Search

Copyright of Revista Latinoamericana de Ciencias Sociales, Niñez y Juventud is the property of Centro de Estudiso Avanzados en Ninez y Juventud alaianza Cinde, Universidad de Manizales 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 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 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.)

The article analyzes the representations and discourses about black and white women artists in the magazines O Cruzeiro and Manchete (1950-1959), through the concept of intersectionality, imbricated with the categories of color, class and gender in historical analysis. The narratives about women artists in these magazines presented themes involving discrimination and race and gender relations, evidenced in their pages from the construction of discourses of ambiguous character about black women artists, presented under principles of hypersexualization and/or under the pure manifestation of structural and cultural racism, from the stereotyping of black female bodies. The white women artists were represented according to the standards usually imposed on women, such as the vocation to marriage and motherhood, corroborating to consolidate the stereotype of the ideal wife/woman. [ABSTRACT FROM AUTHOR]

The text discusses the work Murmúrios (1960) by the Maranhão-based black poet Mariana Luz (1871-1960), second woman to get into Maranhão's Letters Academy in 1949. Teacher, poet, artist and playwright, Mariana Luz has suffered, as many other black artists, an invisibility process of her life and work. Here, we aim to recover this black poet trajectory and to analyze her lyric production. This research, mainly bibliographical, is also based on the documental analysis of newspapers articles. The analytical and interpretative reading of her poetry, besides exploring aesthetic tendencies, aims to show the relations of her production with the social and cultural end-of-century period, especially the poems that address the melancholy and the feminine themes. To discuss Mariana Luz's poetry is essential not only for the Brazilian Literature History, but for the historical reparation of her invisibility. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos de Música, Artes Visuales y Artes Escénicas is the property of Pontificia Universidad Javeriana 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.)

Based on hemerographic and bibliographic research, this article discusses the artistic trajectory of the comic actor-singer-dancer Martinho Corrêa Vasques (1822-1890), in the period between 1841 and 1875, since his entry into João Caetano's dramatic company, with which he performed in theatrical shows in benefit of enslaved manumission and Catholic brotherhoods of blacks and poor free men in the 1840s, until the longest period of the artist's career, when he worked in the imperial capital and in the provinces of Rio Grande, São Paulo, Pernambuco and Bahia. The article reveals the fundamental characteristics of Martinho Corrêa Vasques' style, highlighting the important role of co-authorship played by the artist in the scenic-musical performance of the lundus, arias, vaudevilles and parodies, in addition to revealing sociopolitical and ethnic implications of the performance of the black artist on nineteenthcentury stages, during the slavery regime. [ABSTRACT FROM AUTHOR]

Copyright of Iluminuras is the property of Revista Iluminuras 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 Arte & Ensaio is the property of Arte & Ensaio 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 Arte & Ensaio is the property of Arte & Ensaio 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 Arte & Ensaio is the property of Arte & Ensaio 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 Arte & Ensaio is the property of Arte & Ensaio 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 Arte & Ensaio is the property of Arte & Ensaio 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 paper presents a proposal for workshop-meetings, which were held with black Early Childhood Education teachers, with the aim of mapping their paths of aesthetic training. Structured around the sharing of poetics by black artists, the workshop-meetings were constituted as space-time for autobiographical narratives, in order to support the premise that it is necessary to open space for listening to narratives that affirm singular-plural (re)existences. Issues about ethnic-racial diversity and aesthetic principles in the proposals for Early Childhood Education are articulated and make up the context over which the discussion is woven. The focus is on teacher training, as it is understood that the proposition of pedagogies of diversity, decolonial and reexistence, necessarily passes through teaching and its repertoires. [ABSTRACT FROM AUTHOR]

Copyright of Arte & Ensaio is the property of Arte & Ensaio 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 Arte & Ensaio is the property of Arte & Ensaio 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 Pitágoras 500 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 Lua Nova is the property of CEDEC 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.)