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Copyright of Revista SAAP is the property of Sociedad Argentina de Analisis Politico 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 study proposes a phenomenological approach to the scar motif in recent Spanish poetry. To establish a varied panorama, four collections of poems published in the 21st century have been selected: Heridas [Wounds], by Jesús Aguado (2004), 5 cm (la cicatriu) [5 cm (the scar)], by Mireia Vidal-Conte (2012), Alzar el duelo [Raising the Mourning], by Loreto Sesma (2018), and La sutura y la piel [Suture and Skin], by Miguel Ángel Ortiz Albero (2018). All of them take the skin as a polysemic symbol but materialize it verbally in different aesthetic and expressive forms. Consequently, the phenomenological method allows us to examine the different dimensions of corporeality in the poems through notions such a surface, vulnerability and wound to confirm their resignification in the new century. [ABSTRACT FROM AUTHOR]

Centered on an Argentine woman’s wanderings through Heidelberg after an impulsive trip, La habitación alemana (2017), by Argentine writer Carla Maliandi, depicts aimless movement both as a journey of deterritorialization from the familiar, and as an investigative and tentative shift toward the experiences of a childhood marked by exile. On the one hand, wandering can be read as a movement that lies between the concepts of smooth space and striated space, as proposed by Deleuze and Guattari. On the other hand, wandering is a type of movement that can be understood as a force that connects with the vibrant nature of the environment, thus creating an affective landscape characterized by nostalgia. In line with the lack of direction in these journeys, nostalgia implies not only a return to the past but, primarily, an impulse toward a future of possibilities that questions spatiotemporal categories. [ABSTRACT FROM AUTHOR]

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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 Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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 Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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.)

Apresentação - Dossiê - Formas Autoritárias de ontem e hoje.

O presente trabalho é, ao mesmo tempo, um breve panorama e um comentário sobre a situação atual do latino-americanismo neste século XXI. Neste panorama, se nota uma diferença muito clara das tendências vindas prioritariamente dos Estados Unidos, mas também da Europa, que se multiplicam em uma série de teorias especializadas, devedoras especialmente dos estudos culturais e dos estudos subalternos desenvolvidos ainda na década de 1990. Já a crítica literária latino-americana parece resistir, em alguma medida, aos avanços das modas - ou “giros” - vindos da “metrópole” e demonstram uma tendência dupla de resignificar os estudos decoloniais - por vezes aparecendo como descoloniais - ou avança na direção historiográfica que objetiva investigar os processos e impactos literários do período ditatorial e pós-ditatorial do Cone Sul na segunda metade do século XX.

This article presents quantitative data regarding the production of new contemporary Brazilian operas that premiered in the 21st century. Season planning for opera theatres and orchestras around the globe is based on a limited number of titles by well-known composers. The canonization of an operatic repertoire has limited artistic choices mostly to the same works by popular composers. However, in the last few years, new operatic works by contemporary composers have gained more space within operatic seasons. How does this phenomenon apply to Brazil? What are the new Brazilian operas and who are their composers? It was necessary to build a database to catalog and systematize professional opera production in Brazil in the 21st century. Base Ópera Brasil (BOB) was created for such a purpose, as well as to make public the results of this research. Although the traditional repertoire continues to be the most produced in Brazil there is a significant increase in the premiere of new Brazilian operas over the last two decades, consistent with operatic trends in other parts of the world. [ABSTRACT FROM AUTHOR]

Copyright of HiSTOReLo: Revista de Historia Regional y Local is the property of Universidad Nacional de Colombia, Centro Editorial Facultad de Ciencias Humanas y Economicas 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.)

RESUMO Orientado pelo materialismo histórico-dialético, investigamos a “hostilidade para com a teoria” nos Estudos do Lazer (EL) no século XXI, em um estudo teórico que se vale da análise bibliográfica. Para isso, analisamos a produção de alguns dos mais influentes autores brasileiros do período e o renovado debate sobre a origem do lazer.

Copyright of Historia y Sociedad (01218417) is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas y Economicas 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.)

RESUMO: Este texto aborda as políticas linguísticas públicas educacionais sobre a oferta de línguas estrangeiras no Brasil e no Uruguai na primeira década do século XXI. O objetivo é problematizar a interpretação de leis nacionais, a partir das três unidades escolhidas para o desenvolvimento de um estudo comparado, a saber: lugar, tempo e políticas. O trabalho é meritório por sustentar uma valoração situada dos elementos mais significativos da comparação e por mostrar a complexidade da proposição e da compreensão dessas políticas. Notabiliza-se, mediante as análises, que nas leis que dispõem sobre línguas estrangeiras na educação dos dois países, o vínculo sul-sul não teve uma posição destacada no período selecionado, mas apenas consentida.

Neste artigo discutimos a narrativa fílmica do documentário Oxalá cresçam pitangas: histórias de Luanda, produção angolana lançada em 2006. Apresentamos as representações construídas por pessoas que prestam depoimentos sobre temas propostos pelos realizadores do filme, os quais, ao destacarem aspectos da vida cotidiana de Luanda, no contexto pós-guerra civil, indicam suas expectativas em relação àquela cidade e ao país. Ao produzirmos um exercício de mediação entre filme e os leitores deste texto, à medida que estes entram em contato com a narrativa fílmica por nosso intermédio, torna-se possível apreender os significados atribuídos por aqueles que o realizaram.

The study aims to map and characterize the scientific production of marketing education in the 21st century (2001 - 2020). The procedure adopted was bibliometric, in which the Web of Science platform was used to search for articles that, after filtering procedures, resulted in 72 papers. The Excel and VOSviewer© software supported the analysis procedures. The results show that in the current century, more specifically as of 2015, interest in the topic has found continuous growth. The journal with the largest number of published articles is the most influential in the number of citations and, expressively, educational institutions and North American journals dominate the publications in the area. Finally, it is also important to emphasize that marketing education should adopt different paradigms through movements of hybridism and domestication of knowledge for better appropriation and applicability of concepts.

Copyright of Cities, Communities & Territories / Cidades, Comunidades e Territórios is the property of Instituto Universitario de Lisboa, DINAMIA-CET 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 Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial 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 article aims to present the science of happiness history and transformations, from antiquity to the present day. The aim is, albeit succinctly, to make some considerations about the study of happiness, weaving correlations with local development, as local development is a complex concept, which starts from the reinterpretation of a series of discussions and issues about what is meant by development. Works published in indexing sources with the greatest impact, at national and international levels, were used, in order to allow greater targeting of studies related to this concept. The systematic literature review using the SciELO index was used as a method, by consulting the keywords: “science of happiness”, “antiquity”, “contemporaneity”, “local development”, “21st century”. Next, articles from the specific period dated from 1960 onwards, when happiness began to be treated as a science, were researched. In today’s world, happiness can be understood as a basic emotion characterized by a positive emotional state with a feeling of well-being and pleasure, associated with the perception of success and a coherent understanding of the world. However, most people understand that happiness is more than a tangle of intense, positive feelings. It can be understood as a full feeling of “peace” and contentment, as it all depends on how much our interpretation of reality changes our experience of that reality. [ABSTRACT FROM AUTHOR]

Copyright of Revista Brasileira de Lingüística Aplicada is the property of Revista Brasileira de Linguistica Aplicada 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.)

Resenha do livro: MORAIS, Fernando. Lula: Biografia, Volume 1. São Paulo: Companhia das Letras, 2021.

Este texto discute a pertinência, atualidade e princípios do conceito de literacias para uma cidadania global. Após descrever historicamente a emrgência e o enquadramento do conceito de literacia, na década de sessenta do século passado, abordam-se os fatores que impelem à sua expansão num mundo global. Descreve-se o entendimento de ler o mundo, como capacidade de buscar, agregar e interpretar informação, a partir de múltiplas fontes e dispositivos, com o objetivo de compreender fenómenos e situações. Defende-se que o objetivo da literacia para uma cidadania global deve dirigir-se a todos os grupos sociais, identificados por caracrterísticas próprias e merecedores de abordagens específicas. A metodologia utilizada está sustentada na revisão bibliográfica e assume-se o pendor ensaístico e exploratório da exposição.

Copyright of Historia y Sociedad (01218417) is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas y Economicas 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 Pedagogía y Saberes is the property of Universidad Pedaggica Nacional 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.)

Reforçar, Renovar e Ampliar Laços: o Odin Teatret em Cuba e no Uruguai no século XXI – O Odin Teatret, fundado em Oslo em 1964 e estabelecido na Dinamarca desde 1966, começou a tecer relações importantes com artistas latino-americanos a partir da segunda metade dos anos 1970, sobretudo durante suas diversas turnês além-mar (de 1976 até os dias de hoje). No artigo, através de dois estudos de caso (as turnês do Odin em Cuba, em 2002 e no Uruguai, em 2006), serão analisadas algumas características dessa rede, ao mesmo tempo antiga e contemporânea, que permitiu aos performers dos dois continentes tornar suas aventuras teatrais mais sólidas e duráveis por meio do compartilhamento de reflexões e savoir-faire, bem como de formas de produção e de divulgação alternativas.

Resumo Este artigo analisa um conjunto de escritos publicados nos últimos anos que identificam uma grave crise das democracias contemporâneas. Eles tratam das causas e dos sintomas desse processo de “desconsolidação democrática” e propõem algumas soluções para sua superação. O clamor pela restauração da democracia liberal destaca-se como elemento normativo comum à maior parte desses escritos. Contraposto a essas concepções institucionalistas e que redundam em duas estratégias de reconstrução da democracia liberal (o “salvacionismo elitista” e o “catecismo cívico”), este artigo assume que vivemos uma crise estrutural do chamado “capitalismo democrático”, produzido pela “revolução neoliberal”. Dessa última perspectiva não se deduz, todavia, nenhuma “saída” imediata para o dramático momento histórico em tela.

Valeria Luiselli began her writing project with the essay Papeles falsos (2010), after a series of failed attempts at writing fiction. However, a year later she published her first novel, Los ingrávidos (2011), which takes up many of the questions raised in her first book. Through a careful reading of some of the themes that Luiselli's texts persistently examine, we analyze the author's literary operations in each of these cases. We recognize a similar logic behind these operations: different forms of translation based on a process of constant displacement and which also construct a migrant aesthetic. [ABSTRACT FROM AUTHOR]

Copyright of Arquivos de Neuro-Psiquiatria is the property of Thieme Medical Publishing Inc. 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 Journal of Management Analysis / Revista Gestão em Análise is the property of Revista Gestao em Analise 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 work aims to rethink, putting the axis in temporality, the problems posed by the imagination of the end (of the current existing world). To do this, we propose an itinerary across the interventions around the pandemic expansion of COVID-19, which have put into play the logic of a radical end to address the singularity of this phenomenon. It seeks to analyze how the temporalities played out in these essays allows us to go in depth in the previous reflections on these imaginaries (particularly in their apocalyptic form). Secondly, the critical tools arising from this exploration are used to return to the ways of configuring the after the end in the trilogies published by Oliverio Coelho, Rafael Pinedo and Carlos Ríos between 2003 and 2015, emphasizing how they are constituted as long-term narrative projects that, through the way they articulate their episodes, enable a unique staging of the temporal thickness that is elaborated in the formulation of their endings. This highlights the way in which the hybridization operates on the pairs chronology / heterochrony, continuity / anachronism, successivity / simultaneity. [ABSTRACT FROM AUTHOR]

Luisa Carnés was one of the Spanish intellectuals who, like many others, had to go into exile after the Civil War and the victory of Franco's troops in 1939. Carnés had published several works in Spain, continuing to write in Mexico. However, her texts were forgotten even after the return of democracy in 1975. In the 21st century the academic and publishing universes rescue this important figure in Spanish literature, integrating her or at least bringing her closer to the Nuevo Romanticismo or Generación del 27, seeking to properly highlight it in contemporary culture. I approach this mediation process in this paper, analyzing the relevance today of Carnés' perspective on the condition of women. [ABSTRACT FROM AUTHOR]

Copyright of Investigaciones Feministas is the property of Universidad Complutense de Madrid 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.)

O artigo tem por escopo trazer apontamentos e aproximações entre arte e tecnologia no recorte do Século XXI. É certo que arte e tecnologia não são constantes, o que que prejudicaria a tentativa de estabelecer uma definição. Assim, parte-se de acepções de arte-magia, arte-objeto, arte-programação e tecnologia-dispositivo, para alcançar a leitura de correlação entre os termos arte e tecnologia que, dependendo do ponto de partida, podem ser ambí­guos, todavia são diferentes em sua axiologia. Por uma metodologia fenomenológica e pela pesquisa bibliográfica, o texto exara a conclusão de que arte e tecnologia podem se relacionar e isso tem potencial afirmativo para a sociedade.

Reforçar, Renovar e Ampliar Laços: o Odin Teatret em Cuba e no Uruguai no século XXI – O Odin Teatret, fundado em Oslo em 1964 e estabelecido na Dinamarca desde 1966, começou a tecer relações importantes com artistas latino-americanos a partir da segunda metade dos anos 1970, sobretudo durante suas diversas turnês além-mar (de 1976 até os dias de hoje). No artigo, através de dois estudos de caso (as turnês do Odin em Cuba, em 2002 e no Uruguai, em 2006), serão analisadas algumas características dessa rede, ao mesmo tempo antiga e contemporânea, que permitiu aos performers dos dois continentes tornar suas aventuras teatrais mais sólidas e duráveis por meio do compartilhamento de reflexões e savoir-faire, bem como de formas de produção e de divulgação alternativas.

Through the study of the autobiographical novel La caja Topper by Nicolás Gadano (2019), this article addresses the uses of the archive in the narratives of the children of victims -in a broad sense- of the last Argentine military dictatorship. Following the theoretical propositions of Jacques Derrida, Sara Ahmed, and Adriana Cavarero, we analyze the interventions that Gadano makes on the objects that his mother kept in a sneaker box as memorabilia of the family exile experience. First, we study the way in which the old box and the objects contained in it function as a matriarchive. Second, we analyze the operations that Gadano performs on the materiality, content, and ordering of the objects in the box, which produces a generational transfer of authority over the archive. Finally, we conclude that, through his fidelity to the maternal affective style, the author disassembles the traditional model of emotional labor division, reshaping the links between gender, generations, and memory. [ABSTRACT FROM AUTHOR]

There are two identifiable moments in María Rosa Lojo's lyrical work, gathered in Bosque de ojos (2011): one composed of Visiones (1984) and Forma oculta del mundo (1991), and another of Esperan la mañana verde (1998) and Historias del Cielo (2011). While in the first two books the self-absorption of the medium-poet in charge of the enunciation prevails, in the final two Lojo's poetics expands (in a gesture that may be understood as decolonial) in order to integrate references and characters from historically marginalized traditions and silenced by modern reasoning. This incorporation means that the search for the Other, a central aspect of Lojo's poetic work, is now undertaken with a more expansive and narrative language, more drawn to astonishment and irony, far from the serious, fearful and oracular tone of the earlier books. This turn can be read as the move from the medium-poet to the shaman-poet, a concept Lojo has examined in some of her metapoetic texts. [ABSTRACT FROM AUTHOR]

Anclajes is not a journal dedicated to studies on women, genders or sexualities. However, the presence of articles dealing with these issues reflects the evolution of a line of research that was unusual in Humanities journals a few decades ago. [ABSTRACT FROM AUTHOR]

Periodicals emerged as a field of critical interest at the end of the previous century. This interest was nuanced and covered many fields: for instance, the analysis of the links between literature, politics and the markets, as well as the circulation networks of publications as cultural goods and their materiality as printed, media and visual objects. This article compares these general trends with the contributions published in recent decades in Anclajes and its projections. [ABSTRACT FROM AUTHOR]

This review examines the advances, changes and critical setbacks that occurred in the field of memory and violence in post-dictatorship Southern Cone. Many of the contributions published in Anclajes in the last decades make up a corpus of interest for the research of historical and cultural memory. [ABSTRACT FROM AUTHOR]

Academic journals differ only in some criteria and formal aspects from cultural or literary journals. In both cases, they install or consolidate theoretical and critical lines. The anniversary of Anclajes offers an opportunity to review some of these lines in relation to literary studies on contemporaneity. [ABSTRACT FROM AUTHOR]

Memory and testimony studies renew classic debates that confront established theses on the violence of the 20th century. In this framework, I read the critical itinerary of Anclajes as it expands the literary canon from a corpus cut out by the memoirs in conflict in the Southern Cone. I argue that memoirs are not involved as a remnant of anecdotes of a defeat, but that they emerged in the very center of literary production as a divergent corpus that illuminates a new point of conflict in the colonial dispute over language, writing and territory. [ABSTRACT FROM AUTHOR]

On the anniversary of the journal Anclajes, this article reviews its contributions to issues of the sex-gender system, from the last decade of the 20th century to the most recent queer studies. I point out the integration of these contributions to a growing trend in the field of Humanities, both in central and peripheral countries, and describe the relevance of some of the articles published in the journal. [ABSTRACT FROM AUTHOR]

Copyright of Historia y Sociedad (01218417) is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas y Economicas 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.)

Remapping Brazilian film culture in the twenty-first century, de Stephanie Dennison, reflete sobre as transformações da cultura cinematográfica no Brasil nos últimos vinte anos, observando o papel desempenhado pelo cinema nacional no período que marcou a ascensão e o declínio da “Era Lula”. Seu olhar pautado pelos estudos culturais e por um profundo conhecimento do cinema brasileiro embasam essa análise retrospectiva que contribui para a compreensão das conquistas artísticas, econômicas e culturais obtidas em quase duas décadas de políticas públicas voltadas para o audiovisual.

In Fuenzalida (2012), by Chilean writer Nona Fernández, the protagonist embarks on a quest to reconstruct her father's life and a period of her country's history. In the novel, the protagonist accesses both histories through other people's memories and stories. This reassembling entails simultaneously rethinking her private history and the History of Chile. This article proposes a reading on family histories and the meaning of memory, which is indebted to transmitted stories. Like a game of mirrors, in this novel fiction and history combine to give a twist to a well-known topic in Latin American literature. [ABSTRACT FROM AUTHOR]