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

This work aims at the contribution of the empirically founded study of multimodality and humor in children and adolescents. It focuses on the creation of cartoons as a multimodal type of discourse, in which various signs –mostly iconic, plastic and linguistic– interact to make meaning and to create a humorous effect. Based on a corpus of 134 cartoons produced by children and adolescents between 10 and 19 years old, we analyzed the ways in which drawing and writing are combined, and we found that the complementarity relation between them is the primary one. This reveals the effort that is put into by the participants to take advantage of the potential of each semiotic mode. We also identified a repertoire of graphic resources deployed (speech balloons, motion lines, captions and labels, as the ones that appear the most), with different degrees of convention and innovation in the use of these resources. In addition, we described a series of strategies that are put into play to produce legible cartoons, while revealing difficulties that are only partially surpassed.

One of the fundamental contributions of the Bourdieusian perspective is its proposal of a theory of practice as a result of the dialectical relation between objective meaning and experiential meaning, which implies a position taking that is, at the same time, epistemological, theoretical and methodological. In this text, we will first explain these aspects and then, within the framework of a research on social inequality in Córdoba, we will propose a way to articulate both senses, focusing on educational strategies and emphasizing their methodological consequences.

En este trabajo analizamos el efecto que la lectura realizada por Bourdieu de la obra de Panofsky tuvo sobre la génesis de su noción de habitus. Comenzamos revisando la primera definición de habitus en la introducción de Bourdieu a Un arte medio (1965). Luego nos detenemos en su Postfacio a Arquitectura gótica y pensamiento escolástico de Panofsky (1967) y en textos contemporáneos en los cuales habitus es comprendido como un “arte de inventar”, permitiendo establecer una vía alternativa a las lecturas “deterministas” de concepto. Finalizamos mostrando el valor de un uso no dogmático de la noción de habitus para la investigación empírica. 

This paper analyzes the process of valorization, legitimacy and increasing autonomy acquired by clothing design since 2000 in Buenos Aires, focusing on professional designers-entrepreneurs. Using as trigger Pierre Bourdieu’s concern for the worlds of “high culture”, the cultural, aesthetic and symbolic production, and his ideas about “univers of belief” to articulate the presence of different actors with particular logics in a relational space shared by producers, products, intermediaries and the public, where tastes and preferences are built, reproduced and renewed, where positions are negotiated and hierarchies are raised.

This paper analyses and discusses ongoing comics literacy events where two 3rd Grade students and their teachers are working with comic books, focusing specifically on visual representations of sound. The purpose of the paper is to explore how these representations, as multimodal aspects of comics literacy, provoke literacy experiences in the classroom. Visual representations of sound come in different shapes and sizes, but are generally written outside of speech bubbles in bold letters. Using discursive psychology –allowing the researcher to view participants’ verbal and embodied actions as performing actions in social and situated contexts– the current paper analyses how pairs of students and teachers co-construct visual aspects in comic books, translating them into verbal sound and embodied action. Results show that embodied motion, sensation, and audible sound are utilized to interactively display comic sound effects to enhance the reader’s experience of the narrative. This is done as co-construction between adult and child through re-enactment of the visuals as real-life sound and action –also connecting this to other visual aspects of adjacent panels in order to make this meaningful. The paper argues that this challenges both teachers’ and students’ perceptions of what literacy can be and how sound effects –through the shape, colour and font of the graphic text– influence and enliven the comic narratives created in the classroom.

This paper presents a single case, descriptive study in music teaching. Instead of following the more analytic, traditional teaching methods, based on the processing of musical scores, this study assumes an emotional and embodied approach to music learning. In order to uncover the processes of representational redescription needed to make sense of instrumental music, we analyze the specific role played by different representations, from the embodied representations, including gestures or body positions and movements, all the way to the use of symbolic systems, such as the scores. We also study how the use of Smartphones in the classroom can contribute to an epistemic approach to music learning and teaching. Finally, we contrast these different teaching models and suggest a functional integration of different kind of representations in music classrooms.

In Bourdieu’s terms, those who participate in the field, compete for the (symbolic) appropriation of the object, for the scope of a specific authority, and for recognition, making use of one’s capital to become “dominant” actors and hold thus this authority, recognized as legitimate. This can be seen when studying the professional field of Industrial Design, where the articulation of actors in play –both already installed and new entrants– involves the struggle for the appropriation of capital: economic, symbolic (prestige, recognition), cultural or educational, generating in turn new positions in the professional space. In this way, it is interesting to investigate in the present work, the constitution of this field in the light of the Bourdean theory, with the purpose of understanding the work trajectories of the designers, their practices, as well as the relations given to the interior of this, the oriented fights in order to reach the disputed enjeux.

The present work intends to discuss the scope of the category of “distinction” and its problematic application to the world of digital technology. For this, it takes as a universe of analysis the Apple consumers in Argentina during the last three years (2015-2018), in order to understand the impact that imposed a restricted circulation of certain goods on the corporate values that characterize the brand. The hypothesis that is tried to demonstrate is that as of the 2010 –when the policies in the matter of importation of technological goods hardened– that the Apple’s consumer experience began to be perceived like a strategy of distinction among the Argentine consumers.

The present work aims to analyze the construction of oral narratives by young children in different situations of production, individually or with one or two peers. The work analyzes the structural organization of the stories and the use of gestures to adopt a point of view when narrating: as an external observer or as one of the characters in the narrative. The corpus includes 36 narratives produced by 12 children of 5 years old who live in urban marginalized neighborhoods of the city of Buenos Aires, Argentina. Each child produced 3 narratives: individually, in dyads and in triads. The children used different sets of thematically related toys. The researcher gave them a set and asked them to narrate using the toys, then removed the toys and asked them to retell the story without the toys. The exchanges were video filmed and then transcribed and categorized using the ELAN program. The verbal information of narratives without the toys was categorized according to the narrative categories of Stein and Glenn (1979) and the gestures were categorized according to the point of view adopted by the child when narrating, considering the categories of previous works (McNeill, 1992; Parrill, 2012). The results showed that both the verbal information selected by the child when narrating and the interaction with other children had an effect on their use of gestures. These results seem to indicate that the use of gestures as a narrative resource depends both on social factors and discursivecognitive factors.

This article proposes to analyze the specificity of the symbolic goods, their relationship with the market and the construction of the collective belief in the value of the producers and the objects they manufacture, based on the contributions of Pierre Bourdieu to the sociology of culture. To address these issues I will analyze, punctually, the role of cultural intermediaries, within the framework of the various cultural public policies, in order to constitute and legitimize a clothing and accessories design circuit in the region of Quilmes, located in the south zone of Buenos Aires, between 2008-2015.