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The article approaches Bossa Nova as an experience of resignification at the existential and religious level, focusing primarily on the song Chega de saudade (No more blues), by Tom Jobim and Vinicius de Moraes. Opinions and testimonies are listed, in order to attest to the centrality of this song for Bossa Nova and Brazilian Popular Music. Chega de saudade catalyzes aspirations, like a horizon of happiness. The constitution and main features of the Bossanovista movement are discussed, as well as the album Chega de saudade, by João Gilberto. The musical elements of the song (harmony, rhythm, melody, timbre, interpretation, lyrics, etc.) are treated in their dimension of meaning, as an aesthetic-religious experience. Finally, the national and international repercussion of the Bossanovista movement is approached. [ABSTRACT FROM AUTHOR]

The assumptions upon which film investments in the 1900-1930s do not seem to have been overcome. In a reinterpretation of the fundamentals of Sergei Eisenstein’s montage, we investigate how the opening sequence of the audiovisual “The Trial of the Chicago 7” (2020, Sorkin, BEL) uses scene relationship techniques to determine the notion of time, rhythm, spatiality, and graphics movements. Scenes from the news are shown between fictional takes, it is believed, in order to erect a historical panorama of the feeling of rejection of sending soldiers to Vietnamese territory. Here, we study how editing resources are used in the development of communication strategies in order to instigate the reflection and engagement of different social-cultural audiences in the face of the established conflict. [ABSTRACT FROM AUTHOR]

This text was written after hearing a childlike question about voice, a question asked by Lara, a girl at a "basic" school in a rural area of the Azores islands that resulted in a diferent way of understanding the motives and intentions that are implicit in the way we practice community of philosphical inquiry with children and adults. This question also unveiled important aspects of the way we construct ourselves as adults who believe in the importance of teaching philosophy in elementary school. This text describes an attempt to follow the trail of inquiry triggered by Lara's question, and documents three moments or possibilities of re-questioning. These moments - which are not understood as forming an orderly sequence, but rather represent inroads into the initial question - emerge as possibilities marked by the rhythm of inquiry that followed. Those questions were: What do we hear when we talk about voice? What do we say when we talk about listening? And what do we think about when we share voices and listen actively? The text invites us to focus on voice as a concept aligned with a certain paradigmatic model of thinking commonly referred to as "philosophy,"and also invites us to consider the concept of listening as a construct that returns us to the origins of western philosophy. Finally, the text invites us to consider different ways of understanding voice and listening as based on the idea of thinking as an in-between space of sharing, focusing specifically on activities centering philosophical dialogue with children. [ABSTRACT FROM AUTHOR]

Rap is part of an Afro-Diasporic musical tradition, responsible for organizing social struggles, cultural identities and diverse knowledge. Religion, as part of the everyday experience, of affirmation and (re)invention of peripheral communities, provides a set of elements, images and symbols that permeate different narratives of rhythm and black poetry. In this context, rap and religion are presented as complex discourses of the subjects' social, subjective and aesthetic life; through these elements the human being is thought of, his social condition problematized and his religiosity put in perspective. Through a group called Síntese, from São José dos Campos/SP, this article aims to reflect aspects of religion as a fundamental part of a complex philosophical knowledge articulated by rap. [ABSTRACT FROM AUTHOR]

This article aims to characterize, from the audiovisual, the life and artistic trajectory of Clementina de Jesus OMC (a. 1901-1987), an interpreter of Brazilian songs and rhythms, based on the theoretical-methodological contribution of depth hermeneutics (DH), formulated by John Brookshire Thompson. [ABSTRACT FROM AUTHOR]