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

In this text, the objective is to map and interpret, within a specific community of readers, the circulation and reception of the collection of novels psychographed by Chico Xavier and edited by the Brazilian Spiritist Federation (FEB), Life in the Spiritual World (1944-1968). A collection that was produced and widespread in a missionary context that understood the psychographed book as the bearer of revealed truths from “the celestial sphere,” although the book narrative gave readers the impression that it was only fiction.

The aim of this paper is to identify how Afrofuturist language appropriates related proposals such as the Brazilian black movement, as a strategy of resistance to racism. The analysis methodology is based on a literature review based on the studies of identity representation (Stuart Hall), Black Movement (Nilma Lino Gomes) and Afrofuturism (Ytasha Womack). Thus, this study demonstrates how design techniques inserted in aesthetic and artistic productions become crucial tools for the construction of images and social emancipation from the negative representations in contemporary culture.

This article wants to read Paul Pessakh Antschel's life - Celan's real name. Paul Antschel changes his name from Antschel to the anagram Celan, which he would retain throughout his life. The readings of Marx and Nietszche, along with German poetry, especially Hölderlin and Rilke, but also Goethe and Schiller, Heine, Trakl, Kafka, Hofmannsthal, among others, developed in the poet a taste for politics and simultaneously for literature. Music and death are intertwined in Celan's poetry, evoking the lyrical atmosphere of Schubert - Death and the Maiden - or Mahler, Brahms and the German Requiem, in an attempt to harmonize the most painful and unsustainable experience. Celebration, not of death, but of those who perished in the death camps, under the most inhuman conditions imaginable, and the tearing comes, in a sublime way, in the poem "Death's Escape." In the poem "Death is a flower," Celan allegorizes death through the image of a flower, a flower that "opens only once." It is a world of terrible beauty, where the dead "sprout and flourish." They die to life, flourishing to poetic language, the only one capable of rescuing the experience of horror by way of remembrance. Recalling the lived experience must be understood as the gesture that simultaneously accomplishes the destruction of the organic links and, on the contrary, contains in itself a redemptive claim, that is the true purpose of Celan's poetry.

It is about analyzing two essays produced by the critic and historian Paulo Emilio Sales Gomes about the filmmakers Serguei Eisenstein and Orson Welles. Published in the second half of 1950 in the O Estado de S. Paulo Literary Supplement, the essays analyze aspects of the language, style and social expression of Eisenstein and Welles films from a historical-biographical cut out from of the historical studies developed by the filmmaker during his stay in Paris and the research on the French filmmaker Jean Vigo. We'll see how revisiting Eisenstein's artistic fortune will be instrumental in understanding aspects of classic film language, based significantly on parallel editing and close-up. In Welles's case, the focus rests on discoveries of depth of field and sequential plane as characteristic narrative features of modern cinema. Taken together, the commentary on the works of Eisenstein and Welles opens the way for very refined historical-biographical reflections, which still today can inspire those who have cinema as the theme of their historical research, based on a methodology capable of guiding questions of language, style. and social expression that flow from the cinematographic phenomenon.

Este artigo tem por objetivo apresentar algumas possibilidades para os historiadores que se interessam pelas discussões que envolvem o campo da Teoria da História, mais especificamente os embates sobre as dimensões temporais – passado, presente e futuro – e nossa relação com tempo. Neste sentido, buscamos demonstrar como as formulações de Reinhart Koselleck foram importantes para a sistematização do conceito de tempo histórico, bem como, a aproximação entre suas formulações e as de François Hartog se articulam com a concepção de brecha (gap) desenvolvida por Hannah Arendt, possibilitando repensar a obra de Franz Kafka, na expectativa de encontrar possíveis contribuições para as discussões relacionadas às temporalidades e o campo da Teoria da História.

The poet of The Flowers of Evil sought to understand the time in which he lived, called things by the name of things, stripped them. To better translate the spirit of his time, Baudelaire assumed for himself the responsibility of living this time fully, even if it was necessary to risk depersonalization. Each character, dandy or flâneur - emblematic figures of the time of the French poet he placed on his body and soul - are key elements in order to unveil Paris, the symbolic city of the 19th century. In characters such as the trapper, the bohemian, the dandy and the flâneur, the poet sought to unveil the city’s masks. This means that in this work we try to think of the dandy and flaneur figures as characters who revealed the French capital. Emblematic characters of a time - the nineteenth century - and as such will have to be shown from within. And thus, through them, we approach spatially and temporally the man and the poet Charles Baudelaire.

Resenha do livro: SANTOS, Deribaldo. A particularidade na estética de Lukács”. São Paulo: Instituto Lukács, 2017.

O dossiê Experiências Estéticas Contemporâneas tem como propositura debater acerca das dimensões estéticas entre o século XIX e o século XX, especialmente a partir das expressões produzidas pelas linguagens artísticas (literatura, cinema e música) e suas respectivas performances.

A constituinte de 1934 apresentou uma série de restrições à entrada de imigrantes no Brasil, ganhando contornos maiores nos anos que seguiram ao "Estado Novo" getulista. Entremeado por discursos que perpassaram dimensões eugênicas, sanitaristas e até morais, a entrada de estrangeiros em solo nacional foi pauta dos debates da constituínte. Estava implicada a ideia de um “imigrante ideal” assim como o propósito de afastar aquele outro que se mostrava indigesto a um modelo de cidadão e sociedade que naquele contexto se empreendia constituir. A proposta desse artigo é apresentar a gênese desses discursos no contexto da transição da República Velha no âmbito da Constituinte de 1934, sobretudo quanto à questão do “Perigo Amarelo” em sua interface com panorama da política nacional e internacional que o Brasil se via emaranhado.   

When [Jairo] murders two children in Anápolis-GO in the year 1977, his individuality is marked by the crime, he ceases to be the individual to become the monster. However, the issues surrounding the construction of monstrosity are shrouded in narratives about the boundary between normality and abnormality and how each society builds its relationship between crime and madness. Therefore, the mad offender becomes object here to read a society that, violent, needed to deal with doubly categorized and excluded subjects, allowing to discuss about the relations of crime and violence in Goiás. In this perspective, it is approached as certain crimes. They are directly linked to the idea of ​​madness and how public opinion participates in this process of judging these subjects, and in what ways Goian society saw or even dealt with the mad offender, in the absence of a space for specific treatment.