Sistema Regional de Información
en línea para Revistas Científicas de América Latina,
el Caribe, España y Portugal

Introducció. La maternitat subrogada esdevé un fenomen social caracteritzat per la formalització d’un contracte pel qual es declara que una dona s’encarregarà de gestar el fill per a unes altres persones, renunciant, per tant, al seu dret com a mare. Aquesta es pot donar sota un ampli ventall de situacions segons el motiu que origini aquesta pràctica, com poden ser l’econòmic o l’altruista. Això pot donar lloc a pràctiques com el turisme reproductiu segons les lleis que es troben establertes en cada nació. Objectiu. Analitzar la maternitat subrogada a través de la literatura científica. Metodologia. S’ha realitzat una revisió bibliogràfica a través de les bases de dades de PubMed i SciELO. Resultats. S’analitzen onze articles i es troben diverses perspectives envers la maternitat subrogada: autors que estan a favor d’aquesta pràctica i la seva legalització, autors en contra, i finalment, autors a favor d’una regularització. Conclusions. La maternitat subrogada es pot aproximar des de dos punts de mira, l’ètic i el pragmàtic. Des de l’ètica, s’afirma que és una cosificació de la dona que no té en compte els riscos i aspectes emocionals que comporta l’embaràs. Per altra banda, des d’una visió pragmàtica, la gestació subrogada és un tema de gran controvèrsia que genera un problema internacional de difícil regularització. Finalment, tenint en compte la visió infermera, és imprescindible formar a tot l’equip interdisciplinari i crear protocols d’actuació per tal d’oferir una atenció integral i de qualitat.

This article proposed as a general objective to understand whether creativity, in a process ap-proach, can be understood as a complex adaptive system, in the perception of professionals in creative areas, regarding the processes inherent in the management of fashion products, who work in companies in the leather-footwear sector located in the region of Vale dos Sinos. Seven semi-structured interviews were carried out with the target audience, from five companies, as de-tailed in section three. Regarding the approaches brought by the contributions of complex adap-tive systems (CAS), which find similar characteristics in creative and innovative organizations, it was possible to conclude that there are opportunities for the researched environments to explore, in more depth, such approaches, which understand that the Organizations are not just the sum of their components (agents), but also the result of the intricate relationship between these compo-nents. Recognizing the complexity inherent to the creative process of organizations, understand-ing the interrelationships, and the interdependence between the subjects and elements involved in these interactions, can contribute to rethinking new alternatives and management strategies.

Contemporary unsustainability related to production and consumption awakens multidisci-plinary discussions. From a more sustainable fashion vision by the creative economy approach, the objective of this paper was to identify which aspects contribute to the sprouting of sus-tainable fashion businesses from the fashion designer’s perspective in the context of the city of Porto Alegre. To this end, research is carried out in an exploratory-descriptive, quality-quanti-tative approach, performed in three phases: (1) narrative literature review; (2) data collection; and (3) comparative analysis. Thus, it is observed that aspects such as culture, education, media, coworking and other collaborative movements, in addition to the Municipal Plan of Creative Economy of Porto Alegre and Fashion Revolution, were fundamental for the emergence of the researched businesses, which allows the conclusion that a set of elements — individuals motivat-ed by sustainability, government, leaderships, and institutions — collaborate for the sprouting of sustainable fashion businesses.

In the search for alternative and local productions of fashion articles with social engagement, this article proposes a reflection on the development of the urban space of Rio de Janeiro, Brazil, to understand it as a scenario for design initiatives in groups of artisans and seamstresses. The de-velopment of Rio de Janeiro’s urban space and its peculiarities, such as the growth of favelas in more valued places like the central and southern region of the city, in addition to the integration difficulties of these territories and their residents, were of great relevance for the analysis. The va-lorization of the social production of these territories represents the solution for integration, favoring the development not only of the favelas, but also of the city as a whole. Local produc-tion, in addition to the characteristic of cultural valorization, can promote social and economic development, as well as assist in environmental preservation, which was demonstrated with the description of the case study, namely the Ecomoda project. The project features a socio-environ-mental pedagogical initiative in which there had been design interference in groups of artisans and seamstresses.

In recent decades, the theme of creative economy has been the setting for fruitful discussions, especially regarding fashion and its relationship with consumption. From this perspective, this ar-ticle was developed with the objective of analyzing a cultural object, in this specific case, the TV series Girlboss, relating it to the field of creative economy, fashion, and consumption. Regarding methodology, this is an exploratory-descriptive research with a qualitative approach. As far as the technical procedures are concerned, this is a filmic analysis fostered by theoretical concepts. As main results, it is highlighted that the series focuses on the development of a creative venture in the business of fashion thrift stores, in which, among other issues, discussions are held involv-ing female entrepreneurship, the importance of having collaborative networks, and notions of sustainability in this type of business, which is based on the cultural and creative capital of the central character.

The dynamic of capitalism intensified the fashion market around the 19th century with the cre-ation of haute couture. Since then, several factors have been relevant in shaping this dynamic by consumption bias, such as the distinction of social classes, mass culture and the media. This article proposes, through a bibliographic review, a reflection on the conformation of this market, from its origin to the present day, from haute couture to fast fashion, its articulations with the media in the dissemination of trends and its influence on consumption patterns. In this approach, changes in the fashion market, such as, the emergence of fast fashion and the permanence of a luxury market with global dimensions were evaluated, based on the understanding of fashion as a social phenomenon and its importance as an industry and cultural product.

The article proposes a theoretical and methodological essay to undertake the decolonial turn onfashion research. Coming from a multidisciplinary approach, the essay explores two concepts: asocial back stitch in fashion and tear up in fashion to demonstrate the first steps that the practiceof the cross method requires in the context of fashion research. The crossroads, as a concept, isused in its political and epistemological function, guiding the theoretical-methodological proposalto the transgression of western canons and colonies that still operate in fashion studies. Thecrossroads is associated with the metaphor of the drawing and the sewing machine bobbin, whichbroadens the thinking of fashion gears and, therefore, operates the decolonial turn.

his article presents the preliminary results of an exploratory field research on the Beachwear Cabo Frio/RJ Local Productive Arrangement, which aims to investigate the flow of textile waste from the production of local factories, analyze the feasibility of transforming this waste into raw material to be reintroduced into production itself or to supply other production cycles. To this end, we conducted unstructured interviews to understand how companies manage this waste. We partially conclude that there is no textile waste management system. In most cases, textile waste is disposed of as common waste. Moreover, companies donate part of the amount to nongovernmental organizations and individuals, and, until the completion of this article, we found that only two out of the 40 companies that are part of the cluster perform the separation and storage of the material to negotiate the sale with a textile recycling company located in São Paulo state.

In recent years, the state of Pernambuco has presented an increasing number of small businesses focused on authorial fashion, with the majority of them concentrated in the Metropolitan Region of Recife. Many of these companies have craftwork as the major feature of their brand identity. This article presented the results of a case study about the artisanal production present in an au-thorial fashion brand whose main products are leather shoes. The main result of this study was the observation of the creator as an artist-craftsman, whose manual skills and creative freedom are central elements for the construction of the brand.

Francesco (Ascanio) Caracciolo (1563-1608) is a prominent figure in Italian oratorianism of the Catholic Reformation. After being cured of leprosy in his youth while in the military, he turned to religious life, founding the Congregation of the Minor Clerics Regular in Naples together with Giovanni Agostino Adorno and Fabrizio Caracciolo. His intention was to form exemplary and active priests who lived in community and provided social service through preaching and assistance. Endowed with a passionate and charitable spirit, on September 10, 1769 he was beatified by Clement XIV. The Imago of the brand new blessed, painted by Domenico de Angelis, is a notable exponent of the quadri di canonizzazione used in the ephemeral devices for the sanctification of the Catholic "Atlanteans of the Faith" between the 16th and 19th centuries. We approach this problem together with the stylistic-formal analysis, iconographic study and contextualization of the referred canvas, clarifying its origin, authorship and identification. No one could have suspected that day that the canvas discovered in Cathedra Petri to present him to the world as the most flamboyant of the blessed of the Catholic Church would end up, first of all, in the Malaga church of the Order that he founded and definitely in the cathedral of this city.