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

Este trabalho visa socializar parte dos resultados de uma investigação sobre o tratamento dispensado aos contos de fadas em livros didáticos brasileiros do Ensino Fundamental I, com foco nas atividades propostas para o estudo desse gênero literário. Constituem os corpora da pesquisa duas coleções didáticas do Programa Nacional do Livro Didático: Porta aberta: letramento e alfabetização e Porta aberta: língua portuguesa, das autoras Angiolina Bragança e Isabella Carpaneda, da Editora FTD. Os procedimentos de análise e interpretação são predominantemente de enfoque qualitativo, com sustentação em fontes documentais e aportes teóricos interdisciplinares, como Bakhtin (2003), Cosson (2014a, 2014b) e Soares (2001, 2005, 2010). Em linhas gerais, os resultados mostraram que há incidência dos contos de fadas em diferentes versões nessas coleções, numa escolarização que privilegia atividades mais voltadas para uma compreensão passiva, com pouco aprofundamento na exploração do texto literário a ponto de marcar suas especificidades em direção à formação gradual do leitor literário.            

Pretende-se, neste texto, proceder ao levantamento e categorização das principais publicações disponíveis no mercado editorial português inspiradas no universo da personagem Pedrito Coelho, criada por Beatrix Potter no início do século XX. Para além da tradução das obras originais, os últimos anos têm sido pródigos na oferta de diferentes tipos de livros, com muitos elementos manipuláveis, identificados com o livro-brinquedo ou livro-objeto. Trata-se de publicações cuja leitura e exploração inclui um conjunto de competências diversas, muitas vezes associadas à literacia emergente, aproximando as crianças, sobretudo as mais pequenas, do livro e da leitura, transformados, respetivamente, em brinquedo e em jogo.

La sonorización de textos se plantea como una herramienta eficaz para estimular la educación de la atención y de la escucha a la vez que se fomenta el desarrollo de las habilidades musicales. También puede desarrollar aspectos motrices si se añade movimiento a la representación. Sonorizar implica representar con sonido (o música) lo que se narra (cuentos/situaciones), se ve (imágenes) o se siente (emociones/sentimientos).  A pesar de los numerosos ejemplos de cuentos musicales y/o musicados que pueden encontrarse en la actualidad, la sonorización de cuentos no es una actividad frecuente que se realice en la educación obligatoria, tanto en infantil como en primaria. En la investigación que se describe, la mayoría del alumnado de la titulación de Grado de Maestra/o en Educación Primaria señala que no conoce ni ha tenido ninguna experiencia en este tipo de actividad. El futuro profesorado valoró positivamente la participación en el proyecto de sonorización de un cuento relacionado con la temática ambiental y enfatizó la importancia de su implementación en el ámbito educativo.

The notion of Archive is central to know how the colonial logic marks the ways of appropriating America. The Archive is the beginning and the mandate (Derrida, 1997). It organizes, orders and institutes what the gods and men command. It imposes a dynamic in which the texts delimites a readers communities and excludes others comunities. In this articule, Notables daños de no guardar a los indios sus fueros (1571) of Polo of Ondegardo is presented catched into the networks of the Archive. This manuscript contributes to the consolidation of imperial policies introduced by Felipe II and delimits an inside and an outside of Archive. American nature and geographic space, the political system and the economic organization of the Incas, the past, the myth, all that enters into the Archive thanks to the writing. The writing becomes them in manipulable objects and it make them circulates like a secret. Meanwhile, on the outside of Archive, the bodies suffer the violence of a pacification political project that finishes with the death of Tupac Amaru I in the public square of Lima.

This article studies a novel written in the argentinean posdictatorship, in French, La casa de los conejos (2007) by Laura Alcoba. The main concept of the paper is the mother and second tongue and its multiples links with the history –the history of state violence– that novel relates. First of all, it is studied the fact that text is written in French in spite of author’s mother tongue is Spanish: Alcoba had to go into exile during the period of the “Triple A” in Argentina. In second place, it is observed that beyond this fact, there are several words written in Spanish. Such words work as metonymy of a whole language (Spanish), as a symbol of a history (the state terrorism) and at the same time, they work as a metonymy of posdictatorship argentinean literature: those words represent the capital fact to telling a history in another way of that one of the oficial history.

The Julio Cortazar`s literary corpus can be explained from the origin of his narrative in a context whose main feature it is the syncretic nature that it is grounded in the different origins and cultural influences that characterize the American cultural product. It is in music and literature where, to Cortazar, the different languages serve as a channel through which these influences of various kinds are transferred. This syncretic character by which others logical traditions are inherited from others, positions the american intellectual in the problem of identity, and in Cortazar case, in the field of commitment.

The article analyzes the first films of the Grupo Chaski and Claudia Llosa, two strong references in the Peruvian cinema of the last thirty years. Through the critique of the ideas and characteristics of these movies, the essay tries to build a image of Peru, a country where democracy returned in 1980 and since then he has had presidents accused of corruption and abuse of power such as Alan García, Alberto Fujimori, Alejandro Toledo and Ollanta Humala. The works of Chaski focus on poverty and vulnerability of children in Lima, a big city, capital of the country, in the 1980s. In this sense, they are previous stories to “cine de la marginalidad” that in the 1990s featured movies so realistic like Pizza, birra, faso, La vendedora de rosas, Ciudad de Dios or Ratas, ratones, rateros. Claudia Llosa´s work, called international attention when her second film, La teta asustada, won the Golden Bear, the main prize at Berlin Festival. This film, that establishes a necessary continuity to her first film, Madeinusa, is a portrait of the postwar years in the Peruvian Andes, those of the violence of Sendero Luminoso and how the Army designed a destructive strategy. The article looks for an overview of Peruvian society of the last thirty years, characterized for the structural poverty, terrorism, the development of neoliberal reforms and the corruption of the State at different levels.

In the context of a more extensive research that reveals, describes and analyses the audiovisual production practices in La Paz, Bolivia, between 1978 and 1989, the present work focuses on the chronicle of the editorial project Imagen: a film magazine published by the Movement of the New Bolivian Film and Video during the second half of the eighties. With no local tradition of film publications, Imagen was a self-supporting and self-financed initiative, which operated with a changeful frequency and format, and served as a forum for discussion on specific issues of local work, acted as a vehicle for dissemination of the Movement activities, a micro-training space, a medium of circulating calls and contests, and a tool for articulating different proposals.The work explains the publication’s historical evolution, describes its general characteristics and editorial profile, gives an account of the intervening actors and their forms of organization, and indicates the conditions of possibility, accomplishment and limitations of the project.

This article presents evidence of both the ways in which memory is constructed and the crisis of representation in the novel El paso de los gansos (1975) by Fernando Alegría (1918-2005). This volume gives prominence to Cristian Montealegre, a photographer and victim of the repression, whose photographies are testimony of his experience within the context of the first two months of the dictatorship. On this way, one of the two first Chilean antidictatorship novels exposes the coup d’etat and the crisis of this fact unleashes through the intensification of the relationship between word and image.