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Este estudo investiga as práticas de leitura de gêneros jornalísticos no Ensino Médio a partir de uma perspectiva Educomunicativa Decolonial, focalizando as concepções de leitura dos/as estudantes no processo de criação do Jornal ITA. O objetivo é examinar como a produção de um jornal escolar pode influenciar a compreensão e a construção do conhecimento sobre leitura pelos/as estudantes. Utilizando uma abordagem qualitativa com viés descritivo, o estudo adotou um método de estudo de caso em uma escola de Ensino Médio Técnico-Profissionalizante, com participantes dos primeiros anos diretamente envolvidos na elaboração do jornal escolar. Os dados foram coletados por meio de observação participante, análise de questionários e revisão documental do jornal final. Em síntese, este estudo evidencia que as práticas de leitura de gêneros jornalísticos e a participação ativa dos/as tem potencial significativo para promover o desenvolvimento de habilidades críticas de leitura e engajamento com temas decoloniais.

RESUMO: O propósito central deste trabalho é analisar a gramática descritiva como fundamento para compreender as diversas manifestações plurais da língua. A pesquisa focaliza a variação linguística como uma expressão cultural e social sistematizada, examinada minuciosamente pela sociolinguística. Os objetivos específicos envolvem a comparação entre a gramática normativa e descritiva, destacando abordagens e definições por meio de exemplos ilustrativos. Além disso, busca demonstrar como o ensino da gramática tradicional nas escolas pode dificultar a aprendizagem linguística dos alunos e investigar, sob uma perspectiva histórica, as transformações na língua portuguesa, considerando influências externas e internas no modo de expressão e fala. Para fundamentar teoricamente, o trabalho destaca renomados linguistas, como Perini (2005; 1997) e Bagno (2002; 2004; 2007; 2009) e demais autores com materiais digitais, abordando a evolução da língua e sua heterogeneidade, refletindo no comportamento linguístico dos usuários e permitindo-lhes desenvolver uma identidade de fala própria. Assim, o método adotado é qualitativo e bibliográfico. Conclui-se que essa abordagem é crucial para a compreensão da língua, enriquecendo positivamente a linguagem humana, e reconhecendo a diversidade linguística como parte integrante da comunicação. Palavras-chaves : Gramática descritiva. Variação linguística. Língua.

Este estudo qualitativo, e embasado em fontes bibliográficas, visa aprofundar a compreensão das implicações do poder e da comunicação, ou sua ausência, no contexto do declínio linguístico e a importância dessa reflexão para a formação docente. Fundamentou-se, para isso, não só nas contribuições teóricas de Faraco (2019), Cardeira (2006) e Lasswell (1948), como também de autores como Freire (1991, 2004), Pimenta (2012) e Quijano (1991). Nessa abordagem, emerge a percepção de que a extinção das línguas está vinculada a um projeto hegemônico de aniquilação política e cultural, impactando a comunicação dos grupos marginalizados no âmbito do poder. Isso é refletido por meio da tentativa em produzir um trabalho que contribua para o desenvolvimento de uma perspectiva linguística que não apenas identifique as hierarquias subjacentes aos usos linguísticos, mas também problematize o desaparecimento linguístico e como este precisa ser considerado, de modo crítico, reflexivo, emancipatório e decolonial, pelos professores em formação.

Somatic education, as a set of bodily techniques and a relational process that affects our biology, consciousness, and the environment can be developed in the school for pedagogical purposes. This education can further be constituted as a mean of including bodily, behavioral, and physical fitness diversities. This assertion induces the development of reflections on some Somatic Education experiments/researches in Brazil, aiming to initiate an epistemological discussion for new curricular proposals of Physical Education in Brazilian Schools that involve the principles of Somatic Education in their basic education.

The paper aims to map educational policies, official documents and academic works related to Dance in The School to draw an overview, situating the major public initiatives and research involved in the insertion of dance teachers in the school institution within the Brazilian context. This is a documental and bibliometric quali-quantitative work, comprising the period between 1990 and 2017. It is concluded that to analyze the establishment of the academic field in Dance in the School in Brazil, it is necessary to identify actions that influence the development of this practice under the perspective of a systemic and relational view.

This article presents an excerpt of the research concerning six dance teachers in southern Brazilian schools, describing dance classes within the Art curriculum through ethnographic approach. The text analyzes dance practices, activities in which the touch is a central component. Starting from Michel Foucault's theoretical perspective, this study identifies tensions concerning the technologies of production of subject-bodies at the school, challenging hegemonic codes of skin and touching. The research singles out the effects of dance practices with touch, mainly regarding: a) the suspension of embodied cultural meanings; b) the dimension of presence; and c) the ethical work.

This article comments on the analysis of the play Zumbi (2012) (Zombies) by João das Neves, a production inspired in Arena conta Zumbi (1965) by Boal and Guarnieri, presenting the problems related to contemporaneous matters in the perspective of the slavery past and current political scenario in Brazil, which resulted in the current moment of the restriction of democratic rights. Then, it develops comments on themes such as the postcolonial conditions, which permeate the relations downtown / periphery (neighborhoods), and cultural interchange; and subaltern narratives that aim to bring to the spotlight narratives dissonant to official narratives. Lastly, the article, thus, seeks to work in this manner the Zumbi play analysis in the light of black popular culture, highlighting the political dimension contained in the 2012 staging.

ABSTRACT – In the Presence of Hearing, Senses to Listen – This essay brings together phenomenological studies on the language’s poetical dimension to address the actions of hearing and listening as distinct aspects in the experience of producing senses. The paper establishes an interlocution between philosophy and poetics to think about the inseparability between body and world, rhythm and voice, highlighting the educational relevance of the aesthesic experience of listening to the world as a founding resonance of senses that are organized, situated and expressed in language.

This article proposes a historical-political view on the encounter between theater and education, considering theater for children as its practical operator. Due to an analytical effort inspired by Foucauldian theorization, the study focuses on the discourses on the theme in Brazil from the beginning to the middle of the twentieth century, making use of two unusual sources in theater historiography: the newspaper Correio da Manhã and the Revista Brasileira de Estudos Pedagógicos. By pointing out the discursive bond between theater practices and the ideas of Escola Nova movement, the study attributes to theater for children and school theater a prominent role among the pedagogizing strategies of population governance.

The present study analyzes polyamorous relationships and their implications for Law. Different loving and affective practices exist, some of them are sometimes experienced by multiple people at the same time, which breaks with the traditional idea of monogamy as the only relationship identity that is able to constitute families. This occurs, on the one hand, due to largely accepted social and cultural values. On the other hand, the phenomenon of monogamy is further strengthened because the State grants protection mainly to traditional forms of family. However, society begins to resignify such unions, which puts into question the traditional legislation. From the methodological point of view, this research has a qualitative character, with bibliographical and documentary sources, based mainly on the Brazilian film Eu tu eles as reference. On the theoretical level, the paper is based on arguments from the Brazilian Constitutional Civil Law. Based on the material analyzed, it is concluded that there is an effective possibility of extending family rights to new arrangements, the main reason being to consider affectivity as the norm, since monogamy is only a historically established value in Brazilian society.

Neste trabalho, pretendemos lançar mão dos conhecimentos contextuais necessários à compreensão da filosofia de Wittgenstein, na forma como ela aparece no Tractatus-logico-philosophicus. Com o objetivo de tornar esse pensamento hermético mais acessível didaticamente, adotamos a metodologia da definição por gênero e diferença (per genus et differentiam), enfatizando sobretudo as suas semelhanças (genus) com a tradição crítica. Desenvolvemos alguns aspectos da semelhança do projeto kantiano com o tractatiano: 1) quanto à forma como suas filosofias foram geneticamente influenciadas pelo ceticismo, 2) como, entretanto, ambas se recusam a aceitar os resultados do ceticismo, 3) de que maneira se utilizam da valorização da ciência para cumprir tal propósito, 4) como ambas concebem a filosofia como um empreendimento completamente distinto da ciência e 5) ao mesmo tempo igualam filosofia a filosofia da ciência. No que diz respeito às diferenças (differentiam)observadas em relação à tradição lógica, o texto aborda apenas a direção a ser investigada a partir de filiações e influências marcantes na gênese da obra.

O presente artigo tem como objetivo refletir sobre os fundamentos teóricos que balizam os argumentos apresentados por Pausânias em seu célebre discurso no Banquete. Demonstrar-se-á a forte influência sofística que carrega tal encômio, devendo, por isso, ser entendido como uma forte crítica platônica ao modelo paidédito proposto por esse grupo de pensadores. Concluir-se-á ainda, evidenciando, que assim como os demais discursos, o elogio de Pausânias a Eros constitui-se, na verdade, um louvor a si mesmo, pretendendo-se conceber como amante/amado ideal.

The paper aims to map educational policies, official documents and academic works related to Dance in The School to draw an overview, situating the major public initiatives and research involved in the insertion of dance teachers in the school institution within the Brazilian context. This is a documental and bibliometric quali-quantitative work, comprising the period between 1990 and 2017. It is concluded that to analyze the establishment of the academic field in Dance in the School in Brazil, it is necessary to identify actions that influence the development of this practice under the perspective of a systemic and relational view.

Somatic education, as a set of bodily techniques and a relational process that affects our biology, consciousness, and the environment can be developed in the school for pedagogical purposes. This education can further be constituted as a mean of including bodily, behavioral, and physical fitness diversities. This assertion induces the development of reflections on some Somatic Education experiments/researches in Brazil, aiming to initiate an epistemological discussion for new curricular proposals of Physical Education in Brazilian Schools that involve the principles of Somatic Education in their basic education.

This article comments on the analysis of the play Zumbi (2012) (Zombies) by João das Neves, a production inspired in Arena conta Zumbi (1965) by Boal and Guarnieri, presenting the problems related to contemporaneous matters in the perspective of the slavery past and current political scenario in Brazil, which resulted in the current moment of the restriction of democratic rights. Then, it develops comments on themes such as the postcolonial conditions, which permeate the relations downtown / periphery (neighborhoods), and cultural interchange; and subaltern narratives that aim to bring to the spotlight narratives dissonant to official narratives. Lastly, the article, thus, seeks to work in this manner the Zumbi play analysis in the light of black popular culture, highlighting the political dimension contained in the 2012 staging.

This article presents an excerpt of the research concerning six dance teachers in southern Brazilian schools, describing dance classes within the Art curriculum through ethnographic approach. The text analyzes dance practices, activities in which the touch is a central component. Starting from Michel Foucault's theoretical perspective, this study identifies tensions concerning the technologies of production of subject-bodies at the school, challenging hegemonic codes of skin and touching. The research singles out the effects of dance practices with touch, mainly regarding: a) the suspension of embodied cultural meanings; b) the dimension of presence; and c) the ethical work.

This article proposes a historical-political view on the encounter between theater and education, considering theater for children as its practical operator. Due to an analytical effort inspired by Foucauldian theorization, the study focuses on the discourses on the theme in Brazil from the beginning to the middle of the twentieth century, making use of two unusual sources in theater historiography: the newspaper Correio da Manhã and the Revista Brasileira de Estudos Pedagógicos. By pointing out the discursive bond between theater practices and the ideas of Escola Nova movement, the study attributes to theater for children and school theater a prominent role among the pedagogizing strategies of population governance.

ABSTRACT – In the Presence of Hearing, Senses to Listen – This essay brings together phenomenological studies on the language’s poetical dimension to address the actions of hearing and listening as distinct aspects in the experience of producing senses. The paper establishes an interlocution between philosophy and poetics to think about the inseparability between body and world, rhythm and voice, highlighting the educational relevance of the aesthesic experience of listening to the world as a founding resonance of senses that are organized, situated and expressed in language.

Objetivo:O trabalho investigou os usos da gamificação na ciência cidadã online, onde se observou a dinâmica de atuação dos elementos de jogo presentes nas interfaces destas iniciativas, bem como a sua utilização no estímulo à participação e manutenção da atuação e do envolvimento dos cientistas cidadãos. Método:Foram selecionados e observados projetos caracterizados por experiências incorporando atividades de classificação de imagens e a tomada de decisões significativas por parte dos participantes. Resultados:Identificou-se que os principais recursos utilizados nas iniciativas investigadas foram os pontos, as insígnias e os quadros de líderes, onde foi possível perceber que as contribuições realizadas pelos participantes, bem como os resultados globais decorrentes das experiências permaneceram inacessíveis a eles em quase todas as iniciativas observadas. Conclusões:Observou-se que o uso da gamificação, por um lado, é capaz de amplificar tanto o público alvo envolvido quanto a sua permanência na realização das atividades propostas, atuando como um complemento motivacional, por meio de recompensas de participação. Por outro, é também uma ferramenta instrumental direcionando a atuação dos participantes, através das escolhas disponíveis nas interfaces dos projetos.

O presente artigo tem como objetivo refletir sobre os fundamentos teóricos que balizam os argumentos apresentados por Pausânias em seu célebre discurso no Banquete. Demonstrar-se-á a forte influência sofística que carrega tal encômio, devendo, por isso, ser entendido como uma forte crítica platônica ao modelo paidédito proposto por esse grupo de pensadores. Concluir-se-á ainda, evidenciando, que assim como os demais discursos, o elogio de Pausânias a Eros constitui-se, na verdade, um louvor a si mesmo, pretendendo-se conceber como amante/amado ideal.

A partir de uma passagem interessante da autobiografia do filósofo, trabalharemos dois imperativos gregos, o “Conhece-te a ti mesmo”, do oráculo de Delfos, e o “Torna-te o que tu és”, do poeta Píndaro. Ambas quando trabalhadas a partir da língua grega mostram-se ipsis verbis, e abordam um aspecto muito caro do pensamento de Nietzsche, pois tratam do movimento, do vir a ser. Essa abordagem é tratada tendo em vista a rivalidade de Nietzsche com a figura de Sócrates, prefigurado nas entrelinhas da passagem destacada. Sem prejuízos, a rivalidade é esmiuçada para intensificar as questões que já aparecem no filósofo ateniense, e desenvolver, por assim dizer, o pensamento de Nietzsche com relação ao tem po, que parece ser, em todo caso, uma compreensão de destino.

Body and Decoloniality in Scenic Poetic Composition - The text is situated between the arts, anthropology and philosophy and aims to answer the question: can the artistic process be understood as a means of decoloniality of ordinary body? Methodologically literature review was carried out an artistic process was analyzed that the authors participated in. It emerges from the experience that Sampaio’s (2007) proposal for the atenso body for the scene can be a fruitful way to reach the decoloniality of the everyday body.

This article discusses education, aesthetics and possibilities for a decolonial aesthetics, based on an experience we call (inter)cultural mediation in a Guarani school and an art exhibition at the 10th Mercosul Biennial. The concept of school (located in the indigenous territory) as a border space contributed to the understanding of a border thinking, which escapes the modern western canon. The (inter)cultural mediation proved to be useful as a method for je guata – a walking –, an investigative walking, performed with a school group of Guarani people.

The article analyzes the only audio record (1968) of Torquato Neto, which points out, in dialogue with the experimental context of Tropicália (Süssekind, 2007), another point of view to rethink the creations and studies related to the so-called popular cultures, since such manifestations are almost always circumscribed exclusively to the field of Folklore. Starting from the relation between local and global (Anjos, 2005) and the concept of anthropophagy as a mechanism for proposing a Brazilian art that would incorporate both foreign and national myths, it is discussed the poetic project of non-folklorizing the popular, as Torquato says.

This study contemplates the body as a reflective place to observe artistic creations, having two artists as inspiring perspective: Marina Abramović and Elke Hering. The general goal was to investigate the dialogues established by the artists’ works and the body as aesthetic potency. The analytical observation of Abramović’s performance and Hering’s work allowed a dive into the space of the body as a field of sensitive potentialities and possible relations with knowledge in art. In the end, congruences, similarities, the distances of the bodies created in art as thematic and support make discussions in the field of aesthetic experience in art possible.

The article investigates Minimalism’s theatricality from the standpoint of Michael Fried’s and Rosalind Krauss’ critical readings. On the one hand, Krauss, from the very first moment in which she reflects on the works of Donald Judd and Dan Flavin, evidences their fundamental contradiction: the presence of the illusion, despite its rejection by the artists. On the other hand, Fried focuses on the alleged literalism of those projects, calling them theatricality. In the text, the two approaches will be confronted in order to explore the authors’ different views on the notion of theatricality.

The paper is a philosophical reflection from a survey of the academic production carried through in Brazil on the work of the German choreographer Pina Bausch. This survey was accomplished in digital platforms, comprising the period from 1988 to 2018, and included articles published in journals, book chapters, books, dissertations and theses. Thus, the present investigation intends to inquire in which way such approaches are close to Bausch's work, whether directly or indirectly. Concepts of image, parody and tale are used to reflect, with the input of Giorgio Agamben and Walter Benjamin's philosophy – in a collateral form –, on the paradoxes of the research at issue.

This article addresses the issue of co-presence of dancing bodies in an excerpt of Café Müller by Pina Bausch through the cinematographic eye of Wim Wenders in Pina (2011). As a theoretical framework for this analysis, essayist and filmmaker Jean-Louis Comolli ‒ mise-en-scène, representation, co-presence ‒ and the film philosophy of difference as proposed by Gilles Deleuze are brought to scene. While shaping itself on relations with time, the empirical object of this analysis traces ruptures and refractions of images as power of representation. From the (im)perfection of the closed eyes in Café Müller to the (re)presentation in a false-raccord of a coalescent image: the eyes of a cinematographic montage as production of presence in dance.

This work was developed in a close link to Topologias da Carne [Topologies of the Meat], a creative process in contemporary dance. From the incorporation of the concepts Body without Organs (BwO), territory, body-meat, as well as in relation to Laban's proposals for movement, the aim is to produce a transduction of the incorporeal from the concepts into micro vibrations of a dancing body. The methodology covers the exhaustive study of the concepts, in an intrinsic relation to practical experiments in dance, which can open the corporeal organizations to the experimentation of an intensive body.

From the Beginning till the End: an interview with Josephine Ann Endicott

This work resumes some ideas proposed by the dance critic and scholar André Lepecki (2008), in order to reflect about the limits of a refusal of movement as a rupture with modernity and with a certain notion of choreography. For this purpose, a critical reading of the way dance history is conceived in this work is made, and then three nuances for the notion of movement are proposed, in order to point out that the conjunction between dance and movement is neither univocal nor have always the same political or conceptual implications.