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

EDITORIAL

Los Vera y Bustamante han sido una de los primeros linajes españoles que se asentaron en la región de Los Llanos de La Rioja a comienzos del siglo XVIII. Allí se establecieron en la pequeña localidad de La Huerta, lugar en el cual levantaron sus estancias y formaron sus familias, y desde donde se extenderá su descendencia por toda la provincia y el país. El estudio detallado de esta familia nos ha permitido no solo echar luz sobre su confuso origen, sino que también nos demuestra la complejidad de la sociedad colonial riojana y sus medios de reproducción.Estudios previos han afirmado que este linaje provenía de don Juan Antonio Vera y Bustamante, genearca de quien descenderían todos los Vera riojanos. No obstante, pudimos ubicar otra familia Vera mulata, que convivió con los Vera y Bustamante prácticamente en el mismo espacio geográfico y temporal. Curiosamente, aquellos resultaron ser parientes inmediatos de estos, pero diversas circunstancias históricas posicionaron a los descendientes de Juan Antonio en la calidad de españoles, mientras que la otra rama familiar se mantuvo en el sector inferior de mulatos y mestizos. Mediante el análisis de esta situación particular, pretendemos develar el origen del linaje y de su genearca, al tiempo que observaremos de cerca la composición de la sociedad riojana del siglo XVIII.Palabras clave: Vera y Bustamante, familia, genealogía, sociedad colonial, La Rioja The Vera y Bustamante: Study on their genearch(La Rioja, 18th century)AbstractThe Vera y Bustamante family were one of the first Spanish lineages to settle in The Llanos of La Rioja region at the beginning of the 18th century. There they settled in the small town of La Huerta, where they built their farms and raised their families, and from where their descendants spread throughout the province and the country. The detailed study of this family has allowed us not only to shed light on its confusing origin, but also shows us the complexity of La Rioja colonial society and its means of reproduction.Previous studies have affirmed that this lineage came from Don Juan Antonio Vera y Bustamante, genearch from whom all the Vera people of La Rioja would descend. However, we were able to locate another Vera family mulatta, who lived with the Vera y Bustamante family in practically the same geographical and temporal space. Curiously, those turned out to be their immediate relatives, but various historical circumstances positioned the descendants of Juan Antonio as Spaniards, while the other family branch remained in the lower sector of mulattoes and mestizos. Through the analysis of this particular situation, we intend to reveal the origin of the lineage and its genearch, while we will closely observe the composition of La Rioja society of the eighteenth century.Keywords: Vera y Bustamante, Family, Genealogy, Colonial society, La Rioja

Número 18 Volúmen 18 de la revista Ágora UNLaR

The present article has the general objective of analyzing the representation of old age in the fashion contents of Claudia magazine, seeking to reveal how they occur and what are the mechanisms used by the periodical in the construction of these representations. Methodologically, this is a research with a qualitative approach, classified as documentary and interpretative, carried out in 156 editions of the magazine, published between January 1997 and December 2010. The theoretical framework mobilized for analysis came from the cultural perspective, focusing on the author’s work Julia Twigg (2007, 2008, 2010, 2013, 2017, 2018). The analyzed corpus revealed that the fashion content of Claudia magazine negotiated with age through the use of three strategies: censorship, dilution and homogenization/ erasure. There is, on the part of the publication, a normative standard imposed on older women, a morality that restrains the exposure and visibility of their bodies, which includes the use of neutral colors, straight modeling and timeless pieces. In other spaces, outside the fashion content, resistance movements were noticed, which departed from this pattern suggested by the editors.

Considering the unsustainability of contemporary production and consumption in the fashion sector, in addition to the controversial corporate actions to mitigate the environmental, social, and economic impact, the objective is to identify which research studies address principles and guidelines for conscious and responsible consumption in the sector. of fashion. Therefore, exploratory research with a quantitative approach is carried out, based on the Systematic Search Flow (SSF) method for data collection, and content analysis for data analysis. Thus, there is little research in the area, mainly addressing the themes of the supply chain, conscious consumption, and Corporate Social Responsibility (CSR). From the search, no studies were found that deal with principles and guidelines, but only with recommendations for conscious and responsible consumption in the fashion sector. Despite this, there are recommendations for governments to lead sustainable development and for the consumer to be an active participant in this process, in addition to a certain concern regarding the posture of industry and retail.

This article was developed with the purpose of understanding the production of home textile craftsmanship in the municipality of Resende Costa, in a historical and contemporary perspective. In terms of methodology, this is a case study carried out online, in which 40 weavers (and people who have worked in the craft) of the locality were interviewed, 20 men and 20 women. The data was organized and analyzed through a content analysis by thematic networks. In terms of the main results, it is understood that in short, textile crafts are produced in the home, and are mainly developed by women. In the past, production was totally manual, from the planting to the finishing of the artifacts, being made in smaller quantities and more slowly. Nowadays, the way of weaving is maintained, however, the basic raw material for the production becomes industrial and the production reaches the status of manufacturing, with large quantities of handicrafts being made in a more simplified form, placing the craft between tradition and modernity.

This article investigates the semiotic strategies through which Brazilian politicians build an aura of authenticity on Instagram. More specifically, we focus on how they use their bodies and clothes in order to appear humble people. We argue that authenticity is constructed through figurative and plastic arrangements capable of display them as common citizens like everybody else. In order to show how this happens, we draw on the theoretical and methodological framework of Greimas’ discursive semiotics, particularly focusing on the figurative and plastic dimensions, as well on the recent semiotic studies on contemporary digital populism.

O presente artigo pretende relatar a experiência como Professora Visitante no Departamento de Design do Politécnico de Milão e abordar o Laboratório de Design como prioridade e característica distintiva do Sistema de Design do Politécnico. O conceito de Laboratório de Design refere-se a uma equipe multidisciplinar de professores, designers, pesquisadores e técnicos que orienta as atividades didáticas e de pesquisa dos discentes e que promove a inovação como parte do processo, através da observação, da experimentação, da construção do pensamento cognitivo, do trabalho cooperativo e da relação teoria-prática. Tem como escopo a aquisição das bases conceituais, teóricas, metodológicas e práticas, por parte dos alunos, para lidar com questões relacionadas ao design de produtos. É um espaço que considera o aprendizado como um produto de um processo de ensino envolvendo a experiência direta do estudante. Ademais, este trabalho objetiva salientar os aspectos do processo de ensino e aprendizagem da educação em Design de Moda na Itália, uma vez que a educação difere drasticamente de país para país, devido a sistemas educacionais distintos, várias demandas dos locais de trabalho e percepções em relação ao Design de Moda como disciplina acadêmica. Ou seja, a Educação Superior Italiana atua com atividades experimentais no sentido de definir ferramentas e métodos para treinar profissionais capazes de responder às necessidades do contexto industrial, com o conhecimento técnico e cultural adequado e a mentalidade orientada ao projeto típica das disciplinas de design industrial. Na Itália, a cultura do Design sempre foi um “ofício da arte”, que envolve quatro principais aspectos: (1) A cultura da pesquisa como suporte à criatividade, que não pode ser considerada como atributo inato sem um apoio didático e metodológico; (2) O conhecimento da dimensão técnica dos produtos, que não deve ser reduzida ao aprendizado de técnicas de corte e costura; (3) O conhecimento da dimensão metaprojetual, que é uma atividade estruturada, complexa e metódica; (4) A apreensão da dimensão sistêmica dos produtos, que são entidades complexas, baseadas na interação entre pessoas, produtos e lugares. A literatura aponta que, em uma atualidade inter-relacionada e complexa, o Design é um recurso irrefutável capaz de conduzir os sistemas produtivos para novos modelos de desenvolvimento, considerando a diversidade e a pluralidade identitária, bem como encontrar soluções resultantes como das interações interdisciplinares e híbridas entre diversas metodologias e habilidades. Consequentemente, há evidências cada vez mais claras de que a formação do futuro designer deve ser entendida como um processo, criando relações de diálogo entre a sociedade e a comunidade acadêmica para gerar um conhecimento interdisciplinar e contextualizado. O lócus da pesquisa foi o KnitLab do Politécnico de Milão, o mais recente dos Laboratórios do Sistema de Design e que possibilita o aprendizado e domínio de técnicas artesanais e industriais com as quais os futuros designers podem exercitar sua criatividade, enquanto as empresas encontram nela uma ajuda valiosa para suas pesquisas e experimentações.

One of the functions of fashion is communication. This involves the proper interpretation of symbols and meanings that are learned and shared socially. In this research, we seek to identify whether digital influencers really teach their followers the language of fashion to achieve the desired communication. For this, we carried out a Netnography with digital fashion influencers and semi-structured interviews with influencer marketing professionals, with pedagogues, with digital influencers, and with the followers of these influencers. We analyzed the educational character of the influencers’ speeches based on four categories proposed in the works of the Brazilian educator and philosopher Paulo Freire: formation and legitimacy, centrality of the message, dialogue, and connection with reality. With that, whe shed light to the necessary elements to consider a digital influencer as an educator, incorporating the theme to the field of consumption, fashion and social networks.

“Miradas de Mujeres é uma exposição que destaca o olhar da artista belga Isabelle de Borchgrave sobre a artista mexicana Frida Kahlo. Miradas de Mujeres homenageia um diálogo entre duas mulheres que nunca se conheceram – a primeira nasceu pouco antes da morte da segunda – mas que, no entanto, compartilham o mesmo amor por tecidos para Frida/papéis para Isabelle, elementos decorativos, objetos, plantas e cores. Afinal é o olhar de uma mulher da atualidade, sobre o que representa o papel das artistas na sociedade…talvez uma exposição das cores do México. [...]