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Copyright of Cuadernos del Centro de Estudios de Diseño y Comunicación is the property of Cuadernos del Centro de Estudios de Diseno y Comunicacion 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.)

This article analyzes the sketches of Ernesto “Che” Guevara and fellow guerrillas made by the Argentine Ciro Bustos during his captivity in Bolivia in 1967. Many of the references to Bustos in biographies of Guevara and in writings about the latter’s failed Bolivian campaign depict Bustos, because of those sketches, as “the man who betrayed Che.” The tensions and discrepancies in those accounts suggest instead that Bustos’s sketches should be seen not merely as documents of betrayal but as artworks embedded in the period’s wider revolutionary visualities. The article argues that Bustos’s drawing of Che Guevara, who is usually depicted visually as “heroic guerrilla” or “saintly martyr,” introduces an affective, intimate gaze of armed struggle in all its complications.

Copyright of Revista de Ensino em Artes, Moda e Design is the property of Universidade do Estado de Santa Catarina 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.)

In this essay, I first aim to pinpoint the factors that have historically marginalized art within anthropological thought. I propose that this marginalization stems from two main influences: the aesthetic conception of art and the metaphysical underpinnings of the social sciences, which suggest that art must be understood through theoretical frameworks. Drawing on phenomenology and following Heidegger's seminal essay The Origin of the Work of Art, I assert that art's role in establishing and navigating the metaphysical coordinates of a community, guiding its historical course, should be central to anthropological inquiry. I argue thus for an anthropological approach to art that prioritizes its ontological potentiality, thereby enabling us to appreciate the generative aspects of what we call society and culture. This approach invites a dialogical engagement with the world's great artworks, fostering a relationship marked by interpretive reciprocity among the works, their creators, and interpreters. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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.)

This article systematically addresses the phenomenon of structural racism and the conception of Afrofuturism in the Brazilian context, with the aim of undertaking an insightful analysis of the historical influence of slavery in the formation of prejudice directed at the black community, at the same time that it explores the intrinsic potentialities of Afrofuturism to restructure these stigmatizing perceptions. The method adopted to achieve this purpose comprises a critical approach that focuses on the historical and cultural trajectory of Brazil, placing particular emphasis on contemporary manifestations of the racial phenomenon. The results of this analysis irrefutably highlight the perpetuation of social inequalities and the consolidation of stereotypical representations of the black population in the media. Additionally, they highlight the urgency of promoting a narrative that not only values, but also deconstructs stereotypes rooted in the social structure. The Teatro Experimental do Negro also stands out as an avantgarde endeavor, which not only encouraged the creation of new works, but also led to the emergence of emerging talents, playing a crucial role in the acceptance of contemporary movements, notably Afrofuturism. The conclusion that must be drawn is that Afrofuturism, through its artistic expressions and fictional narratives, presents itself as a vehicle capable of catalyzing the collective imagination, rescuing neglected historical fragments and establishing new paradigms of expectation for the black community. In this context, it reveals itself as a transformative agent, effectively contributing to the deconstruction of structural racism and the promotion of a more comprehensive acceptance of black identity in Brazilian society. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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 Políticas Culturais em Revista is the property of Politicas Culturais em Revista 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 Arcos: Design, Cultura e Visualidade is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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 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 Palíndromo is the property of Universidade do Estado de Santa Catarina 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 Palíndromo is the property of Universidade do Estado de Santa Catarina 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.)

Kelvin Falcão Klein's article discusses the work of Argentine writer Andrea Giunta, who analyzes contemporary art in a global context, exploring artists such as Lygia Clark, Piet Mondrian, and Antonio Berni. Giunta proposes a vision of a "world without a center", where references do not follow hierarchies, connecting with literature and literary studies. The author highlights the importance of the interdependence between literature and visual arts, promoting a critical reading of contemporary art. [Extracted from the article]

This article analyzes the contributions of Pibid/Arte to initial and continuing teacher education in face to the logic of capital (Mészáros, 2005). The first deals with structuring of the practices and the foundations of Historical-Critical Pedagogy. In the second we discuss emergency remote teaching an alienation of teaching work and in the third, we address the domain of teaching as immaterial work (Saviani, 2011). We conclude that Pibid/Arte has enabled the construction of creative and intellectually grounded teaching committed to democratic education. [ABSTRACT FROM AUTHOR]

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) 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 Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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 Trabalhos em Lingüística Aplicada is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos 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 Esferas is the property of Esferas 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 Esferas is the property of Esferas 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.)

Dans cette étude, nous cherchons à interroger et à creuser l’énigme du corps sensible en concevant l’affectivité comme la manière fondamentale d’être au monde dans la philosophie merleau-pontyenne. Notre étude vise à montrer que la chair agit comme l’«entre-deux» du corps sensible – que nous appelons le corps affectif-vécu (résonance affective-corporelle du monde en nous) – cristallisé dans la tonalité fondamentale de l’étonnement. Cette dimension affective de la pensée et de l’être constitue le fondement et le sens de toute l’expérience du monde de la vie. Nous explorons l’affectivité en tant qu’intentionnalité non-objectivante, forme universelle de l’être brut et réhabilitation ontologique du sensible. Ce parcours nous mène du corps esthésiologique au corps libidinal, ouvrant à une autre compréhension du sentir, du désir, de l’amour et de la pensée. Nous étendons cette exploration du sensible aux domaines de l’art, de la littérature et de la théologie, envisageant les possibilités d’une autre métaphysique et d’une force anonyme au cœur du monde. Notre recherche met à jour des aspects impensés de la philosophie de Merleau-Ponty, suggérant une perspective renouvelée sur les catégories métaphysiques et, de cette manière, peut-être en révélant son propre impensé. À travers ce travail de réflexion, nous traçons le chemin d’un corps sensible pensant, en ressentant l’étonnement infini devant « l’étrangeté du monde et des choses » ainsi que devant l’énigme de notre propre incarnation.

To investigate the memories of the art workshops offered in a peripheral territory in Florianópolis, in the state of Santa Catarina, Brazil, is the aim of this research. The team got closer to the territory in 2017, through aesthetic workshops offered in Morro da Queimada’s co-op. Most of these workshops did not continue, although tracks of what happened there have remained in the place. From the Benjaminian and Vigotskian perspectives, the importance of the work with the remains, with what is thrown away, rejected, forgotten. These remains are important to the investigation in psychology because, even as insignificant details, they are vestiges of other possibilities that aren’t unfulfilled, by being scrutinized and seen, may contribute to the comprehension and transformation of the present. In this sense, the analysis seeks to understand the characteristics of the art workshops offered in the co-op and of the workshops that occurred before the co-op, focusing on community participation, possible repercussions and the motives for it to have ceased to exist. 10 interviews were carried out with women that participated in the workshops. The methodology of data analysis was the discourse analysis, which allowed us to understand what motivated and the construction process of the workshops, the community participation, possible repercussions that its discontinuities and what remained as memory to the participants. Despite the end of the workshops, some learnings persisted and were transmitted from generation to generation, especially those that had a broader meaning such as, for example, the tradition of making chocolate to deliver to the community´s kids during Easter. Another obtained result was the comprehension of the importance given to the workshops as places for accomplishment of encounters and of sharing life experiences. [ABSTRACT FROM AUTHOR]

Copyright of Apotheke is the property of Universidade do Estado de Santa Catarina 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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 Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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 de Ensino em Artes, Moda e Design is the property of Universidade do Estado de Santa Catarina 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 de Ensino em Artes, Moda e Design is the property of Universidade do Estado de Santa Catarina 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.)

Introduction: Women living with HIV (MVHIV) have a lower mean age at menopause than the general population, in addition to more exuberant symptoms during this period. These factors can further reduce the quality of life of this population during perimenopause and negatively affect antiretroviral therapy (ART). Understanding this risk is important for medical advice at this stage, as well as for evaluating the initiation of hormonal therapy, when necessary. Objective: To evaluate the climacteric syndrome in women living with HIV/AIDS. Methods: During an endocrinological medical consultation, a clinical examination was performed, including an anthropometric physical examination, in addition to the application of a questionnaire to assess the symptoms of the climacteric syndrome and collection of hormonal values, viral load and serum CD4 cell values of 44 women, aged between 35 to 65 years old, living with HIV/AIDS. Results: The mean age at spontaneous menopause was 47.44 years, there was an association between FSH, LH and estradiol hormones and perimenopause phases. Anxiety and/or nervousness was present in 84.1% of patients and slowing of thinking in 72.7%. Skin dryness was also shown to be a significant symptom, with 75% of recurrence. Furthermore, women with skin dryness had higher FSH and LH compared to those without the symptom. Conclusion: Women living with HIV in Belém-PA had menopause 3.76 years before the expected national average and presented a high prevalence of symptoms related to cognition and mood. Other similar studies, with a larger sample size, are needed in the region to establish more reliable results.

The scope of this theoretical study is centred on the analysis of artistic practices developed during travel, focusing on the construction of the relationship between art and travel from the 16th century to the present. In order to do this, a historical perspective focuses on the journey to Italy, the obligatory destination for travellers in the modern era. From the nineteenth century onwards, contemporary artists sought to observe how travel became an artistic discourse. The term 'artourist' is introduced as a description of the artist who is a traveller and a developer of artistic projects. The research followed the methodology of virtual curatorship, which subjectivises and expands a reflective body of works of art and tourism. This article promotes the argument that tourism, despite the veiled pejorative connotation of academic profiles of the visual arts, can be an essential mechanism for artistic creation and imagination. In defence of free-thinking, this article presents an expanded reflection, pointing to theories and cases that reveal the contributions of the relationship between art and tourism as two complex systems through its protagonist: the travelling artist.

This article aims to think that the writing of a clinical case in psychoanalysis needs to consider the aesthetic and political elements to remain accurate regarding the ethics of psychoanalysis. To this end, we will make approximations between the concept of the Unconscious of Sigmund Freud and the Aesthetic Unconscious, proposed by the French philosopher Jacques Rancière. Thus, first we will present a brief presentation on the aesthetic unconscious and psychoanalysis. In a second moment, we will present Rancière's notes on aesthetics and promote possible articulations between the philosopher and Freud, from what they conceptualize about the unconscious. Finally, we will consider how the clinical case can be observed from this perspective that we propose, of investigating about the articulations between the Unconscious and the Aesthetic Unconscious. [ABSTRACT FROM AUTHOR]

This text aims to reflect on the growing phenomenon of the practice of religious pluralism. In particular, pilgrimage to Sanctuaries has become a new way of living the Christian faith, in search of the Sacred. Postmodernity has provided this growing phenomenon in search of spiritual grace and encounter with the Divine in Sanctuaries. These are places of encounter, sociability, fraternity and reconciliation that human beings seek so much today. The fundamental question was thus formulated: how to make a pilgrimage in a deeper and wiser way, to encounter the Sacred in every part of human existence? This study, which follows a bibliographic research methodology, by addressing the origins of pilgrimage in the biblical world, inspired by the pilgrimage of Jesus, seeks to understand how Sanctuaries are privileged places of pilgrimage today. The expected results are limited to the understanding that the theology of pilgrimage can not only favor faith but also opportunities for cultural and religious tourism. Thus, the human being goes on pilgrimage in search of happiness, learning to go to the furthest reaches of his existence. Pilgrimage is the art of living in search of the Sacred. [ABSTRACT FROM AUTHOR]

The text investigates some of the treatments given to visual images in the work of Frank Ankersmit from the 1983 to 1995, following how the author moved from a position of refuting picture theory in historical discourse, in the 1980s, to a central dialogue with the visual arts and with a pictorial conception of the writing of history. The analysis shows the iconic acts through which, in Ankersmit's writings, images fulfilled functions that were sometimes paradoxical. The article demonstrates that the works of the Dutch author are symptoms of a generalized position of repression of images in the narrativist theory of history since Hayden White. [ABSTRACT FROM AUTHOR]

Nietzsche, in his early writings, unleashes severe criticisms of epistemological optimism and its pretension to explain all worldly and human phenomena through the guiding thread of logic and rationality. This conception, on the rise in the second half of the 19th century, is considered by the German philosopher as a guideline that impoverishes and weakens vital dynamics. In contrast, the philosopher extols and defends artistic activity as the model that provides justification and enrichment of existence. In The birth of tragedy, it is among the Greeks that Nietzsche detects this conflict and emphasizes that Greek religiosity and its close link with art are superior to the scientific perspective. In the Untimely meditations the philosopher launches his investigation into his century and continues to denounce the sterile nature of science in its relationship with life. [ABSTRACT FROM AUTHOR]

This article aims to analyze the influence of tragic art on Nietzsche's critique of morality, highlighted in his early writings dating from 1872-1873, and its connection with his mature works. We will explore the interconnection between philosophy, art, aesthetics and the ascetic ideal, seeking to emphasize the importance of understanding the tragic perspectives present in the philosopher's thought. The approach to Greek tragedy, with an emphasis on the pluralistic, agonistic and fatalistic worldview of the Greeks, establishes the basis for understanding Nietzsche's critique of morality and his preference for the authenticity of the worldview of the ancients. [ABSTRACT FROM AUTHOR]

This text presents an excerpt from a Master's degree research developed in Luanda (Angola), by the Postgraduate Program in Performing Arts at the Federal University of Rio Grande do Norte (Brazil), which investigates ethnotheatrological aspects of Angolan cultural manifestations. This is specifically about discussing the relevance and possibilities of understanding certain elements of Angolan rituals as teaching principles to be considered in basic education schools, especially through working with artistic languages that turn their attention to the cultural richness of different mother tongues and corporeities of Angola. The pedagogical practice with ritualistic elements of Angolan cultural manifestations is approached here as a way of expanding opportunities -- through working with artistic languages (dance, theater, music, etc.) that manifest typical ritual performances -- to understand, situate and reupdate the production of local knowledge. [ABSTRACT FROM AUTHOR]

The paper analyses the conception of Art and Christianity in the essay The Aesthetic Relations of Art to Reality [Esteticheskiye otnosheniya iskusstva k deystvitel’nosti (1855)] and in the novel What is to Be Done [Chto delat’?(1862)], by Chernyshevsky. I argue that Chernishevsky’s reception of German philosophical materialism, especially Feuerbach and David Strauss, provided the foundations for his realism and for his materialistic reformulation of Christianity. As a typical seminarist confronting modern ideas, Chernishevsky found in Feuerbach’s and David Strauss’s thought a horizon of perpetuation of his religious instinct and became a propagator of scientific materialism that moved the controversies about religion, art, and revolution in the second half of the nineteenth century. I further argue that the weltanschauung that structured his essay on Art is at the root of the aesthetic and religious procedure we find in his novel. Interpreted as the expression of a materialist subversion of Christianity, What is to Be Done was conceived and elaborated to be read as a new gospel and was received, in the Russian revolutionary imaginary, as a religious pamphlet that determined the discussions about art, religion and revolution. [ABSTRACT FROM AUTHOR]