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This article aims to expose storytelling practices in teacher training, within the context of remote teaching caused by the Covid-19 pandemic. We have worked with the idea of self-hyperwriting as modes of narrative production and the idea of teaching dramaturgies - understood as the art of telling stories through a didactic design. To contextualize these ideas, we present two experiences based on the dramatization of the pandemic: an exercise in the production of comics with digital illustrations, carried out with students from the UERJ Pedagogy course, and the production of an illustrated book that presents stories of the pandemic in remote teaching. In these two examples, storytelling is understood as a didactic gesture for the creation of formative listening and storytelling environments (DELEUZE, 2011) of other possible worlds, as a production of narrative records of common people (CERTEAU, 2014), always alert to the dangers of a unique story (ADICHIE, 2018) and understanding life as an artwork (FOUCAULT, 1994). All these processes took into account the specificities of narrating life in cyberculture, with all the possibilities of the language of hypermedia. [ABSTRACT FROM AUTHOR]

In September 1928 was held in Buenos Aires the First National Book Exhibition, an event that agglutinated much of the discussions around the advancement of the publishing industry in the 1920’s, while representing a significant milestone for the consolidation of graphic arts in Argentina. In the first decades of the XXth century, diverse institutional initiatives gradually shaped a tradition of engraving as a “book art”, allied to literary illustration. The Exhibition collaborated to a large extent with this process: it assigned a space for an engraving and luxury editions exhibition, and it counted with the attendance of a special commission of illustrators, formed by Adolfo Bellocq and Alfredo Guido, among others, who worked intensely as promoters of engraving trade from both artistic and pedagogical practice. Furthermore, the strategy that was used to promote the event had a certain tradition in graphic arts: the artistic poster contest. We propose to analyze this exhibition in its aspects related to the circulation of images and ideas around the book like an object as its own right and, particularly, the early tensions related to graphic arts within the Argentine publishing industry. [ABSTRACT FROM AUTHOR]

In the so-called Age of Empires of the Nineteenth century, H. Rider Haggard's novels and romances became best sellers in the publishing market, and with plots set in southern Africa, they informed the imagination of many of their readers about the occupation of other territories, and inter-ethnic and intercultural encounters in the geopolitical frontiers of colonial interests. This article concentrates on the visuality of colonial Africa in two romances by Rider Haggard, Swallow (1899) and The Ghost Kings (1908). The analysis rests on the images and illustrations that accompanied these books, understanding them as elements associated with the political dimension of fictionality, especially the visual codes that intersect the imaginary and stereotypes associated with the South African territories. [ABSTRACT FROM AUTHOR]

A Última Obra Prima de Aaron Slobodj (2004) by José Carlos Fernandes can be described as a fake in fragments, since the book consists of fragments, both texts and illustrations, that the reader can freely relate and Slobodj is an invented author who is taken as a real one. Although Fernandes is mainly known for his comics, the genre of A Última Obra Prima de Aaron Slobodj is not easily definable. Moreover, the critical and bio-bibliographical texts included in the volume reinforce the difficulty in identifying its genre. Additionally, Fernandes’ book invites a comparative perspective to discuss the relationship between two different media, text and illustration. [ABSTRACT FROM AUTHOR]

In this article we aim to discuss multiculturalism a critical perspective and its implication for Mathematics Education, focusing on the images found in two collections of textbooks for teaching fundamental question regarding the racial-ethnic, gender and wheelchair. Such discussion is justified as relevant, because reflects on the discourses that can be silenced or being conveyed through these images. This is an interpretative qualitative study. The survey results indicate that the images of analyzed collections tend to a multiculturalism's liberal humanist discourse, which seeks to strengthen the argument that there is a natural equality among people. [ABSTRACT FROM AUTHOR]