Sistema Regional de Información
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El planteo formal de la obra de teatro La palabra progresa en boca de mi madre sonaba tremendamente falsa, de Matei Visniec, es muy libre y ello genera importantes desafíos tanto para el lector –del texto escrito– como para los participantes en su representación. Dentro de las múltiples inquietudes que se plantean, en el presente trabajo se busca reflexionar acerca de la falta de comunicación entre los seres humanos y el silencio que surge de ella. Para ello se recurre, como marco teórico, a Walter Benjamin –en su ensayo El narrador– y a Hans-Georg Gadamer, en el capítulo “La incapacidad para el diálogo” del libro Verdad y método II. En este recorrido de lectura se intenta descubrir de qué manera el ayer se enfrenta a un presente que, por su propio impulso y por el peso de sus propias circunstancias, se encuentra inhabilitado para escuchar. Un presente que mantiene su oído lleno de sus propias palabras y preocupaciones, y que no deja lugar para encontrar ese lenguaje común del que hablaba Gadamer y que reconoce como la herramienta necesaria para acceder al entendimiento. Abstract The formal approach of the play La palabra progresa en boca de mi madre sonaba terriblemente falsa, by Matei Visniec, is very free, and this generates important challenges both for the reader —of the written text— and for the participants in its performance. Among the many concerns that are raised, this work seeks to reflect on the lack of communication between human beings and the silence that arises from it. In order to do so, this article resorts, as a theoretical framework, to Walter Benjamin’s essay El narrador and to Hans-Georg Gadamer, in the chapter La incapacidad para el diálogo of his book Verdad y método II. In this reading tour we try to discover how yesterday faces a present that, because of its own impulse and the weight of its own circumstances, is unable to listen. A present that keeps its ear full of its own words and concerns, and leaves no room to find that common language that Gadamer spoke of, and that he recognizes as the necessary tool to access understanding.Keywords: dramatic play; communication; silence; listen.

Este trabajo se propone el análisis de un fenómeno caro a la cultura occidental, como es la experiencia del destierro y su incidencia en el devenir de las representaciones, a partir del pensamiento del historiador alemán Aby Warburg. Desde algunas categorías warburguianas, principalmente la Pathosformel, se aborda una serie de imágenes haciendo foco en las artes visuales y la fotografía como campos de exploración y estudio. Siguiendo el paradigma indiciario de Carlo Ginzburg, se partió de una indagación en la propia memoria corporal como posible vía de acceso al reconocimiento de gestos vinculados al destierro en representaciones de distintas épocas, tomando en cuenta que la experiencia individual se encuentra inscripta y en íntima relación con una más amplia, colectiva. Es desde la memoria cultural que puede pensarse el tema en términos de Pathosformel en la imagen.En este artículo se ha puesto el acento en la fundamentación teórica de tal exploración, quedando para otra instancia la profundización de los aspectos estrictamente visuales. Approaches to a Pathosformel of UprootednessAbstractThis work proposes the analysis of the experience of uprootedness, a phenomenon of utmost importance to western culture, and its impact on the development of representations, based on the thought of German historianAby Warburg. From some Warburgian categories, principally Pathosformel, a series of images is addressed focusing on the visual arts and photography as fields of exploration and study. Following Carlo Ginzburg's indexical paradigm, the starting point was an inquiry into one’s own body memory as a possible way to recognize gestures linked to uprootedness in representations from different eras, taking into account that the individual experience isinscribed and in close relationship with a broader collective one. It is from the cultural memory that this theme can be thought of in terms of Pathosformel in the image. In this article, the emphasis has been placed on the theoretical foundation of such exploration, leaving aside for the moment a deeper probing of the strictly visual aspects.Keywords: Pathosformel; uprootedness; representation; gesture; body.

Revista Ágora Unlar Completa correspondiente al N° 11

Revista Ágora Unlar Editorial correspondiente al N° 11

Publicación literaria inédita (texto narrativo)

The discussion proposed for this work is linked to an empirical study with the research agents Tikal Babado and Pai Amor and their ways of dressing. We intersect both their disobedient genders and sexualities and the issue of race to think about their queer and sensitive ways. His fashion is present within a perception of humanity that we launched within this set of rules that society dictates as correct or not. In order to enhance their speeches and ways of feeling and perceiving clothes, we aim to highlight their aspects of humanity, sensitivity and queer body, launching authors such as Foucault (1987;2001), Munanga (1988), Butler (2003), Cidreira (2005), among others.

A associação entre moda e pessoas negras quase sempre se dá por escândalos de racismo que vez ou outra surgem envolvendo nomes de profissionais, marcas e revistas de moda acusados de discriminação racial na escolha de modelos, de utilização inapropriada e desrespeitosa de elementos de culturas africanas ou afro-brasileiras (como o desfile de Adriana Degreas, na São Paulo Fashion Week (SPFW) 2013, que glamourizou a tortura representada na imagem da escrava Anastácia), na denúncia quanto à ausência de criadores negros nas passarelas e revistas, em situações como a falta de preparo de maquiadores para trabalhar em rostos negros, na grande diferença salarial entre profissionais negros e brancos da indústria da moda, entre tantas outras situações que vem sendo denunciadas especialmente em redes sociais, como nos perfis Moda Racista (deletado após ação judicial movida por Reinaldo Lourenço), Moda Racista Vive, Racismo na Moda e Pretos na Moda (todos no Instagram).

This paper aims to analyze part of the work of the portuguese photographer Felipe Augusto Fidanza, who started photographing in Belém city in 1867, becoming one of the main references in the field of photography in the north Brazilian region. His work is part of an important documentary collection from the turn of the 20th century, in which urban scenes of everyday life in the city and the social “types” that circulated on the streets were portrayed. From the analysis of five photographs of different women, we observe their clothing and body adornments, as well as, their expressions and postures that grant us important clues that help to reveal their identities and part of their respective stories.

In this article we hope to describe events related to the performance of Goya Lopes, a black artist and designer who works mostly with the Afro-Brazilian theme, as a political articulator for a more diverse Brazilian fashion project. To this end, we aim to map and describe experiences about her career, work and strategies as a full member of the Sectorial Collegiate of Fashion of the Ministry of Brazilian Culture. By methodological procedure, we resort to the analysis of heterogeneous sources, such as interviews given by Goya, documents from the designer’s personal collection, various texts about the designer, website and social networks of the company Goya Lopes Design Brasileiro. As a result, we intend to reconstruct events about the development of a more plural fashion project, explain the designer’s adhesions to networks of Afro-Brazilian relations, in addition to highlighting the role of Goya Lopes in Brazilian design made by women

In recent times, identity movements associated with the representativeness and acceptance of natural hair have been experienced. Taking on the threads as they are has been a form of empowerment and a cry for freedom in the face of oppression experienced under Eurocentric aesthetic models. Whether in Brazil or in Africa, an exaltation for the acceptance of natural hair gains strength. This is the context of the article Capillary transition reports under the eyes of a curly, whose purpose is to address processes experienced by some women in Mozambique who change to show their natural hair. The focus is on your experiences. For this article, a document review based on bell hooks theoretical precepts was used, complemented by the convenience sampling technique. The data were gathered through an application applied to Mozambicans who use social networks (Facebook). Taking into account the results of the research, it can be said that most of the interviewees consider the transition process to be good, feel satisfied with the choice and agree that the products for natural hair are expensive. It is worth mentioning that many of these women have chosen to treat their hair at home.