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In this short piece, I trace the emergence of the ‘dealing with the past’ agenda which entered the public sphere from the 1970s, briefly describing how it has gradually disseminated worldwide. Consequently, the ‘dealing with the past’ approach, where remembering was intimately tied to a preventative vision of ‘never again!’, became deeply embedded in human rights-led memorialization processes around the world. However, though this approach gave voice to long-silenced historical injustices and mass human rights abuses from the past, the erroneous assumption that ‘proper remembrance’ can heal nations also produced numerous troubling ‘side-effects’: the application of Western(ized) medical diagnostic categories of mental illness; hierarchies of victimhood; and new social inequalities, which are briefly discussed in the second part of this article.

For the first time in post-war history, the French State acknowledged in 2018 the use of military torture during the Algerian War of Independence, through the statement of the French president, Emmanuel Macron. The declaration was inscribed in the context of the Franco-Algerian War, attempting to restore and vindicate the memory of Maurice Audin, a victim of the French colonial system established in Algeria. The article deals with the postcolonial memory of the Algerian War of Independence in French public sphere, focusing on the politics of memory of the presidents Nicolas Sarkozy and Emmanuel Macron. Exploring the uses of the colonial past in French politics, I seek to delineate the process of ‘coming to terms’ with ‘colonial legacy’ and to trace the transformations that the ‘modes’ of remembering have undergone in France over the last few decades.

This article follows the traces of a special poetic narrative in the concepts of space and the body in four Galician women writers of the last third of the twentieth century: M.a Xose Queizan, Margarita Ledo, Xohana Torres and Ursula Heinze. The symbolic construction of space in relation to the body in narrative is closely linked to the need of expressing new mentalities. These accompany the emergence of women and non-heterosexual men as protagonists in the public sphere and in Galician literature.

The article discusses aspects of the contemporary Brazilian literary field, focusing on the most recent tendencies and positions of writers and critics. Arguably, substantial changes have occurred in the way writers relate to the public sphere as well in the way cultural and scholarly capital is acquired. In the field of criticism, the problem of its discursive restrictions, in relation to what happens with writers, is considered., O presente artigo discute aspectos do campo literário brasileiro na atualidade, com foco nas novas disposições e posições de escritores e críticos. Argumenta-se que houve mudanças substanciais no modo como os autores se relacionam com a esfera pública e no modo de aquisição dos seus capitais escolar e cultural. No plano da critica, aborda-se o problema da restrição de seu discurso, em homologia ao que se passa no plano da criação.

Questo testo viene pubblicato a 20 anni di attività di a.titolo, uno dei primi collettivi curatoriali italiani orientato all’arte nella sfera pubblica. I progetti che abbiamo curato dal 1997 ad oggi ci hanno permesso di mettere a punto una metodologia e un orientamento teorico specifici che stanno ripensando il fare nel comune e le sue infinite declinazioni in questi decenni. Tra gli strumenti più efficaci e visibili nelle strategie di promozione del patrimonio nazionale infatti, l’arte si trova negli ultimi decenni inserita tra le politiche turistiche e culturali di un ampio numero di amministrazioni pubbliche. Chiamata in causa come protesi dell’architettura o del disegno urbano, è invitata a spostarsi dallo spazio chiuso dei musei e delle gallerie alla strada, alla piazza, al giardino, mantenendo intatta la sua definizione. Nella città-impresa all’arte è spesso delegata la “spettacolarizzazione” del contesto urbano – nella logica del grande evento – finalizzata alla formazione di una “clientela”, dimenticando il suo valore civico e culturale. Ma se la città diviene prodotto, cosa ci guadagna la comunità locale coinvolta in queste nuove forme della politica pubblica?, This text is published in 20 years of a.titolo’s projects, one of the first italian curatorial collective oriented in the art in public sphere. The projects that we have curated since 1997 have allowed us to develop a methodology and a specific theoretical orientation that rethinking the experience and the practices of the ‘making in the common sphere’ and its infinite definitions in these decades. Medium among the most effective and visible in the promotion strategies of the national heritage, the art is in the last decadesincluded between the tourist and cultural policy of many public administra-tions. Invoked as architecture or urban design protheses, it is invited to move from the closed space of museums and galleries in the street, the square or the garden, maintaining unchanged its defini-tion. In the ‘city-enterprise’ the art is often delegated to the spectacle of the urban environment - in the logic of the big event - aimed at the formation of a “customer” forgetting his civic and cultural value. But if the city becomes the product, what it earns the local community involved in these new forms of public policy?

De la mà de tres projectes artístics —Between the Door and the Street (2013) de Suzanne Lacy, The Moving Garden (2009/2014) de Lee Mingwei i The Land Foundation (1998) de Rirkrit Tiravanija— aquest article reflexiona sobre alguns dels preceptes metodològics que fonamenten les bases teòriques i conceptuals de l’art participatiu a l’espai públic. Preses com a casos d’estudi sobre art participatiu, sengles proposicions permeten explorar els conceptes d’art relacional / estètica relacional proposats pel comisari francès artífex de l’Altermodernisme, Nicolas Bourriaud, així com desenvolupar-los i expandir aquest estudi considerant altres debats contemporanis vinculats amb la recerca basada en la pràctica artística (practice-led research / practice-based research in the arts), àmpliament abordats per Hazel Simth i Roger T. Dean en el seu llibre Practice-led Research, Research-led Practice in the Creative Arts (2009).Les propostes d’art participatiu a l’espai públic impliquen un diàleg amb l’audiència —relational art o art relacional abans esmentat—, es basen en la interacció, sociabilització i l’intercanvi entre els participants així com en un diàleg amb l’entorn espacial —site-specific art, és a dir aquell art dissenyat específicament per a una localització determinada i que manté una interrelació amb el propi espai—, ens trobem per tant davant un tipus de creacions d’immenses possibilitats creatives i resolutives, la qual cosa no fa més que engrandir el valor que comporta la seva pròpia praxi.D’altra banda, per la seva mateixa naturalesa, l’art participatiu no es pot aventurar a prefixar un resultat objectual artístic ja que, moltes vegades, gravita sobre les accions o activitats més que en la realització d’objectes. Si bé es poden augurar determinades respostes i interaccions, no es poden donar resultats apriorístics sobre les actituds dels participants, el que resulta en una obra oberta. Aquesta característica d’“allò obert” no significa inconclús. Veurem com un altre dels preceptes que constitueixen les pràctiques artístiques participatives a l’espai públic pot albergar un final obert de múltiples resolucions.En darrera instància, aquest article busca definir els primordials principis constituents de l’art participatiu a l’espai públic en la nostra contemporaneïtat, amb la finalitat de convidar, tant a teòrics sobre la matèria com a artistes, a la seva comprensió, divulgació i “participació” activa., At the hand of three artistic projects —Suzanne Lacy’s Between the Door and the Street (2013), Lee Mingwei’s The Moving Garden (2009/2014) and Rirkrit Tiravanija’s The Land Foundation— this paper reflects on some of the methodological precepts underlying theoretical and conceptual foundations of participatory art at the public space. Taken as cases studies about participatory art, each propositions allow to explore relational art / relational aesthetics concepts proposed by the French curator artificer of the Altermodernism, Nicolas Bourriaud, as well as develop and expand this study considering other contemporary debates related to art practice-based research(practice-led research / practice-based research in the arts), widely addressed by Hazel Simth and Roger T. Dean in their book Practice-led Research, Research-led Practice in the Creative Arts (2009).Participatory art at the public space proposals implies a dialogue with the audience —relational art before mentioned—, they are based on interaction, socialization and exchange between participants as well as a dialogue with the space itself —site-specific art, that is art designed specifically for a particular location that has a relationship with the place itself—, thus we face with a type of creations of immense creative possibilities and resolutions, which increases the value ofthe praxis itself.On the other side, by its own nature, participatory art can not venture prefixing an artistic objectual result because, many times, it gravitates on the actions or activities rather than making objects. Although certain responses and interactions can be predicted, a priori results on the attitudes of the participants can not be given, resulting in an open-ended work. This feature of the "open-ended" does not mean unfinished. We will see that another of the precepts that constitute participatory artistic practices at the public space can hold an open-ended ending of multiple resolutions.Ultimately, this article searches for define the primary constituent principles of participatory art at the public space in our contemporary world, in order to invite both theorists on the subject and artists to understand it, disseminate it and actively "participate" of it., De la mano de tres proyectos artísticos —Between the Door and the Street (2013) de Suzanne Lacy, The Moving Garden (2009/2014) de Lee Mingwei y The Land Foundation (1998) de Rirkrit Tiravanija— este artículo reflexiona sobre algunos de los preceptos metodológicos que fundamentan las bases teóricas y conceptuales del arte participativo en el espacio público. Tomadas como casos de estudio sobre arte participativo, sendas proposiciones permiten explorar los conceptos de arte relacional / estética relacional propuestos por el comisario francés artífice del Altermodernismo, Nicolas Bourriaud, así como desarrollarlos y expandir este estudio considerando otros debates contemporáneos vinculados con la investigación basada en la práctica artística (practice-led research / practice-based research in the arts), ampliamente abordados por Hazel Simth y Roger T. Dean en su libro Practice-led Research, Research-led Practice in the Creative Arts (2009).Las propuestas de arte participativo en el espacio público implican un diálogo con el público —relational art o arte relacional antes mencionado—, se basan en la interacción, sociabilización y el intercambio entre los participantes así como en un diálogo con el entorno espacial —site-specific art, es decir aquél arte diseñado específicamente para una localización determinada y que mantiene una interrelación con el propio espacio—, nos encontramos por tanto ante un tipo de creaciones de inmensas posibilidades creativas y resolutivas, lo cual no hace más que engrandecer el valor que conlleva su propia praxis.De otra parte, por su misma naturaleza, el arte participativo no puede aventurarse a prefijar un resultado objetual artístico ya que, muchas de las veces, gravita sobre las acciones u actividades más que en la realización de objetos. Si bien se pueden augurar determinadas respuestas e interacciones, no se pueden dar resultados apriorísticos sobre las actitudes de los participantes, lo que resulta en una obra abierta. Esta característica de “lo abierto” no significa inconcluso. Veremos como otro de los preceptos que constituyen las prácticas artísticas participativas en el espacio público puede albergar un final abierto de múltiples resoluciones.En última instancia, este artículo busca definir los primordiales principios constituyentes del arte participativo en el espacio público en nuestra contemporaneidad, con la finalidad de invitar, tanto a teóricos sobre la materia como a artistas, a su comprensión, divulgación y “participación” activa.

Treball Final de Màster Universitari en Investigació Aplicada en Estudis Feministes, de Gènere i Ciutadania (Pla de 2013). Codi: SBH023. Curs: 2014-2015 Qüestions com l’atribució de rols i característiques concretes per cadascun dels sexes i, per causa d’això, la discriminació sofrida per les dones pel fet de pertanyer a un gènere determinat, a més de la invisibilització de la constant lluita femenina per establir unes pautes igualitaries, formen part d’un tema que s’ha debatut des de sempre i que es remonta al principi de la historia de la humanitat, estant als nostres dies encara −malauradament− d’actualitat. L’objectiu d’aquest treball de Fi de Màster és presentar una visió de la realitat femenina a les últimes dècades del segle XX, amb els antecedents corresponents, i donar a conèixer com la lluita per la desitjada igualtat s’ha nodrit de xicotetes lluites particulars que han anant sumant esforços i triomfs per aconseguir allò que es creu just. L’eix del treball girarà al voltant dels camps de l’educació, la medicina i la política, per ser aquests els que s’exemplifiquen amb el testimoni de les dos dones de la ciutat de Vila-real sobre les quals hem treballat: Concepción Capella i MªGràcia Molés. Amb aquest enfocament multidisciplinar, s’intentará reflectir de la manera més clara possible i amb la major exactitud, a més del panorama a l’Estat, la situació del País Valencià, i més concretament de Vila-real. The issue of the allocation of roles and characteristics specific to each gender and because of this, the woman sofrida discrimination for belonging to a specific genre, in addition to the invisibility of the constant struggle to establish women egalitarian standards is an issue that has been debated ever since it dates back to the beginning of human history, being the present still topical. The aim of this paper is to present Master Thesis from a global vision of the reality of women in the last decades of the twentieth century, with the corresponding background, and known as the fight for equality is desired has been nourished by small individual who struggles and triumphs joining forces going to get what it thinks just. The focus of the work will focus on the fields of education, medicine and politics, being those who exemplified the testimony of two women in the city of Villarreal on which we worked. This multidisciplinary approach will attempt to reflect as clearly and as accurately as possible, besides the scene to the state, the situation in Valencia, and more specifically of Villarreal.

Mendieta, Eduardo; VanAntwerpen, Jonathan (eds.) (2011) The Power of Religion in the Public Sphere Nova York: Columbia University Press, 128 p. ISBN: 978-0-231-15645-5

The Internet encloses unambiguous possibilities of public communication and debate, by creating new spaces for political expression and participation. As a potential deliberative section, readers’ comments in newspapers’ websites constitute a domain enabling citizens to express their views on a particular issue, reacting specifically to a news piece and discussing it along with other readers as well. From a gender perspective, studying the women’s participation in online debates becomes increasingly relevant to understanding the social aspects of Internet use. Some studies have demonstrated, however, that gender differences in online communication tend to disfavour women: women send fewer messages, receive fewer responses and often aren’t able to control the topic of discussion (Herring, 2000). This paper intends to take the debate around the Brazilian presidential campaign as a case study of the possibility of a “female” public sphere, attempting to analyse the way by which women discuss political issues online. Additionally, given the nature and characteristics of the main presidential candidates, our aim is also to understand whether questions about gender were important to the discussion or if the dichotomy male/female was suppressed in the public debate surrounding the campaign. In order to fulfil these purposes, our research focuses on readers’ on the Brazilian presidential campaign (September-November 2010) in the online versions of two Portuguese newspapers, Publico and Expresso

O presente texto baseia-se na perspectiva de Hannah Arendt para quem o acontecimento é o lugar onde o pensamento nasce. Com base nesse princípio, investiga ações e práticas em cujo entrecruzamento vão surgindo novos atores ou sujeitos que, a partir do campo mesmo do opositor, disputam o espaço da cidade numa espécie de «profanação dos lugares luminosos da cidade» (Santos, 1996), no sentido de retirá-los da esfera do sagrado (Agabén, 2006) e restituí-los ao uso comum «dos homens ordinários»., This paper is based on Hannah Arendt's perspective for whom the Even is the place where thought takes place. Based on this principle, it investigates actions and practices whose intersection allow the appearance of actors or agents who, from the same opponent's field, dispute for space in the city in a kind of «desecration of privileged places of the city» (Santos, 1996) in order to remove them from the sacred sphere (Agamben, 2006) returning them to the common use «of ordinary men».

In the past century the presence of women in the “public sphere” has increased considerably as a result of, amongst other things, the rapid increase in their levels of schooling, professional competences and labour market participation. Much more limited and slower, by contrast, has been the entry of women into the centers of decision-making and power.This paper proposes reflection on gender citizenship in political arenas, which are precisely those in which action to sensitize and change the broader social context should be undertaken. In order to understand and change gender models in the political-institutional system, analysis is required of how gender is defined and constructed in the specific arenas in which the political careers of individuals are planned and promoted.The paper presents some findings of qualitative research which collected the narratives of men and women — belonging to different Italian political alignments and occupying different positions and roles — relative to their political career paths and the discourses with which they accounted for female under-representation. The analysis of the texts collected allowed light to be shed on the discursive practices, symbols, meanings and sexed images with which the symbolic gender order is created and reproduced. Highlighted in particular are the gender positioning performed through the narratives, and the tendency to cast women in the role of the “Other” with respect to the political system.Viewed from this perspective, political arenas are theatrical stages on which gendered knowledge is created and disseminated. It is evident in particular that the symbolic order of gender and the models of the discursive construction of gender characteristic of the cultures analyzed tend to reproduce an image of political activity as a male preserve, where otherness entails marginalization and/or subordination.

Durante os anos 80, no Brasil, a forte presença sindical no chão da fábrica garantia um poder de barganha importante aos representantes sindicais de categorias chaves. Contudo, a partir de meados dos anos 90 isso começou a se modificar. Novas políticas de reestruturação produtiva levaram à redução do trabalho vivo nas empresas, acarretando uma diminuição do nível de emprego nos setores econômicos onde havia uma maior penetração do chamado "novo sindicalismo" e tornando mais difícil o processo de mobilização operária. Tudo isso vai atingir profundamente aos trabalhadores da indústria petrolífera no Brasil. Neste texto procuraremos discutir, a partir da análise da greve nacional de 1995, como os petroleiros se adaptaram a esta nova situação, buscando identificar suas semelhanças e diferenças em relação ao restante do movimento sindical no país., During the 80’s in Brazil, the strong presence of the syndicate helped its negotiators on the key issues. However, in the beginning of the 90’s it started to change. New policies on productive restructuring resulted in reduction of the workforce, causing cuts in the economic sectors where there was a greater influence of the so-called "new syndicalism", making workers less able to organize themselves. All of this had a great impact on the workers of the Brazilian Petroleum Industry. In this text we will discuss, based on the analysis of the 1995 national strike, how the petroleum workers adapted themselves to this new situation and the difference between their movement and other Brazilians syndicates.

L'espai públic contemporani prové del desenvolupament de les antigues formes de privacitat i de publicitat, que tenen les seves arrels remotes en l'antiguitat i les més pròximes, en la societat liberal moderna. Uns ciutadans organitzats políticament es contraposen a un estat conegut com a esfera pública. Darrerament, s'ha configurat un espai social entre les dues esferes primigènies. En el text es procura definir els termes emprats, cercant-ne les arrels en la història social i política. Es procura perfilar les nocions «d'espai» i «d'esfera», sovint no diferenciades de manera suficient. Llavors, es passa a descriure el funcionament de l'espai públic en les societats complexes del nostre temps. Un espai on els mitjans de comunicació tenen un paper molt important, el qual és esbossat en el treball. Comprendre els mecanismes de la comunicació pública és fonamental per poder descriure el funcionament de les democràcies i la seva legitimació a través de l'opinió pública. En els darrers anys, el sistema comunicatiu s'ha vist enriquit per la introducció de les xarxes telemàtiques. Hom suposa que tindran repercussions en els mecanismes per discutir els temes d'interès general, en les relacions interpersonals, i també en el sistema polític del futur. En el text es fa notar, però, les dificultats que existeixen a l'hora de fer prediccions fiables de futur, alhora que es constata la necessitat ineludible de salvar la comunicació lliure si es vol preservar la democràcia en les noves condicions que coneixeran les societats del futur immediat. The contemporary public space stems from the development of old forms of the private and the public spheres which have their deepest roots in Antiquity and, more immediately, in modern liberal society. Politically organized citizens are in contraposition to a State seen as the public space. Recently, a social space has taken shape between the two primary spheres. In an attempt to define the terms used, the text searches for their roots in social and political history. An attempt is made to distinguish between the frequently inadequately differentiated notions of «space» and «sphere». A description is then given of the way in which public space operates in the complex societies of our time. This space is one in which the media play a very important role, as outlined in the study. An understanding of the mechanisms of public communication is crucial to be able to describe how democracies operate and how they are legitimated through public opinion. In recent years, the communication system has been enhanced by the introduction of telematic networks. It is supposed that the latter will have repercussions on the mechanisms used for discussing topics of general interest, in interpersonal relations and also on the political system of the future. However, the text draws attention to the difficulties involved in making reliable predictions concerning the future, and at the same time underlines the inevitable need to safeguard freedom of communication if democracy is to be preserved under the new conditions which will face societies in the immediate future.