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Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Odeere is the property of Edicoes UESB and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Lusofona de Educacao is the property of Universidade Lusofona de Humanidades e Tecnologias, CEIEF and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Although in the history of geography the memory appears as an under-construction theme, the spatial and temporal dimensions, the individual or collective place, and the objective and subjective aspects are insufficiently problematized in the Brazilian geography. In this paper, I emphasize the individual memory and its use in memorials, as well as I suggest a "Supernatural Geography" in which the present memory is a comprehensive source of "space-time", "me" and "others", and "current opportunities". The proposal of this text is suggestive and provocative, with the objective to lead the reader more to a reflection than to finding something closed and ready. I use in the text a methodology that combines bibliographic research on memory, including contemporary geographical production, and, to a lesser extent, (self)Biographical research with a life narrative. There are no "conclusions" in the text, as some concerns and questions from the author are placed. [ABSTRACT FROM AUTHOR]

Copyright of Revista Confluências Culturais is the property of Fundacao Educacional da Regiao de Joinville - FURJ and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The longing for a memory haven due to the increasing compression of space-time and the possibility of reconfiguration of the originality of the artwork -- as a consequence of the potential of technical reproducibility in the digital age -- are currently responsible for permanent reappropriation of past pictorial representations and the illusionism characteristic of the early cinema. As a result of the new audiovisual technologies, which have problematized the relation between painting and cinema, "panoramic installations" privilege immersion and interactivity with a participant, a co-author. Peter Greenaway and Lech Majewski are some of the filmmakers that work nowadays at this healthy frontier, updating the cinematographic apparatus, especially in its perceptive conditions of aesthetic fruition and new possibilities of processes of subjectivation. [ABSTRACT FROM AUTHOR]

Death and the "catholic funeral ritual complex" are events that may inspire ethnographic reflections about the relations between death (particularly its ritual dimension), time, space, memory and saudade. Here I want to explore some of these possibilities by looking at the events occurring after the death of catholic people in the Casa Amarela neighbourbood of Recife (Brazil). It seems to be possible to establish a structural-temporal relationship between these dimensions and hence to construct different times/types of memories based upon, on the one hand, an affective dimension (particularly saudade), and, on the other, a ritual dimension (as in the Day of the Dead), in the production of the "beloved being". [ABSTRACT FROM AUTHOR]