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General movements (GMs) have been recognized as the most accurate clinical tools for predicting cerebral palsy (CP). This study aimed to compare the type and prognostic value of abnormal GMs in infants with hypoxic ischemic encephalopathy treated or not with therapeutic hypothermia (TH).This was a single-center retrospective study. We compared GMs of 55 cooled term infants versus 30 non-cooled term infants with hypoxic ischemic encephalopathy (HIE) and their motor outcome at 24 months of age. We also included data regarding early brain MRI scans.Rates of cerebral palsy was 5.4% and 46.7% in cooled and non-cooled infants respectively (p 0.001). None of cooled infants showed cramped-synchronized GMs, whereas among non-cooled infants the cramped-synchronized pattern was present in 17.2% and 20% of infants at 1 and 3 months of age respectively. Hypokinesis was never seen in cooled infants and it was present in 23.3% of non-cooled ones. Absent fidgety correlated with CP in 14% and 73% of cooled and non-cooled infants respectively. At brain MRI cooled infants had fewer and less severe cerebral lesions compared to non-cooled infants (p = 0.003).Abnormal GMs are reduced in infants treated with TH. Hypokinesis and cramped-synchronized GMs are not observed in cooled infants and the associations between absent fidgety movements and CP it is largely abolished. TH is associated with changes in prognostic value of GMs.

Background - In the last few years care for children with severe chronic conditions is a topic of increasing interest. Children with chronic illness often require a high complexity of care and a high level of coordination among health services. Objective - The primary aim of this study is the assessment of children with chronic disease and high complexity of care (children with medical complexity), discharged from the Neonatal Intensive Care Unit (NICU) of Modena University-Hospital. The secondary aim is to assess the outcome of these patients. Methods - Patients with chronic diseases and high complexity of care (children with medical complexity), aged 0-6 months, and admitted to the NICU of Modena in the years 2009-2019 were recruited. Results - 59 subjects were included, of which 15 (25.4%) were born preterm, 11 (18.6%) suffered from hypoxic-ischemic encephalopathy, 33 (56%) had genetic diseases or malformations. All patients were discharged home, except for one patient who was discharged to hospice. The average hospital length of stay was 116.0 ± 63.4 days. Follow-up visits showed that 25 cases (42.4%) remained unchanged, 18 (30.5%) improved and 16 (27.1%) died. Conclusion - This study allows an assessment of patients with early diagnosis of chronic disease with high complexity of care, showing that some of these patients could be eligible for palliative care. The management of children with medical complexity requires diagnostic-therapeutic programmes that focus on them and their families and connect hospital and territorial health services.

Cerebral sinovenous thrombosis (CSVT) is a rare disease with potential catastrophic consequences. However, neonatal brain damage after venous injury and long-term neurologic outcomes have been poorly investigated. Some found an association between site and number of sinus occlusions, severity of lesions, clinical presentation and the neurodevelopmental outcome.We describe the case of a term newborn girl with multiple CSVT who presented with clonic seizures and who received early treatment with heparin. MRI scans showed a progressive recanalization of deep venous system, and only minor cerebral lesions were present at 3 months of life. Neurocognitive outcome was normal at 12 months of life.This case demonstrates that multiple CSVT presenting with severe seizures does not necessarily underlie major cerebral lesions or lead to severely abnormal neurodevelopmental outcome.

Seizures are the main neurological emergency during the neonatal period and are mostly acute and focal. The prognosis mainly depends on the underlying etiology. Conventional multichannel video-electroencephalographic (cEEG) monitoring is the gold standard for diagnosis, but treatment remains a challenge.This review, based on PubMed search over the last 4 decades, focuses on the current treatment options for neonatal seizures based on cEEG monitoring. There is still no consensus on seizure therapy, owing to poor scientific evidence. Traditionally, the first-line treatments are phenobarbital and phenytoin, followed by midazolam and lidocaine, but their efficacy is limited. Therefore, current evidence strongly suggests the use of alternative antiseizure medications. Randomized controlled trials of new drugs are ongoing.Therapy for neonatal seizures should be prompt and tailored, based on semeiology, mirror of the underlying cause, and cEEG features. Further research should focus on antiseizure medications that directly act on the etiopathogenetic mechanism responsible for seizures and are therefore more effective in seizure control.

Therapeutic hypothermia is the standard care for asphyxiated newborns. Discomfort and pain during treatment are common and may affect therapeutic efficacy of hypothermia. Opioid analgosedation is commonly used in the clinical setting, but its effects in the cooled newborns is poorly investigated.The aim of this study was to assess the safety of fentanyl analgosedation during therapeutic hypothermia, by evaluating severe adverse effects and possible correlation with the neurodevelopmental outcome.We analyzed asphyxiated newborns treated with hypothermia receiving fentanyl intravenous infusion (years 2013-2018). Severe neurodevelopmental outcome was defined as cerebral palsy or Griffith's developmental quotient70 or major sensorineural deficit. Severe brain lesions were defined as cortical or/and basal ganglia extensive involvement.Fentanyl cumulative dose was variable (61.7 ± 18.5 µg/kg; range 34.3-120.3 µg/kg) among 45 enrolled patients. Respiratory depression was recorded in 13.3% cases of 30 spontaneously breathing patients. Severe brain lesions and severe neurodevelopmental disability were found in 24.4 and 11.1% of all included cases, respectively. Higher cumulative fentanyl dose was not associated with poor outcome.Fentanyl treatment during therapeutic hypothermia does not negatively affect the neurodevelopmental outcome, thus on the contrary, it may contribute to ameliorate neuroprotection in the asphyxiated cooled newborns.

Children with late fetal growth restriction (FGR) are at high risk of being born small for gestational age (SGA). These categories of newborns are at increased risk for neurodevelopment impairment. The general movements assessment, in particular at fidgety age, has been used to predict neurological dysfunctions. This study aimed to evaluate growth recovery, presence of fidgety movements at 3 months, and neurodevelopmental outcome at 2 years of age in term late FGR infants and adequate for gestational age (AGA) controls.Prospective clinical evaluation. At 3 months auxological parameters (AP) and neurological examination were evaluated while at 24 months neurodevelopment outcome by Griffiths Mental Development Scales (GMDS-R) was evaluated.38 late FGR and 20 AGA controls completed the study. Despite a significant catch up, at 3 months 13% of late FGR presented at least one auxological parameter3° percentile. Moreover, 23.7% of late FGR infants did not show fidgety movements compared to 100% AGA controls (Independently from growth recovery, fidgety movements resulted less expressed in late FGR infants, and at 2 years of age the neurodevelopmental assessment revealed differences in each domain of evaluation between late FGR and AGA infants, although within normal ranges.

Neonatal hypoxic-ischemic encephalopathy is still a significant cause of neonatal death and neurodevelopmental disabilities, such as cerebral palsy, mental delay, and epilepsy. After the introduction of therapeutic hypothermia, the prognosis of hypoxic-ischemic encephalopathy has improved, with reduction of death and disabilities. However, few studies evaluated whether hypothermia affects rate and severity of postneonatal epilepsy. We evaluated rates, characteristics and prognostic markers of postneonatal epilepsy in infants with moderate to severe hypoxic-ischemic encephalopathy treated or not with therapeutic hypothermia.We analyzed clinical data, EEG recordings, cerebral Magnetic Resonance Imaging (MRI) and outcome in 23 cooled and 26 non-cooled asphyxiated neonates (≥36 weeks' gestation), admitted from 2004 to 2012.Among 49 neonates 11 (22%) had postneonatal epilepsy, of which 9 (18%) were non-cooled and 2 (4%) were cooled (P=0.05). Six of 11 infants (55%) had West syndrome, 4 (36%) had focal epilepsy and 1 (9%) had Lennox-Gastaut Syndrome. At multiple logistic regression analysis MRI pattern significantly correlated with postneonatal epilepsy (OR 0.19, 95% CI 0.04-0.88, P=0.03). Extensive lesions in basal ganglia and thalami plus cortical and white matter were associated with postneonatal epilepsy.Only perinatal asphyxia with extensive lesions in basal ganglia and thalami plus cortical and white matter lesion conveys a high risk for early and severe postneonatal epilepsy. Moreover, therapeutic hypothermia is associated with a decrease of the risk of developing postneonatal epilepsy.

OBJECTIVE To determine if the diabetes-specific health-related quality of life (D-HRQOL) of young people with type 1 diabetes (T1D) and their parents is influenced by migrant status. SUBJECTS AND METHODS One hundred and twenty-five patients (12.4 ± 3.55 years, males 53.6%) with T1D and their parents (102 mothers, 37 fathers) were enrolled and categorized into: group A (both foreign parents) and group B (both native Italian parents). The Pediatric Quality of Life Inventory™ 3.0 Diabetes Module (PedsQL™ 3.0 DM) was used to evaluate the D-HRQOL. Data on diabetic ketoacidosis (DKA) at T1D onset, insulin therapy, and glycosylate hemoglobin (HbA1c) were also collected. RESULTS Group A (n = 40), compared to group B (n = 85), had higher frequency of DKA at T1D onset (P

O artigo parte de diferentes recepções do grupo escultórico Laocoonte desde a Antiguidade e suas repercussões nas produções artística e teórica sobre arte. A discussão apresentada explora a proposta de compreender a história da arte por Georges Didi‑Huberman, segundo uma dialética na qual JohannJ. Winckelmann representaria, no século XVIII, uma antítese do modelo historiográfico artístico quinhentista de Giorgio Vasari. Winckelmann inaugurou um modelo que se pretendia objetivo e cujas premissas teórico‑metodológicas permitiram olhar para a antiguidade clássica, valorizando a arte grega em detrimento da romana. Mas Aby Warburg escaparia a este grande desenho do mainstream da história da arte, lançando outro olhar sobre o antigo, sob uma proposta teórico‑metodológica de diferente natureza. Assim, o artigo propõe pensar uma ligne de partage entre ambos os historiadores da arte que articula três entradas conceituais: o “retorno” ao/do antigo; o clássico e o pathos; o modelo de tempo da história da arte, que resultaram em leituras tão díspares do Laocoonte. O artigo pretende esboçar a questão da repercussão da diferenciação desses três eixos conceituais nos dois historiadores da arte sobre a recepção do antigo pela historiografia da arte contemporânea., The article comes from different receptions of the sculpture group Laocoonte since Antiquity and their repercussions in the artistic and theoretical productions about art. This discussion exploits the understanding of the Art Historyby Georges Didi‑Huberman, that according to the dialectics inwhich Johann J. Winckelmann, in the eighteenth century, wouldgo to represent an antithesis to the artistic‑historiographicalmodel of Giorgio Vasari at the fifteenth century. Winckelmanninaugurated a model that intended to be objective and whichtheoretical and methodological premises allowed for an outlookto classical antiquity, favouring Greek art over Roman art. However, Aby Warburg escapes from the big picture of ArtHistory’s mainstream, proposing a different outlook on the ancient, under a methodological and theoretical proposal of different natures. Thus, the article proposes to stablish a ligne de partage between both art historians that articles three conceptual entries: the “return” to and from the ancient, the classic and the pathos, and the time model in the Art History, which have resulted in such divergent perceptions of Laocoonte. Therefore, the article suggests outlining the question of the repercussion of the differentiation of these three conceptual axis of both art historians about the reception of the ancient by contemporary Art Historiography.

Nearly half of very preterm (VP) and extremely preterm (EP) infants suffers from minor disabilities. The paper overviews the literature dealing with motor problems other than cerebral palsy (CP) during infancy and preschool age. The term "minor motor problems" indicates a wide spectrum of motor disorders other than CP; "minor" does not mean "minimal", as a relevant proportion of the preterm infants will develop academic and behavioural problems at school age. Early onset disorders consist of abnormal general movements (GMs), transient dystonia and postural instability; these conditions usually fade during the first months. They were underestimated in the past; recently, qualitative assessment of GMs using Prechtl's method has become a major item of the neurological examination. Late onset disorders include developmental coordination disorder (DCD) and/or minor neurological dysfunction (MND): both terms cover partly overlapping problems. Simple MND (MND-1) and complex MND (MND-2) can be identified and MND-2 gives a higher risk for learning and behavioural disorders. A relationship between the quality of GMs and MND in childhood has been recently described. The Touwen infant neurological examination (TINE) can reliably detect neurological signs of MND even in infancy. However, the prognostic value of these disorders requires further investigations.

The diagnostic and prognostic assessment of newborn infants with hypoxic-ischemic encephalopathy (HIE) comprises, among other tools, diffusion-weighted imaging (DWI) and apparent diffusion coefficient (ADC) maps. To compare the ability of DWI and ADC maps in newborns with HIE to predict the neurodevelopmental outcome at 2 years of age. Thirty-four term newborns with HIE admitted to the Neonatal Intensive Care Unit of Modena University Hospital from 2004 to 2008 were consecutively enrolled in the study. All newborns received EEG, conventional MRI and DWI within the first week of life. DWI was analyzed by means of summation (S) score and regional ADC measurements. Neurodevelopmental outcome was assessed with a standard 1–4 scale and the Griffiths Mental Developmental Scales - Revised (GMDS-R). When the outcome was evaluated with a standard 1–4 scale, the DWI S scores showed very high area under the curve (AUC) (0.89) whereas regional ADC measurements in specific subregions had relatively modest predictive value. The lentiform nucleus was the region with the highest AUC (0.78). When GMDS-R were considered, DWI S scores were good to excellent predictors for some GMDS-R subscales. The predictive value of ADC measurements was both region- and subscale-specific. In particular, ADC measurements in some regions (basal ganglia, white matter or rolandic cortex) were excellent predictors for specific GMDS-R with AUCs up to 0.93. DWI S scores showed the highest prognostic value for the neurological outcome at 2 years of age. Regional ADC measurements in specific subregions proved to be highly prognostic for specific neurodevelopmental outcomes.

Few studies focus on the neuropsychological and behavioural outcomes of preterm children at preschool age. This article reviews the most recent and relevant contributions on cognitive, neuropsychological and behavioural outcomes, and the neuroradiological findings in extremely and very preterm infants. In the first 2 years of life, cognitive impairment is common: it has an incidence of 30-40% and a higher prevalence than neuromotor and neurosensorial impairments. Recent studies report that even preterm infants with no major disabilities at preschool age perform more poorly than term peers in multiple neuropsychological domains, such as language, attention, memory, visuomotor and visuospatial processing and executive functions. The incidence and severity of problems increase with decreasing gestational age. A delayed acquisition of neuropsychological functions and/or the occurrence of behavioural problems at preschool age are likely to be predictive of the high rate of cognitive deficits at school age and in adolescence. Neuropsychological functions across multiple developmental domains should be assessed longitudinally during routine follow-up checks.

BackgroundSickle Cell Disease (SCD) is the most common genetic disease worldwide. Neurological events are among the most worrisome clinical complications of SCD and are frequently accompanied by cognitive impairment. Intellectual function in SCD may vary according to genetic and environmental factors. Immigrant children with SCD are increasing at a global level and display specific health care needs. The aim of our multicenter study was to describe the intellectual function of first generation African immigrants with SCD and the influence of sociodemographic factors on its characteristics.MethodsThe Wechsler Intelligence Scales were administered to evaluate broad intellectual functions in children with SCD and in age-matched healthy siblings. Patients’ clinical, socio-demographic, Magnetic Resonance Imaging (MRI) and Angiography (MRA) data were correlated to intellectual function scores.Results68 children, mean age 8.95 years were evaluated. 72% spoke three languages, 21% two. FSIQ was ConclusionsImmigrant bilingual children with SCD seem to display a rate of cognitive impairment similar to their monolingual counterparts but a more pronounced and precocious onset of language difficulties. Adjunctive tests need to be considered in this group of patients to better define their specific deficits.

Tese (doutorado)—Universidade de Brasília, Instituto de Artes, Departamento de Artes Visuais, Programa de Pós-Graduação em Artes, 2013. A presente investigação se debruça sobre a associação entre os Sudários de Bené Fonteles, que formam a série Sudários / Auto-Retratos, o painel cerâmico Le Chemin de la Croix, de Henri Matisse e a exposição The Stations of the Cross. Lema Sabachtani, realizada em 1966, por Barnett Newman, assim como sobre a natureza desta associação e como ela pode ser abordada pela História da Arte, teórica e metodologicamente. Esta pesquisa trata, portanto, da espessura do olhar entre aquele que vê a obra de arte e a própria obra porque trata dos espaço-tempi em que sua percepção se abre a uma rede de relações. Diante de uma obra nos desfiguramos e reconfiguramos enquanto sua imagem se modifica. Mas quando a obra concerne a uma transformação exemplar, esses conteúdos de desdobram e se redobram em inúmeras questões, como é o caso do tema da transformação mais recorrente em nossa cultura cristã e ocidental, no grande drama expresso pela Paixão. O interesse por essas obras, portanto, foi imposta pela expressa categoria de identificação autoimpingida do artista com o tema, com o pathos do processo de criação e com a temporalidade complexa que a constelação dessas obras acaba por sedimentar. Assim, a investigação levou à reflexão sobre o impacto do jogo entre o pathos e o anacronismo sobre o discurso na História da Arte como montagem de tempos heterogêneos, baseada em pressupostos oferecidos por Aby Warburg, Walter Benjamin e Georges Didi-Huberman. _______________________________________________________________________________________ ABSTRACT The subject of this PhD research project is the association of Henri Matisse's Chemin de la Croix, Barnett Newman's Stations of the Cross. Lema Sabachtani Exhibition and Bené Fonteles' Sudários, as well as what the order of this association and how it can be brought up by Art History, theoretically and methodologically. Therefore, this research is about of the thickness of the outlook between the one who sees the artwork and the artwork itself, because it talks about the space-times in that perception that opens itself into a web of relations. In front of an artwork we desfigure and reconfigure ourselves as the image modifies. But when the artwork approaches to a model transformation, these contents unfold and refold themselves in numerous questions. That is the case of the more recurrent transformations in our Western Christian culture, in the great drama expressed by the Passion. The interest by these artworks, therefore, was imposed by the artist’s self-inflicted identification category with the subject, with the pathos of the creation process and with the complexity of the temporality that the constellation of these works deposits. Thus, the inquiry induced to the speculation about the impact of the relation between the pathos and the anachronism about the discourse in the Art History as montage of heterogeneous times, based in presuppositions offered by Aby Warburg, Walter Benjamin and Georges Didi-Huberman.

Joubert's sundrome is a rare cerebellar malformation belonging to the group of rhom-boencephaloschisis and characterised by varying degrees of hypoplasia of the cerebellar vermis or complete agenesis. We describe an infant referred to us at six months of age for oculomotor apraxia and delayed psychomotor development. We focus on the neuroradiological features essential to diagnosis of Joubert's syndrome. The absence of hyperpnea in the neonatal period and prematurity deemed responsible for initial episodes of central apneas, prevented early diagnosis.

Background.With increasing sophistication and technology, survival rates hugely improved among preterm infants admitted to the neonatal intensive care unit. Nutrition and feeding remain a challenge and preterm infants are at high risk of encountering oral feeding difficulties.Objective.To determine what facts may impact on oral feeding readiness and competence and which kind of interventions should enhance oral feeding performance in preterm infants.Search Strategy.MEDILINE database was explored and articles relevant to this topic were collected starting from 2009 up to 2011.Main Results.Increasingly robust alertness prior to and during feeding does positively impact the infant’s feeding Skills. The review found that oral and non-oral sensorimotor interventions, provided singly or in combination, shortened the transition time to independent oral feeding in preterm infants and that preterm infants who received a combined oral and sensorimotor intervention demonstrated more advanced nutritive sucking, suck-swallow and swallow-respiration coordination than those who received an oral or sensorimotor intervention singly.

A major issue for neonatologists and developmental neurologists is the identification of those infants who are at risk of subsequent neurodevelopment disability and who may benefit from neurological follow-up and early intervention strategies.

It has been often reported that in patients with visual neglect line bisection is more accurate in the right than in the left hemispace. However, no data are available on the effect of hemispace on reading errors associated with neglect. We examined a 62-year-old man who presented with severe left neglect following a large infarction in the right cerebral hemisphere. The patient was asked to read 180 words aloud and to bisect 90 lines. Stimuli were presented in three different spatial locations: across the centre, to the right or to the left of the body midline. Line bisection was significantly more accurate in the right hemispace compared with the centre, or the left hemispace. In contrast, reading was significantly more accurate with words presented on the left side than on the centre or right side. This is the first time that such dissociation has been reported. We hypothesize that the dissociation depends on the nature of the stimuli and on the different cognitive demands of the tasks.

Dissertação (Mestrado) — Universidade de Brasília, Instituto de Artes, Departamento de Artes, Programa de Pós-Graduação em Artes Visuais, Brasília, 2021. As peças de cerâmica ameríndia, comumente compreendidas como tapajônicas e marajoaras, são objetos de estudo para acadêmicos e artistas, sendo inseridas de diferentes modos no âmbito da história da arte. No entanto, tais objetos se encontram domiciliados em alguns campos de conhecimento, sobretudo a arqueologia e a antropologia, cada um com seus interesses, métodos e abordagens. Esta dissertação parte do estranhamento sobre seis possíveis apliques cerâmicos tapajônicos que integram a coleção arqueológica do Padre João Alfredo Rohr, em Brasília. Em um primeiro momento, a pesquisa se dedicou a identificar, dentro do possível, o percurso dessas peças até sua chegada a Brasília, o que revelou algumas dissonâncias acerca de sua pertinência nessa coleção e mesmo em alguns estudos basilares relacionados ao seu tombamento como patrimônio nacional. Em um segundo momento, pesquisamos métodos de leitura de imagens consagrados pela história da arte, que também têm sido utilizados por arqueólogos e antropólogos, objetivando a legibilidade desses objetos. Destacamos dentre esses métodos de leitura o formal e o iconográfico, por possibilitarem, em termos, a legibilidade de objetos dotados de interesse artístico. Mesmo que esses objetos não-ocidentais, ora arqueológicos ora etnológicos sejam eventualmente considerados artísticos, o terceiro momento da pesquisa dedicou-se a identificar como eles têm sido inseridos na história da arte, inclusive por artistas que mediaram sua recepção desde o modernismo, como é o caso de Vicente do Rego Monteiro, Theodoro Braga, Carlos Hadler e Manoel Pastana. Amerindian ceramic pieces, commonly known as “tapajônicas” and “marajoaras” in Brazil, are objects of study for academics and artists, being inserted in different ways in the field of art history. However, these objects are domiciled in some fields of knowledge, especially archaeology and anthropology, each with their own interests, methods and approaches. This thesis is based on the strangeness involving six possible ceramic appliques that are part of the archaeological collection of Father João Alfredo Rohr, in Brasilia. At first, the research was dedicated to identifying, as far as possible, the route of these pieces until their arrival in Brasilia, which revealed some dissonances about their pertinence in this collection and even in some basic studies related to the fact that they were listed as a national heritage. In a second moment, we researched methods of reading images consecrated by art history, which have also been used by archaeologists and anthropologists, aiming the readability of these objects. We highlighted among these methods of reading the formal and the iconographic, because they allow, in terms, the legibility of objects endowed with artistic interest. Even though these non-Western objects, sometimes archaeological or ethnological, are eventually considered artistic, the third moment of the research was dedicated to identifying how they have been inserted in the history of art, including by artists who mediated their reception since modernism, as is the case of Vicente do Rego Monteiro, Theodoro Braga, Carlos Hadler and Manoel Pastana.

Dissertação (Mestrado) — Universidade de Brasília, Instituto de Artes, Departamento de Artes, Programa de Pós-Graduação em Artes Visuais, Brasília, 2021. A presente pesquisa tem por objetivo cotejar o conceito panofskyano de habitus, apresentado no livro Arquitetura Gótica e Escolástica, de 1951, com as representações iconográficas da passagem bíblica da Última Ceia. Consideramos, primeiramente, que abarca conformações plásticas do referido tema a partir de transposições de tipos iconográficos anteriores, referentes a temas grecorromanos envolvendo a comensalidade, na produção visual paleocristã, dedicando especial atenção a seu contexto e antecedentes históricos. Paralelamente à análise de pinturas e relevos significativos em processos de estabilização e transformações estilísticas até o Renascimento, buscou-se apresentar e discutir pontos fundamentais do desenvolvimento diacrônico do conceito de habitus segundo a proposta metodológica de Erwin Panofsky, que remonta a antecedentes aristotélico-tomistas. Este movimento metodológico permitiu apreender certos elementos que relacionam a iconografia e o conceito em questão, procurando compreender qual seria a qualidade de tal relação. Tal cotejamento, realizado no extenso recorte temporal mencionado, objetivou, em seguida, verificar a interação do conteúdo imagético e das proposições conceituais à luz do conceito panofskyano, propondo que as transfigurações iconográficas já apresentariam um arcabouço substancial passível de ser submetida à correlação que Erwin Panofsky denominou uma análise de “causa-e-efeito”, em contraposição a uma perspectiva de “evolução das formas”. Na última etapa da pesquisa, realizou-se um salto temporal de modo a verificar, sob uma perspectiva histórica, diferentes retornos à iconografia da Última Ceia, a partir da constituição da acepção panofskyana do conceito de habitus, considerando seu debate à época da publicação do referido livro, entre seus detratores e sua adoção por Pierre Bourdieu. Finalmente, discutiu-se a viabilidade de uma reconsideração metodológica do habitus em história da arte, a partir da proposição de Adi Efal Lautenschläger, paralelamente à identificação de reverberações a nós contemporâneas do tema da Última Ceia em suas cristalizações pela cultura visual da virada do século XX para o XXI. Desse modo, buscou-se, ainda que com ressalvas, recolocar à baila a discussão do conceito de habitus no atual debate sobre as bases teórico-metodológicas do campo disciplinar da história da arte, a partir de um tema tão pregnante da cultura greco-judaico-cristã, como a Última Ceia, e suas mais diversas apropriações e deslocamentos. This research aims to compare the Panofskian concept of habitus, presented in the book Gothic and Scholastic Architecture, from 1951, with iconographic representations of the biblical passage of the Last Supper. First, we consider that it encompasses plastic conformations of the referred theme from transpositions of previous iconographic types, referring to Greco Roman themes involving commensality, in the paleochristian visual production, dedicating special attention to its context and historical background. Parallel to the analysis of paintings and significant reliefs in stabilization processes and stylistic transformations until the Renaissance, an attempt was made to present and discuss fundamental points of the diachronic development of the concept of habitus according to the methodological proposal of Erwin Panofsky, which dates back to Aristotelian-Thomists antecedents. This methodological movement allowed us to apprehend certain elements that relate iconography and the concept in question, trying to understand what would be the quality of such a relationship. Such comparison, carried out in the extensive time frame mentioned, aimed to verify the interaction of the imagery content and conceptual propositions in the light of the Panofskian concept, proposing that the iconographic transfigurations would already present a substantial framework capable of being subjected to the correlation that Erwin Panofsky called an analysis of “cause and-effect”, as opposed to a perspective of “evolution of forms”. In the last stage of the research, a time leap was made in order to verify, from a historical perspective, different returns to the iconography of the Last Supper, from the constitution of the Panofskian meaning of the concept of habitus, considering its debate at the time of publication of the referred book, among its detractors and its adoption by Pierre Bourdieu. Finally, the feasibility of a methodological reconsideration of the habitus in art history was discussed, based on the proposition of Adi Efal Lautenschläger, in parallel with the identification of reflections to us contemporary to the theme of the Last Supper in its crystallizations by the visual culture of turn of the 20th to the 21st century. In this way, we sought, albeit with reservations, to bring back to the fore the discussion of the concept of habitus in the current debate on the theoretical-methodological bases of the disciplinary field of art history, based on such a pregnant theme of Greek-Jewish-Christian culture, like the Last Supper, and its most diverse appropriations and displacements1 .

Dissertação (Mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Artes, Programa de Pós- Graduação em Artes Visuais, Brasília, 2020. O presente trabalho investiga as implicações para a arte contemporânea decorrentes da presença do corpo (ou de partes) do animal – apresentado sob a forma do que denominamos animal-objeto – apropriado pelos artistas da mesma maneira que as coisas em geral. O deslocamento dos animais do ambiente natural para o mundo (artificial) da arte, dada a intrínseca capacidade de gerar e causar controvérsias, ativa uma série de questões, inclusive, de ordem ética. E, ao serem exibidos, em instituições certificadas pelo sistema da arte, animais tornam-se efetivamente obras de arte. A partir desses três eixos – deslocamento, apropriação e exposição, a dissertação discute se o corpo do animal, nessa nova condição, distingue-se ou não dos demais artefatos tornados objetos de arte. The present work investigates the implications for contemporary art arising from the presence of the entire body or animal parts – presented in the form of what we call animal- object – appropriated by artists in the same way as things, in general. The displacement of animals from the natural environment to the (artificial) world of art, given by the intrinsic capacity to generate and cause controversies, activates a series of questions, including ethic issues. When exhibited, in institutions certified by the art system, animals effectively become works of art. Based on these three axes – displacement, appropriation and exhibition, it discusses whether the animal body, in this new condition, distinguishes itself from other real objects became objects of art.

Dissertação (mestrado)—Universidade de Brasília,Instituto de Ciências Humanas, Programa de Pós-Graduação em Metafísica, 2020. Esta pesquisa se propõe a pensar o paradoxo visual do saber e não-saber conforme figura, principalmente, no livro Devant l’image (1990) do filósofo e historiador da arte Georges Didi-Huberman (1953-). Busca-se apresentar como o paradoxo, relatado a partir de experiências estéticas paradoxais quando diante da imagem, permite a Didi-Huberman realizar especulações filosóficas que questionam o saber do visual estabelecido por diferentes vertentes teórico-metodológicas da historiografia da arte. A partir da revisão epistemológica (e não a negação) de modelos discursivos que desviaram metodologicamente de aporias visuais, desenvolve-se como a noção de não-saber surge sob as infindas singularidades dialéticas que perpassam a experiência estética e quais são suas implicações. Nessa via, pela qual a história da arte, na concepção de Didi-Huberman, não estaria habituada a estabelecer explicações objetivas verificáveis, evidencia-se que a experiência estética é o ponto primordial e imprescindível para o questionamento a modelos de escrita da história da arte. Assim, busca-se problematizar como a consideração do paradoxo visual tende a tornar a história da arte uma escrita que, ao voltar constantemente a sua constituição e ao versar sobre fenômenos dialéticos – no sentido benjaminiano –, acaba por tornar a sua prática ela mesma filosófica. This research aims to think the visual paradox of knowledge and not-knowledge as it appears, mainly, in the book Devant l'image (1990) by the philosopher and art historian Georges Didi-Huberman (1953-). It aims to present how the paradox, reported from paradoxical aesthetic experiences when confronting images, allows Didi-Huberman to make philosophical speculations that question the visual knowledge established by different theoretical-methodological aspects of art historiography. From the epistemological review (and not denial) to discursive models, which methodologically deviated from visual aporias, it develops as the not-knowledge notion emerges under the endless dialectical singularities that permeate the aesthetic experience and what its implications are. In this way, in Didi- Huberman’s conception, by which the history of art would not be used to establish verifiable objective explanations, it is evident that the aesthetic experience is the primordial and the essential point for questioning writing models of art history. Therefore, this research seeks to problematize how the consideration of the visual paradox tends to make art history a writing which ends up making its practice itself philosophical, by constantly returning to its constitution and by dealing with dialectical phenomena, in the Benjaminian sense. Esta investigación propone pensar la paradoja visual de saber y no-saber como se muestra principalmente en el libro Devant l'image (1990) del filósofo e historiador del arte Georges Didi-Huberman (1953-). Planifica presentar cómo la paradoja, reportada desde experiencias estéticas paradójicas cuando ante la imagen, permite a Didi-Huberman hacer especulaciones filosóficas que cuestionan el saber de lo visual establecido por diferentes aspectos teórico-metodológicos de la historiografía del arte. A partir de la revisión (y no la negación) epistemológica a los modelos discursivos que se desviaron metodológicamente de las aporías visuales, se desarrolla cómo surge la noción de no-saber bajo las infinitas singularidades dialécticas que permean la experiencia estética y cuáles son sus implicaciones. En esta vía, a través de la cual la historia del arte, en la concepción de DidiHuberman, no estaría acostumbrada a establecer explicaciones objetivas verificables, es evidente que la experiencia estética es el punto primordial y esencial para cuestionar los modelos de escritura de la historia del arte. Por lo tanto, planea problematizar cómo la consideración de la paradoja visual tiende a hacer de la historia del arte una escritura que, al regresar constantemente a su constitución y a los fenómenos dialécticos – en el sentido benjaminiano –, termina haciendo que su práctica en sí misma sea filosófica.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2019. Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) Esta dissertação investiga a presença da Minimal Art estadunidense no Brasil tomando como ponto de partida a 8ª Bienal Internacional de São Paulo, em 1965, ao considerar a problemática que envolve a recepção deste movimento artístico tanto na década de 1960 quanto nos anos 1980. Pontuando o teor conceptualista intrínseco à produção dos artistas da Minimal e, de igual modo, compreendendo a operacionalização da abstração geométrica de maneira conceitual, e não estritamente formal, na variedade de trabalhos comumente associados a este movimento dos anos 1960, esta pesquisa manifesta o interesse em investigar a tensão interpretativa relacionada à primeira recepção da Minimal Art no Brasil, em 1965. Ao oferecer apontamentos a respeito do que entendemos constituir a segunda recepção da Minimal Art no Brasil, na década de 1980, a partir da exposição Em Busca da Essência: Elementos de Redução na Arte Brasileira, com curadoria de Gabriela S. Wilder, em ocasião da 19ª Bienal de São Paulo, em 1987, buscamos elencar pontos de contato e contrastes entre ambos os momentos da recepção da Minimal Art no Brasil, considerando as especificidades de cada período e analisando a contribuição desses dois momentos no que concerne às pesquisas voltadas a circulação de modelos artísticos e teóricos no contexto brasileiro da segunda metade do século XX. The following dissertation investigates the presence of the Minimal Art movement in Brazil, taking the 8th edition of the São Paulo Biennial, in 1965, as a starting point, by considering the issue that involves the critical reception of this artistic movement in the 1960s as well as in the 1980s. Punctuating the conceptual content inherent to the artistic production related do the Minimal Art as well as perceiving the operationalization of the geometric abstraction in a conceptual capacity, and not purely formal, in the wide range of artworks commonly associated with this artistic movement, this work manifests the concern of investigating the interpretative tension related to the first reception of Minimal Art in Brasil, in 1965. By offering notes concerning of what we understand that constitutes the second reception of the Minimal Art in Brazil, at 1980’s, from the analysis of the exhibition In Search of the Essence: Elements of Reduction in Brazilian Art, curated by Gabriela S. Wilder on the occasion of the 19th São Paulo Biennial, in 1987, this investigation seeks to list contact points, as well as contrasting issues, between both moments of the Brazilian reception of the Minimal Art movement, considering the specificities of each one of these periods in what concerns to the researches focused on the circulation of artistic and theoretical models on the Brazilian context of the 20th century second-half.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Programa de Pós-Graduação em Artes, 2018. O escultor Victor Brecheret (1894-1955), foi uma das maiores referências do modernismo brasileiro e dedicou grande parte de sua obra ao tema do índio. No contexto da primeira metade do século XX, as questões raciais no Brasil eram tratadas pelo Estado a partir da doutrina eugênica, teoria pseudocientífica apoiada por uma parte significativa da elite política e intelectual brasileira que também era adepta do Positivismo. Além disso, o regime Republicano iniciado no Brasil em 1889, com a queda da monarquia, favoreceu políticas de branqueamento da população através da facilitação da imigração europeia, afastamento das populações negras dos centros urbanos e das políticas de assimilação das comunidades indígenas do país. Em sua carreira, não isenta de controvérsia, Brecheret sempre expressou a busca pelo que ele chamava de “um outro nacionalismo” e “uma arte genuinamente nossa”. A obra de Brecheret ainda hoje é criticada pela sua aproximação dos interesses do Estado na exaltação de uma versão oficial da história em monumentos públicos, da mesma forma, nos anos 1920 foi também questionada pela exaltação das que eram consideradas “raças inferiores”, que ele incluía como fundadores na nação. Analisando a escultura Bartira (1954), e considerando o percurso do artista, suas referências e a dimensão que o tema do índio toma em sua obra, busca-se compreender as dinâmicas do modernismo brasileiro relativizando a periodização mais recorrente da História da Arte, partindo da hipótese de que Brecheret buscava poeticamente pelo que é chamado aqui de indianidade e como essa tensão entre forma e conteúdo se processa em sua obra. The sculptor Victor Brecheret (1894-1955) was one of the greatest references of Brazilian modernism and dedicated much of his work to the representation of the Indian theme. In the context of the first half of the twentieth century, racial issues in Brazil were treated by the State from the eugenics doctrine standpoint, a pseudoscientific theory supported by a significant part of the Brazilian political and intellectual elite that was also adept of Positivism. In addition, the Republican regime initiated in Brazil in 1889, with the fall of the monarchy, favored policies of ethnic cleansing through the facilitation of the European immigration, removal of the black population housing from urban centers, and assimilation of the indigenous communities. In his career, which is not without controversy, Brecheret always expressed the search for what he called "another nationalism" and "an art genuinely ours". Brecheret's work is still criticized for its approach to the interests of the state in extolling an official version of history in public monuments, and in the 1920s it was also questioned by the exaltation of those considered as "inferior races" as he included them as founders in the nation in his work. Analyzing the sculpture Bartira (1954), and considering the artist's path, his references and the dimension that the Indian theme took in his work, the aim is to understand the dynamics of Brazilian modernism by relativizing the most recurrent periodization of Art History, starting with from the hypothesis that Brecheret sought poetically for what is called here the indianidade and how this tension between form and content takes place in his work.

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A apropriação de imagens da arte é entendida na pesquisa como fator determinante da consolidação dos valores artísticos da cultura ocidental e a tese apresentada ‒ principal pressuposto da investigação ‒ é a de que a apropriação de imagens é um procedimento teórico-operatório e um recurso poético praticado com a intenção de deslocar valor às obras recentes e conceder caracteres de intelectuação, erudição de conhecimento e legitimação ao fazer artístico. O objetivo geral é conhecer e ampliar as possibilidades de reflexão e de conhecimento da natureza e da problematização das manifestações plásticas contemporâneas da arte no Brasil e a produzida na Bahia, em que a apropriação de imagens e de conteúdos da história da arte brasileira e internacional se constitua em recursos operatórios preponderantes. Quanto à metodologia, a pesquisa se insere nos campos conceituais dominantes da história, da interpretação, da crítica de arte e utiliza os métodos de análise e síntese, analítico-comparativo e conhecimentos do método histórico ‒ por meio da história das imagens, das metodologias da história da arte e de procedimentos da crítica de arte. Devido a isso, privilegia as obras teóricas de Aby Warburg, Georges Didi-Huberman, Hubert Damisch, Antoine Compagnon, Penelope Davies e Terry Barrett. A abordagem é qualitativa; assim, não relaciona todas as obras de cada artista em que aparecem apropriações de imagens e, sim, privilegia os tipos representativos e as principais particularidades relacionadas às apropriações de imagens características de um dado grupo de obras. Apresenta o conceito fundador de apropriação, considera a ressignificação como sinônimo de apropriação de imagens, discute a ressignificação como recurso interpretativo e de representação, destaca as particularidades e especificidades entre a apropriação, a releitura e a citação, e tece considerações sobre os sentidos da ressignificação na arte no Brasil, considerando 74 artistas e mais 45 da Bahia, totalizando 119 indivíduos ou grupos. Cita alguns artistas-base internacionais, vinculados às apropriações de imagens, e apresenta alguns dos principais conceitos fundantes da apropriação à luz da compreensão das informações existentes e da bibliografia disponível. Para efeito de conclusão, destacam-se: o papel de Elaine Sturtevant no âmbito de atuação internacional, como a “mãe” da apropriação de imagens; as especificidades das apropriações de imagens no Brasil, por meio de obras de Nelson Leirner, Regina Silveira, Adriana Varejão e Vik Muniz, entre outros; confirma Lenio Braga como o primeiro a utilizar apropriações de imagens na Bahia; apresenta o procedimento apropriativo de imagens como fenômeno transcultural e recurso de deslocamento de valor às obras recentes, que viabiliza a coautoria e a coparticipação de artistas de outros tempos históricos. Adicional a isso, conclui que as apropriações no Brasil e na Bahia se dão por meios de: comentário sobre o próprio medium ou linguagem utilizada; homenagem/tributo; deflagrador de processos criativos; comentários parodísticos e irônicos; intelectuação; comentários de gênero; e abordagens de cunho político-ideológico. The research aims at works of visual arts in which the appropriation of images from the history of art are preponderant constituent elements; it also investigates the consequences of the existing iconographic transit between different historical and artistic periods, in ways to understand the dynamics of this phenomenon in art in Brazil, and especially in Bahia. The appropriation of images of art is understood in this research as a determining factor in the consolidation of the artistic values of Western culture and the developed thesis - the main presupposition of this research - is that the appropriation of images is a theoretical-operative procedure and a practiced poetic resource with the intention of displacing value to the recent works and grant to the artistic making characters of intellectualization, erudition of knowledge and legitimation. The general objective is to know and expand the possibilities of reflection and knowledge of the nature and problematizations of the contemporary plastic manifestations of the art in Brazil and the one produced in Bahia where the appropriation of images and contents of Brazilian and international art history are preponderant operative resources. Methodologically, the research fits into the dominant conceptual fields of history, interpretation, art criticism, and uses the methods analysis and synthesis, comparative analytic, and knowledge of the historical method - through the history of images, the methodologies of art history and of art criticism procedures. Given that, it privileges the theoretical works of Aby Warburg, Georges Didi-Huberman, Hubert Damisch, Antoine Compagnon, Penelope Davies and Terry Barrett. The approach is qualitative; thus, does not relate all the works of each artist in which appear appropriations of images, but privileges the representative types and the main peculiarities related to the appropriations of characteristic images of a given group of works. It presents the founder concept of appropriation, considers re-signification as synonymous with appropriation of images, discusses re-signification as an interpretative and representational resource, highlights the particularities and specificities between appropriation, re-reading and citation, and weaves considerations about the meanings of resignification in art in Brazil, considering 74 artists, and 45 artists from Bahia, totalizing 119 individuals or groups. It cites some international artists linked to the appropriation of images and presents some of the main foundational concepts of appropriation in the light of the understanding of existing information and the available bibliography. To conclude, the following stand out: the role of Elaine Sturtevant in the international sphere, as the "mother" of the appropriation of images; the specificities of the appropriations of images in Brazil, through works by Nelson Leirner, Regina Silveira, Adriana Varejão and Vik Muniz, among others; confirms Lenio Braga as the first to use appropriations of images in Bahia; presents the appropriative procedure of images as a transcultural phenomenon and a resource of displacement of value to the recent works, that enables the coauthorship and the participation of artists of other historical times. In addition to this, it concludes that appropriations in Brazil and Bahia occur by means of: comment on the medium itself or the language used; homage / tribute; deflagrator of creative processes; parody and iro