiao 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 Religião e Sociedade is the property of Instituto de Estudos da Religiao 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.)

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Copyright of Revista de Arqueologia is the property of Revista de Arqueologia 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 Anuario Colombiano de Historia Social y de la Cultura is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas, Departamento de Historia 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 Memoria em Rede is the property of Revista Memoria em Rede 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 Patrimônio e Memória is the property of Centro de Documentacao e Apoio a Pesquisa 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.)

This text discusses the dispute over representations of power, especially in the Global South, where fascist governments have dismantled policies, identities, and struggles for human rights. The author highlights the relationship between monuments, power, and coloniality, emphasizing how they represent ideals of the future and progress. The text proposes the restitution of emancipatory meanings to monuments through questioning their arrangements and returning the possibility of use and collective agency. Two artistic interventions are discussed as ways to reconfigure memory and question established symbols of power: the series "Monumento Mínimo" by artist Néle Azevedo, and the ritual of symbolic cleaning of the Peruvian national flag carried out by the Colectivo Sociedad Civil during the Fujimori dictatorship. The text argues that the dispute over representations of power can contribute to the demand for emancipatory policies and struggles for human rights. [Extracted from the article]

Copyright of O Ideário Patrimonial is the property of Centro Transdisciplinar das Arqueologias do Instituto Politecnico de Tomar 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.)

Planning and developing research on the political use of monuments in Hungary since 2010 led me to a methodological trap and I could not progress by what I understood to be the textbook formula for defining and solving a problem. Although I had a topic, an object, and a feeling that there was something to be investigated, I could neither describe the problem nor the research question in one sentence. I believed I would find the problem by analyzing government acts and public opinion and began the literature review, cataloging monuments and choosing a representative sample. I have treated the monuments as data and ignored that they were the witnesses and victims to be heard. I intend to critically describe this journey through the research object, wrong decisions, and alternative paths that showed me other possibilities. I intend to answer why my starting plan was wrong and what made it possible to correct the route during the research. From field experience, I will illustrate how the individual and collective history of the monuments enabled me to delimit a problem that did not fit into spreadsheets or modeling. The use of authors from architecture, history, linguistics, and memory, among others, allowed a multidisciplinary research perspective that I intend to present briefly. The flexibility of boundaries between areas of knowledge, science, and arts was complementary and should not exclude each other in my research to allow more interpretative freedom in context, space, and time. Additionally, author-network theories and secondary sources, online obtained have been used in my analysis of the research process. I expect to demonstrate that my wrong literal research planning decision inspired by quantitative concepts led me to a place unexplored by me until then: the object as the research object. [ABSTRACT FROM AUTHOR]

For a long period of time, the effective impact of the colonial war on Portuguese society was accompanied by a relative institutional silence concerning the memory of the conflict. The scarce public approach to the event was followed, in the last two decades, by the growth of different processes of memorialization of the conflict, to which the memory work produced by more or less formalized associations or groups of former combatants contributed decisively. This article analyzes two of these memorial axes: the war memorials and the mnemonic representations of the conflict in the largest Portuguese blog of former combatants. We will argue that despite being circumscribed to the communities of remembrance that promote and participate in them, they influence and are influenced by the dominant public memory of the war and contribute to generate moments of sociability and feelings of (self)recognition for these groups.

Architectural monumentality is a constituent factor of nationality. The monument becomes a materiality of the national feeling and composes the narratives relevant to the construction of collective memory. In Brazil, after the Revolution of 1930, the institution of historical heritage, composed of buildings and urban complexes, had the fundamental role of the architect Lúcio Costa for the constitution of the collection of Brazilian national monuments. This is the subject of this article. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) 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.)

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Copyright of CAP - Public Art Journal is the property of AP2 - Associacao para a Participacao Publica 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 História da Historiografia is the property of Sociedade Brasileira de Teoria e Historia da Historiografia 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 artist collective Antes del Olvido formed in 2019 during the crisis in Chile to document significant locations of the protest as 3D models. Their goal is “to collectively produce an archive of the uprising” as “a political tool, an artifact for collective memory.” Drawing on the concept of artivism, I discuss various aspects of these images: first, their place among cellphone snapshots, graffiti, the urban fabric, and the circulation of symbols across these media. Second, I investigate the importance of location and movement in the protests and its preservation in the 3D models. Finally, I reflect on their role as citizen-generated monuments in providing agency to the artists and the public in shaping historical memory. El colectivo artístico Antes del Olvido se formó en 2019 durante la crisis en Chile para documentar lugares im-portantes de la protesta en forma de modelos 3D. Su objetivo es “producir colectivamente un archivo del estallido” como “una herramienta política, un artefacto para la memoria colectiva”. Basándonos en el concepto de artivismo, analizamos varios aspectos de estas imágenes: primero, su lugar entre las instantáneas fotográficas, los grafitis y el tejido urbano, y la circulación de símbolos a través de estos medios. Segundo, investigamos la importancia de la ubicación y el movimiento en la protesta y su conservación en los modelos 3D. Por último, reflexionamos sobre su papel como monumentos generados por los ciudadanos al proporcionar agencia a los artistas y al público en la configuración de la memoria histórica. O coletivo artístico Antes del Olvido formou-se em 2019, em meio da crise em Chile, para documentar locais im-portantes da protesta, com a modelagem tridimensional. Seu objetivo é “gerar coletivamente um espólio da eclosão social” como “instrumento político ou artefacto para a memória coletiva”. Baseados no conceito de artivismo, fizemos uma análise de diferentes aspetos de estas imagens: primeiro, o seu local entre as fotografias instantâneas, os grafitis e o tecido urbano, e a circulação de símbolos por estes meios. Segundo, pesquisamos a importância da posição e o movimento na protesta e sua conservação nas modelagens tridimensionais. Terceiro, refletimos sobre seu papel como instrumentos gerados pelos cidadãos, por prover agência aos artistas e ao público na configuração da memória histórica.

This paper explores the potentialities of the scientific dissemination project "Mapping the religious diversity in Downtown Rio de Janeiro" in teaching and research training. The project aimed to map multiple forms of religious presence in the city: temples, monuments, graffiti, and posters, among others, to organize events with a non-specialized public. This paper reflects on the experience and describes the analytical and methodological dimensions of walking experiences. Beyond the simple act of movement, as teaching resources, walkings invite the students to go outside the classrooms and confront themselves with the world. Walking thus challenges modes of attention and provides a displacement experience once spatial and internal. This reflexive attitude expands perception with substantive analytical and methodological consequences. Walking on the streets with renewed attention, the students registered materialities of seven different religions in lists, maps, and photographs. Drawing on their field research, we have organized, so far, five walkings with more than 120 persons and have promoted debates on the many ways different religions coexist, share spaces, language, and symbols, or confront others. [ABSTRACT FROM AUTHOR]

This article has as its object the monument dedicated to the aviators De Pinedo and Ribeiro de Barros who crossed the Atlantic in 1927. We analyze the composition of the fascist project of Heróis da Travessia, seeking to understand the role of the myth of Rome in the construction of ties between the community of Italians in São Paulo and Italy during the Ventennio. Through the examination of Italian foreign policy, which promoted the crociere aeree as propaganda, and the iconographic analysis of its materiality, which mobilizes signs associated with the cult of romanity, we demonstrate that the monument is structured above all as a compliment to Mussolini's Italy. [ABSTRACT FROM AUTHOR]

Introduction: The spatialization of the tourist activity often presupposes the construction of a representative image of that locality as a destination. In several cases, the consolidation of this synthesis goes through the monumentalization of outstanding structures in the landscape. These elements are designed to stand as a local identity symbol. The construction of this study goes through the characterization of the porticos as identity symbols that are forged for specific groups, but with the ability to evoke a general identification of that community; their place in the landscape as an integral part of an effective locational policy, a component of a selective spatial organization; in addition to their monumentality as part of the territorialization of certain actors, making the space suitable for the exploitation of tourism and/or vacations. Objectives: By conceiving the tourist porticos as structured elements for the construction and/or consolidation of an image, we seek to understand how the work of characterizing them as a landmark of a certain tourist area materializes, exemplifying the phenomenon with a study focused on the municipalities of Petrópolis and Armação dos Búzios in the state of Rio de Janeiro. Methods: We developed a qualitative study based on theoretical and documentary analysis guided by the objective of proposing a literature review aligned with the evaluation of the materialization of the process in the selected municipalities. Results: By observing that the porticos in both Petrópolis and Armação dos Búzios are used by the tourist trade and the public power as symbols or even syntheses of the municipal profile, we can see that there is a relationship between the territorialization of the porticos associated with a locational policy and a symbolic aestheticization of the landscape, which is in alignment with the initial question that motivated the study. Conclusion: As final remarks, we consider it important to highlight that porticos should not be analyzed in isolation, but as part of an organizational strategy of the space that aims to satisfy the interests of politically and economically hegemonic groups, which has been especially visible in the case of public policies based on the so-called Urban Entrepreneurship, for which the development of tourism is one its main arguments. [ABSTRACT FROM AUTHOR]

In recent years, numerous iconoclastic actions have chosen as targets statues and monuments that pay tribute to individuals and events related to sensitive memories of traumatic pasts, those that seem not to pass, and that mobilize multiple senses and affections in the present. These are moments in which organized groups demand the removal of a certain memorial order, seen as a perpetuator of inequalities and oppressions, through direct interventions in the public space. These actions also provoked strong controversies that mobilized the community of professional historians. In these discussions, one of the most used themes was that of anachronism. After all, would the toppling of the statues be an anachronistic initiative? Starting from this question, this article will seek to present some reflections on time, memory and anachronism, relating them to the most sensitive debates subsequent to the initiatives of questioning the representations contained in statues and monuments that inhabit our present. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana 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.)

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The iconography has been the protagonist in recent times of great memorial controversies. Some recent attacks on monuments of colonial figures show misplaced representations of the past, arousing collective ire. In this article we will concentrate on reviewing the role of monuments in the representation of the past, paying attention to the different paradigms to which they have obeyed. At the same time, we will put into play some conceptualizations relating to memory and the archive, to finally offer some reflections on anachronism, beyond the accusation of the Annales school. The contributions of Reinhart Koselleck and other contemporary thinkers related to the aforementioned theme will be of the utmost importance for this. [ABSTRACT FROM AUTHOR]

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Copyright of Patrimônio e Memória is the property of Centro de Documentacao e Apoio a Pesquisa 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 Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade 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 complex geopolitical context which encompasses the Western Sahara has a serious impact on the unsheltered and vulnerable situation of the archaeological heritage. Since 2005, we have implemented a cultural cooperation and research project in the territories which are managed by the authorities of the Saharawi Arab Democratic Republic: specifically in the Tiris region, in the SE zone of the territory. The contribution to scientific knowledge of Western Sahara’s past has proven to be highly satisfactory: (1) due to the significant number of registered archaeological sites and manifestations; (2) due to the substantial progress experienced in the territorial occupation processes in connection with the climate and environmental dynamics; and (3) based on the information provided by the excavation of the lithic monuments. Likewise, the experience has clearly highlighted the adversities and hazards which besiege the expressions from the past, and requires an urgent debate about their high risk situation. [ABSTRACT FROM AUTHOR]

If written texts usually involve some kind of performative dimension, oral performances also entail the constitution of a text. American linguistic anthropology uses the term 'entextualization' for the process by which stretches of spoken discourse are detached from their immediate context and rendered repeatable and thus transmissible. In African oral poetry there are entextualizing strategies which involve rendering discourse object-like: by making it the focus of exegesis, or by presenting it as quotable, thus foregrounding the perception that these words pre-existed their present moment of utterance and could continue to exist after it. However, African oral praise poetry is also highly dynamic. Text is not consolidated in order to constitute it as an unchanging monument, but rather so that it can be re-activated in a new context of utterance, where it has an effectual engagement and dialogic force. Thus the performative and the entextualizing dimension can be seen to be inseparable and mutually dependent. [ABSTRACT FROM AUTHOR]

The importance of art itself must be debated in all spaces. Thinking about the heritage context, one must also think about public goods, historical and cultural monuments, in the relation of the art present in the monuments. Thus, considering the historical relationships in historical monuments and heritage, in the culture and art present in the Center of Goiânia, a place makes us pay more attention to establishing this correlation: O Beco da Codorna. And so, we try to think about how O Beco da Codorna can be considered an important place in the heritage education of Goiânia? Thus, it is necessary to (re)think the museums, the art categories and the mediations produced with the spectators of these institutions. The methodological procedure used to carry out the research was a bibliographic review, using articles, books, online academic journals, websites and videos. This space in Beco da Codorna is where cultural events are promoted, such as: dance - Hip-Hop, Breakdance; musical presentations and other artistic manifestations, among which, the "museum of the Center of Goiânia", can be thought of as an important place for integration in education and art. By provoking these various aesthetic feelings, you can pass on to students in schools how that place also has its own art; breaking prejudices, moving between History and Art and the importance of graffiti as a manifesto of art itself, carried out in open places in the city of Goiás. social and values the sounds that come from the alley. [ABSTRACT FROM AUTHOR]

This paper intends to debate the history of the Monumento à Colônia Afro-brasileira de Curitiba, unveiled at the downtown area of the Paranaense capital in May 1988. Departing from the concepts of "patrimony" (CHOAY, 2006) and "place of memory" (NORA, 1993), we analyzed how the insertion of this work in the urban space raises discussions on the identity and the memory of the city, as well as, on the relations between the individual and the collective on making the history of a population. The rescue of this history was also supported by researches in official documents, in newspapers and in interviews with people who took part in this process. This work brought to light how the monument has the potential to preserve the history and the memory of African-Brazilians in Curitiba. [ABSTRACT FROM AUTHOR]

This paper aims to present, under the perspective of the Linguistics Historiography, some ideas in the Archeology of Knowledge, in which Michel Foucault substantiates the archaeological method. After characterizing the climate of opinion in which the book is published, the transformation of the document into a monument stands out as fundamental for Foucault's discursive analysis. In addition, it describes how the singular notions of discourse and statement presented by Foucault ratify such an analysis as intrinsic to the discourse. Finally, it is proposed to integrate the foucauldian idea of a monument to discursive studies. [ABSTRACT FROM AUTHOR]

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Copyright of Patrimônio e Memória is the property of Centro de Documentacao e Apoio a Pesquisa 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 História da Historiografia is the property of Sociedade Brasileira de Teoria e Historia da Historiografia 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.)