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Iniciamos nuestro recorrido con el señalamiento de tres consensos para los lenguajes de la crítica en las humanidades en la escena actual de la teoría (Biset & Naranjo, 2022), a saber: el distanciamiento del giro lingüístico, la crítica de los dualismos ontológicos y la perturbación de las escalas. Para abrir la pregunta que guía este artículo, problematizamos el primer consenso, ése según el cual sería posible trazar una constante en los lenguajes actuales de la crítica que parecen distanciarse del giro lingüístico –específicamente de su versión posestructuralista–, discutiendo o bien su modo de comprender el lenguaje o bien el postulado de la mediación lingüística en tanto tal. Así, nuestra indagación busca ser una hoja de ruta para un posible camino que actualice la pregunta de la relación entre las palabras y las cosas desde una reformulación puntual: los signos y la materia. De ese modo, realizamos las siguientes acciones: sostenemos la hipótesis de un cierto retorno de las semejanzas desde la relectura de la prosa del mundo de Foucault y la lengua del mundo de Latour; revisamos qué nociones de signo (y sus vinculaciones con la imaginación crítica) están operando en las teorías contemporáneas; aislamos una batería de tácticas para la reorientación de lo escribible y lo legible en la escena teórico-crítica actual; finalmente, proponemos una serie de figuras desde las que balizamos el trabajo con los textos literarios desde una imaginación crítica singular. Abstract We begin by pointing out three consensuses for criticism in human sciences in the current context of theory (Biset & Naranjo, 2022), namely: the distancing from the linguistic turn, the critique of ontological dualisms, and the disruption of scales. To open the question that guides this article, we problematize the first consensus, which suggests that it is possible to trace an insistence in current criticism that appear to distance their theory from the linguistic turn – specifically from its poststructuralist version – by discussing either their way of understanding language or the postulate of linguistic mediation as such. Thus, our inquiry aims to be a cartography for a potential path that updates the question of the relationship between words and things through a specific reformulation: signs and matter. In this way, we undertake the following actions: we hypothesize a certain return of the similitudes through the rereading of Foucault's prose of the world and Latour's language of the world; we review which notions of sign (and their connections to critical imagination) are at play in contemporary theories; we isolate a set of tactics for reorienting what is writable and readable in the current theoretical-critical scene; finally, we propose a series of figures from which we explore the work with literary texts through a unique critical imagination. DOI: 10.5281/zenodo.10433343

In this paper, I attempt to address some of the themes of Ludwig Wittgenstein’s Tractatus logico-philosophicus with the aim of their deconstructionist interpretation. My analysis is based on David Gunkel’s book Deconstruction (MIT Press 2021). Based on some of its findings, I show how the Tractatus allows deconstruction and its practice to be thought. I show that the graphic structure of signs is crucial for the young Wittgenstein’s analysis and that it justifies the metaphysical findings in favor of which he argues.

This year, Classiques Garnier Publisher has printed the book Ferdinand de Saussure. Une science du langage pour une science de l’humain, written by JeanPaul Bronckart and Ecaterina Bulea Bronckart. The two authors bring back into discussion the topicality of the Genevan scholar’s linguistics, starting from the same challenging question: “Why, again, Saussure?”. The answer extending over more than five hundred pages aims at the complexity of an approach which revolutionised not only the bases of language sciences, but also the terminological innovations introduced, with Saussure, in all disciplines whose subject of study is language. This article relies on the reading of the Bronckarts’ book and focuses on that innovative part of the Saussurean terminology without which the process of scientific establishment of language studies would not have been possible.

Joseph Kosuth’s “One and Three Chairs” is considered the materialization of his 1969 essay “Art after Philosophy”, where he defined Conceptual Art, in which Meaning relied solely in its authors mind, expressed through a tireless repetition. Although this kind of reiteration could become means for an understanding, the fact that no effort was made (so to speak) in explaining one’s personal views, deprived the observer of the needed resources for its interpretation. Here lies a dilemma where Conceptual Art can be criticised, since, if an artist can hide behind the observer’s lack of understanding, he can, in fact, propose something that, also for him, is devoid of meaning. This is why Kosuth’s work may consist not in the materialization of Conceptual Art itself, but in the defence that at the foundation of an artist's work there must be strong ethical values, manifested precisely through a correlation between Sign, Signifier and Signified, in which “One and Three Chairs”, and his subsequent work, repeatedly dwells, defending the expression of an honesty that should guide Conceptual Art, in its own defence, but also of its authors’ and appreciators’ defence.

Violence against musical instruments within a musical context has been a constant phenomenon among different creative manifestations developed after the Second World War, from avant-garde tendencies to popular music. In this article these practices are addressed from the perspective of musical aesthetics, and, specifically, of a kind of “poetics of the instrument”. This research is conceived as a case study focused on the piece Piano Burning (1966/68), by Annea Lockwood, where a piano is burnt to ashes. Firstly, the piece is framed in its historical context, and also compared to other works that involved the immolation of a piano. Secondly, philosophical theories by Stephen Davies and Matteo Ravasio on the destruction of musical instruments are revised. Finally, the results of these investigations are applied to the analysis of Piano Burning, so that the instrument’s potential of deterritorialization through sign production is revealed in the process.

Los compositores han depositado en sus textos, ideas o emociones y esto ha sido posible al uso de signos como en el lenguaje escrito. Es difícil pensar que las manipulaciones de los materiales musicales no alcanzan significado alguno quedando como un hecho carente de la participación afectiva del compositor. En los tratados de música, muy pocas veces se abre el espacio para dimensionar ampliamente nociones como la de texto musical, signo, estado afectivo, lenguaje y discurso. Por ello, apelo a la fuerza inventiva de la filosofía como disciplina para generar conceptos que proporcionen esquemas de pensamiento útiles para articular saberes provenientes de diferentes disciplinas que me lleven a responder las siguientes cuestiones: ¿De un texto musical, emerge significado alguno? ¿Un texto musical, acaso comunica? / Composers have written in their texts ideas or emotions thanks to the use of signs in the written language. It’s hard to imagine that ma-nipulations of musical material can’t reach any significance and they stay as a fact lacking the affective intervention from the composer. In musical treaties, we can barely find opportunities to broaden the notions of musical text, sign, emotional state and discourse. Because of this, I appeal to the creative force of philosophy –as a discipline to generate concepts that lead to schemes of thought useful to articulate knowledge coming from different disciplines– to respond the following questions: Does any meaning result from a musical text? Does a musical text communicate?

En el texto buscamos acercarnos a la trayectoria social de los objetos que acompañan a la desaparición, el significado que adquieren en dicho proceso, y la forma en la que son concebidos a partir del hecho “desaparecedor”. Partimos aquí de la hipótesis de que la base material de la desaparición está descoyuntada, además de cargar con la responsabilidad de expresar lo que el ausente no puede, siendo atravesada por diversas miradas que la re-significan. Valiéndonos de revisión teórica y de casos concretos que nos acercan a la singularidad de las materialidades que bordean la desaparición, profundizamos en cómo se va leyendo esta materialidad hasta ubicarla en un espacio de frontera, objetos límite convertidos en prueba de vida, a menudo prueba y testimonio de los hechos acontecidos. Nos acercamos a una materialidad que sobrepasa la carga inicial destinada a soportar. In this paper we approach the social trajectory of the objects involved in cases of human disappearance, the new meanings and uses these objects acquired, and how the fact of disappearance involve a change in the way they are conceive. Our premise is that disappearance practices have material support, that is cracked, first, now it can bear that what the disappeared person no more can reveal, second, some other(s) may give them further senses. Objects talk and objects are talked by others. Thus objects are more than composed by matter, they are part of the world of perceptions: materialities. We explore how this materiality, located in a liminal space, is been put on performance as witness of the past and trial evidences. They are objects on the edge of a lost life. The theoretical review and concrete cases arose the uncanny of these materialities, their singularity. This kind of materialities are loaded by meanings and uses that exceed their original life.Available from: https://doi.org/10.35295/osls.iisl/0000-0000-0000-1025

It has long been noticed that paremias (proverbs, sayings etc., with all the differences of languages and cultures of the peoples who created them, are alike. This is due to the nature of paremias. As Russian folk-lorist G. L. Permyakov established, “they are signs and models of certain situations or certain relations between objects.” And since the situations that people encounter are the same everywhere, the paremias, invented by them to describe these situations, coincide in meaning. This fully applies to Somali and Russian proverbs and sayings. Some of them coincide al-most textually, some others differ in the images used in them. Proverbial sentences can be closed (proverbial class) and open (proverbial phrases class). At the same time, depending on the type of the motivation of their general meaning (transferred, direct or not immediate), they are divided into six subclasses: proverbs proper, folk aphorisms, non-divided sentences, proverbial phrases proper, by-words and non-divided phrases. In addition, proverbial sentences can be simple and complex (syn-tactically), they have different “goals of utterance” (that is, they can be affirmative or negative), they have a modality (they can be narrative, hortatory and interrogative). Thus, the Somali and Russian paremias, which coincide in meaning, may differ not only in the images used in them, but also in their linguistic and paremiological structures. Of the three main structures of all proverbs and sayings – linguistic (and compositional) structure, logical (and semiotic) structure and object-im-age structure, the coincidence in their logical structure and in the types of things opposed in them, i.e, the coincidence in their meaning, is cru-cial for determining their similarity.

Language in a broad sense becomes imperative for communication to ensue. Language considered as a system of signs and signification is achieved through a process involving sign relations, e.g. semiosis. Charles S. Peirce’s Theory of Signs can provide a basic framework for the elucidation of the intelligibility of signs. Furthermore, the ability for generating sign processes in an organized manner is determined by what Thomas A. Sebeok designates as an organism’s modeling capacity. Modeling capacities range from primitive to complex, thus generating three orders of language corresponding to language as a Primary Modeling System (PMS), a Secondary Modeling System (SMS) and a Tertiary Modeling System (TMS). This Peirce-Sebeok framework for communication, which John Deely places as “postmodern,” is premised upon what he designates as the suprasubjective nature of sign relations and their equally suprasubjective function. Thus, Sebeok’s Modeling Theory together with Peirce’s doctrine on the nature and behavior of signs can be used to direct the generation as well as the interpretation of language systems in accordance with the ultimate norm of communication, that is, to reflect truth as an icon of reality.

En el presente artículo se analiza un aspecto de la obra del sociólogo francés Jean Baudrillard, específicamente la noción de equivalencia, la cual funciona como principiodual válido en tres disciplinas: la lingüística, la economía y el psicoanálisis. Este principio es de naturaleza dual y se presupone como noción fundamental del paradigma moderno, de modo que estas disciplinas se hallan aquí representadas por tres autores fundamentales de la modernidad: Ferdinand de Saussure, Karl Marx y Sigmund Freud. Las equivalencias aquí estudiadas sonel signo lingüístico (significante-significado) en Saussure, la teoría del valor (valor de uso-valor de cambio) en Marx y la identidad del sujeto (o latente y lo patente) en Freud. Se hace una revisión del modo en que Baudrillard lee a estos tres autores con el objetivo de asociar aquel a la posmodernidad como crisis intelectual. This article will analyze an aspect of the work of the French sociologist Jean Baudrillard, specifically the notion of equivalence, which serves as a valid dual principle in three disciplines: Linguistics, Economics and Psychoanalysis. This principle is of a two-pronged nature, and is presupposed as a fundamental notion of the modern paradigm; these disciplines are therefore represented in this work by three fundamental authors of modernity: Ferdinand de Saussure, Karl Marx and Sigmund Freud. The equivalences studied here are the linguistic sign (signified and signifier) in Saussure; the labor theory of value (value in use and value in trade) in Marx, and the identity of the subject (or latent and patent) in Freud. A review is made of the way in which Baudrillard reads these three authors with the aim of associating his body of work with the idea of postmodernity as a crisis of the intellect.

In this study, I reflect on two similar experiences I had during the nguillatum, the Mapuche rogativa. At the beginning and the end of my field-work in a rural Mapuche community in the Argentine Patagonia, I was held to be responsible for having “raised wind” in the ceremony and then expelled from the ceremonial site. To reflect on these experiences, I link two analytical axes. The first has to do with the category of signs which permanently circulate during the rogativa and how the communication between all of the participants (humans, forces of Nature and deities) takes place. This communication sometimes emerges in an opaque way and, at other times, in a transparent one. The second axis consists of reversing the first statement: is it possible that the wind threw me out of the ceremony? To understand this process –however partial– of disconnection and connection between wind and curruf (wind in mapuzungun), I recur to Viveiros de Castro's concept of the “controlled equivocation”. I also try to connect the wind agency to the reproduction of similarities and alterities in the ceremony. My ultimate aim is to contribute to the analysis of and debates about ethnography when our own experiences intervene in our field work and trap us in unexpected situations which become ‘ontological disorders’ which are worth reflecting on.

The essay argues for broader understanding of “ostension”, introduced into semiotics by Ivo Osolsobě and Umberto Eco, in a gamut going from the “ostensive” (biosemiotic) language, through “ostensive definition” and showing of an “object” or a “thing” as a part of human communication, to symbolic transformation of something/somebody into a sign of something else. This broader concept permits, then, a subtler view of (theatrical) communication, semiotics, semiosis, and the very phenomenon of processes covered by “ostension”.

The reading of Mircea Eliade ’ s drama writing The Endless Column ( Coloana nesfârșită) is meant to focus on the writer ’ s play by using operators that are specific to textuality and myth as a literary method. As for the acting in a mise - en - scene context, the perspective of anthropology and religious phenomenology, announced in the inner and outer didascalies of the text, anchors the interpretation i n the context of Mircea Eliade's work both at literary and scientific level. The theoretical perspective comes closer to its critical testimonies regarding Eliade's drama experiment and have shaped a first level of perception, by considering the play to be long to the Living Theater current, especially owing to Monique Borie. In this context, Mircea Eliade ’ s plays are in line with Grotowski, Peter Brook, and tries to present a sensitive world on stage, by means of a symbolic language specific to drama. Moldi ng the sign of ‘ reality ’ into a mythical register can be confirmed both at the level of the text and at the level of mise en scene. The reading of Mircea Eliade ’ s drama writing The Endless Column ( Coloana nesfârșită) is meant to focus on the writer ’ s play by using operators that are specific to textuality and myth as a literary method. As for the acting in a mise - en - scene context, the perspective of anthropology and religious phenomenology, announced in the inner and outer didascalies of the text, anchors the interpretation i n the context of Mircea Eliade's work both at literary and scientific level. The theoretical perspective comes closer to its critical testimonies regarding Eliade's drama experiment and have shaped a first level of perception, by considering the play to be long to the Living Theater current, especially owing to Monique Borie. In this context, Mircea Eliade ’ s plays are in line with Grotowski, Peter Brook, and tries to present a sensitive world on stage, by means of a symbolic language specific to drama. Moldi ng the sign of ‘ reality ’ into a mythical register can be confirmed both at the level of the text and at the level of mise en scene.

Eponyms are used almost daily in the clinical practice of dermatology. And yet, information about the person behind the eponyms is difficult to find. Indeed, who is? What is this person’s nationality? Is this person alive or dead? How can one find the paper in which this person first described the disease? Eponyms are used to describe not only disease, but also clinical signs, surgical procedures, staining techniques, pharmacological formulations, and even pieces of equipment. In this article we present the symptoms starting with (R) and other. The symptoms and their synonyms, and those who have described this symptom or phenomenon.

Eponyms are used almost daily in the clinical practice of dermatology. And yet, information about the person behind the eponyms is difficult to find. Indeed, who is? What is this person’s nationality? Is this person alive or dead? How can one find the paper in which this person first described the disease? Eponyms are used to describe not only disease, but also clinical signs, surgical procedures, staining techniques, pharmacological formulations, and even pieces of equipment. In this article we present the symptoms starting with (R) and other. The symptoms and their synonyms, and those who have described this symptom or phenomenon.

Eponyms are used almost daily in the clinical practice of dermatology. And yet, information about the person behind the eponyms is difficult to find. Indeed, who is? What is this person’s nationality? Is this person alive or dead? How can one find the paper in which this person first described the disease? Eponyms are used to describe not only disease, but also clinical signs, surgical procedures, staining techniques, pharmacological formulations, and even pieces of equipment. In this article we present the symptoms starting with (P) and other. The symptoms and their synonyms, and those who have described this symptom or phenomenon.

Eponyms are used almost daily in the clinical practice of dermatology. And yet, information about the person behind the eponyms is difficult to find. Indeed, who is? What is this person’s nationality? Is this person alive or dead? How can one find the paper in which this person first described the disease? Eponyms are used to describe not only disease, but also clinical signs, surgical procedures, staining techniques, pharmacological formulations, and even pieces of equipment. In this article we present the symptoms starting with (P) and other. The symptoms and their synonyms, and those who have described this symptom or phenomenon.

ABSTRACT: This paper presents a comparative study of a weather forecasts’ collection registered in different villages of Ávila and Salamanca’s provinces. The several oral testimonies collected in this work are about the popular belief that associates the amval of early winter’s cold with the sighting of certain birds as cranes, lapwings, wagtail and the like. RESUMEN: Estudio comparativo de un repertorio de pronósticos meteorológicos registrados en diferentes pueblos de las provincias de Ávila y Salamanca. Los distintos testimonios orales recopilados en este trabajo, giran en torno a la creencia popular que asocia la llegada de los primeros fríos del invierno al avistamiento de determinadas aves (grullas, avefrías, aguzanieves…).

A resenha versa acerca dos aspectos relevantes ao contexto social e linguístico da adaptação fílmica realizada por Gary Shore, em 2014, da obra Drácula, publicada por Bram Stoker em 1897. Utilizando-se dos pressupostos da fidelidade literária, da Disneyization e do papel do signo peirceano, a resenha busca expor os elementos que contornam o processo da adaptação cinematográfica e como se completam no público-alvo.

Eponyms are used almost daily in the clinical practice of dermatology. And yet, information about the person behind the eponyms is difficult to find. Indeed, who is? What is this person’s nationality? Is this person alive or dead? How can one find the paper in which this person first described the disease? Eponyms are used to describe not only disease, but also clinical signs, surgical procedures, staining techniques, pharmacological formulations, and even pieces of equipment. In this article we present the symptoms starting with (Q) and other. The symptoms and their synonyms, and those who have described this symptom or phenomenon.

Eponyms are used almost daily in the clinical practice of dermatology. And yet, information about the person behind the eponyms is difficult to find. Indeed, who is? What is this person’s nationality? Is this person alive or dead? How can one find the paper in which this person first described the disease? Eponyms are used to describe not only disease, but also clinical signs, surgical procedures, staining techniques, pharmacological formulations, and even pieces of equipment. In this article we present the symptoms starting with (O) and other. The symptoms and their synonyms, and those who have described this symptom or phenomenon.

The aim of this study is to examine more closely the realizations of evaluation in Biblical proverbs and to explain the role of evaluation in the construction of communities of shared values. The research method used in analyzing the corpus of 425 Biblical proverbs identified by Wolfgang Mieder is the appraisal analysis of J.R. Martin and P.R.R.White in combination with the culturematic analysis of R. Pe-trova. On the basis of the results obtained conclusions are drawn concerning the indexical and evaluative characteristics of the proverb cultureme. It is argued that the axiological charge proverbs get in actual use as a result of the inherent act of evaluation is an indispensable part of their meaning.

Eponyms are used almost daily in the clinical practice of dermatology. And yet, information about the person behind the eponyms is difficult to find. Indeed, who is? What is this person’s nationality? Is this person alive or dead? How can one find the paper in which this person first described the disease? Eponyms are used to describe not only disease, but also clinical signs, surgical procedures, staining techniques, pharmacological formulations, and even pieces of equipment. In this article we present the symptoms starting with (N) and other. The symptoms and their synonyms, and those who have described this symptom or phenomenon.

Eponyms are used almost daily in the clinical practice of dermatology. And yet, information about the person behind the eponyms is difficult to find. Indeed, who is? What is this person’s nationality? Is this person alive or dead? How can one find the paper in which this person first described the disease? Eponyms are used to describe not only disease, but also clinical signs, surgical procedures, staining techniques, pharmacological formulations, and even pieces of equipment. In this article we present the symptoms starting with (M) and other. The symptoms and their synonyms, and those who have described this symptom or phenomenon.

Eponyms are used almost daily in the clinical practice of dermatology. And yet, information about the person behind the eponyms is difficult to find. Indeed, who is? What is this person’s nationality? Is this person alive or dead? How can one find the paper in which this person first described the disease? Eponyms are used to describe not only disease, but also clinical signs, surgical procedures, staining techniques, pharmacological formulations, and even pieces of equipment. In this article we present the symptoms starting with (L) and other. The symptoms and their synonyms, and those who have described this symptom or phenomenon.

Eponyms are used almost daily in the clinical practice of dermatology. And yet, information about the person behind the eponyms is difficult to find. Indeed, who is? What is this person’s nationality? Is this person alive or dead? How can one find the paper in which this person first described the disease? Eponyms are used to describe not only disease, but also clinical signs, surgical procedures, staining techniques, pharmacological formulations, and even pieces of equipment. In this article we present the symptoms starting with (K) and other. The symptoms and their synonyms, and those who have described this symptom or phenomenon.

Eponyms are used almost daily in the clinical practice of dermatology. And yet, information about the person behind the eponyms is difficult to find. Indeed, who is? What is this person’s nationality? Is this person alive or dead? How can one find the paper in which this person first described the disease? Eponyms are used to describe not only disease, but also clinical signs, surgical procedures, staining techniques, pharmacological formulations, and even pieces of equipment. In this article we present the symptoms starting with (J) and other. The symptoms and their synonyms, and those who have described this symptom or phenomenon.

This article addresses key concepts such as sign, system and complexity in order to approach transmedia storytelling and better understand its intricate nature. The theoretical framework chosen to investigate transmedia storytelling meanders is Semiotics by Charles Sanders Peirce (1839-1914) and General Systems Theory by Mario Bunge (1919-). The complexity of transmedia storytelling is not simply the one of the signs of the works included in a transmedia franchise. It also includes the complexity of the dispositions of users/consumers/players as interpreters of semiotic elements (e.g. characters, themes, environments, events and outcomes) presented by transmedia products. It extends further to the complexity of social, cultural, economical and political constructs. The German transmedia narrative The Ultimate SuperHero-Blog by Stefan Gieren and Sofia’s Diary, a Portuguese multiplatform production by BeActive, are presented as examples of closed and open system transmedia storytelling respectively.

Eponyms are used almost daily in the clinical practice of dermatology. And yet, information about the person behind the eponyms is difficult to find. Indeed, who is? What is this person’s nationality? Is this person alive or dead? How can one find the paper in which this person first described the disease? Eponyms are used to describe not only disease, but also clinical signs, surgical procedures, staining techniques, pharmacological formulations, and even pieces of equipment. In this article we present the symptoms starting with (G). The symptoms and their synonyms, and those who have described this symptom or phenomenon.

Eponyms are used almost daily in the clinical practice of dermatology. And yet, information about the person behind the eponyms is difficult to find. Indeed, who is? What is this person's nationality? Is this person alive or dead? How can one find the paper in which this person first described the disease? Eponyms are used to describe not only disease, but also clinical signs, surgical procedures, staining techniques, pharmacological formulations, and even pieces of equipment. In this article we present the symptoms starting with (F). The symptoms and their synonyms, and those who have described this symptom or phenomenon.

Literary versions of the legend of Tristan and Isolde are suitable especially for an analysis of the issues connected with the point of view, particularly if it is understood in the literal, visual meaning, which is here closely associated with the narratological meaning. Lovers are constantly hiding, being followed, then found in the farthest recesses and exposed to gaze of the others, hostile or sympathetic. These gazes decide about their fate; a gaze is therefore an instrument of power, control, and judgment. In the first place, though, a gaze is the instrument of understanding and interpretation, which in many scenes are both shown as complex, problematic and non-obvious. Therefore, the opposition between favorable and hostile gazes is not always so strong: especially the gaze of King Mark, torn between the contradictory feelings for his wife and nephew, is characterized by ambivalence. This ambivalence can also be discerned in the changeable attitudes of some characters, hesitations of narrators and in numerous variants of particular versions of the legend.

We will try to organize Chris Marker’s Sans Soleil/Sin Sol as a way ofbuilding knowledge through the interpellation of images, with the notion of experience byCharles S. Peirce. At this junction between experience and the interpellation of images, wepropose the uniqueness of the French filmmaker based on the idea of cinema as an art andas a work of thinking.

The article speculates about differences between presence cultures and sense cultures, indicating the former as attached to certain cosmological frames and the latter characterized by the division of the self which engenders a separation from the world. It highlights the role of Christianity as a mental preparation for the advent of the fiction regime on western cultures, emphasizing presence through absence.

Eponyms are used almost daily in the clinical practice of dermatology. And yet, information about the person behind the eponyms is difficult to find. Indeed, who is? What is this person's nationality? Is this person alive or dead? How can one find the paper in which this person first described the disease? Eponyms are used to describe not only disease, but also clinical signs, surgical procedures, staining techniques, pharmacological formulations, and even pieces of equipment. In this article we present the symptoms starting with (E). The symptoms and their synonyms, and those who have described this symptom or phenomenon.

OBJETIVO: verificar perfil, queixa e principais sinais e sintomas de uma amostra de pacientes com disfunção temporomandibular que estiveram ou estão em tratamento ortodôntico e observar a ocorrência de atendimentos multidisciplinares. MÉTODOS: foram coletados dados de 125 prontuários em uma clínica odontológica da cidade de Sorocaba e os itens analisados nos prontuários foram: sexo, idade, profissão, queixa, três principais sinais e sintomas dos pacientes e se houve encaminhamento para avaliação fonoaudiológica, fisioterápica e psicológica. RESULTADOS: predominância feminina, sendo 107 mulheres (85,6%) e 18 homens (14,4%). Média de idade de 35 anos, sendo a menor idade 14 anos e a maior 74 anos. Relação da disfunção temporomandibular com as profissões: 43 (34,4%) eram profissionais com vínculo empregatício. Queixa trazida pelo paciente: dor na região da articulação temporomandibular e masseter: 86 - (68,8%). Três principais sinais e sintomas observados na avaliação ortodôntica: dor na região da articulação temporomandibular e masseter: 98 - 78,4%; estalos unilaterais: 55 - 44% e travamento: 23 - 18,4%. Conduta de encaminhamentos: fonoaudiologia 59 (47,2%); fisioterapia 40 (32%) e psicologia 53 (42,4%). CONCLUSÃO: na amostra pesquisada, a prevalência de casos de disfunção temporomandibular foi maior no sexo feminino, com queixa de dor. Os principais sinais e sintomas foram: dor, estalo unilateral e travamento e houve encaminhamento para atendimentos multidisciplinares nas áreas de Fonoaudiologia, Fisioterapia e Psicologia.PURPOSE: to check the main signs and symptoms of a sample of patients with temporomandibular dysfunction that were or are under orthodontic treatment and observe if there was a possible multidisciplinary treatment. METHODS: data from 125 medical records collected in a orthodontic clinic located in Sorocaba and the analyzed items were: gender, age, profession, complains, three main signs and symptoms of the patients and if they had been submitted to evaluation with a speech therapist, physiotherapist and psychological. RESULTS: feminine predominance, being 107 women (85.6%) and 18 men (14.4%). Average of age: 35 year-old, being the smallest age 14 years and the largest 74 years. Relationship of temporomandibular dysfunction with the professions: 43 - (34.4%) were professional with contract of employment. Complaint brought by the patient: pain in the area of temporomandibular articulation and masseter: 86 - (68.8%). Three main signs and symptoms observed in the orthodontic evaluation: pain in the temporomandibular articulation and masseter area: 98 - 78.4%; unilateral cracks: 55 - 44% and locking: 23 - 18.4%. Conduct of referrals: speech therapy 59 - (47, 2%); physiotherapy 40 (32%) and psychology 53 (42.4%). CONCLUSION: in the researched sample, the prevalence of cases related to temporomandibular dysfunction was higher in the feminine gender, with pain complaint. The main signs and symptoms were: pain, unilateral crack and locking and there was a referral for multidisciplinary cares for speech therapy, physiotherapy and psychology areas.

The main objective of this survey is describing signly the metaphor learning resource, with focus on biology education. Our teorical reference is the peircean semiotics, because it means solid heritage to code surveys implicated at science education, it led us to do an explanation about the main lines about that reference, addressed to researchers and lecturers interested in those reasonings. In the description yearned, another objectives appear: demonstrate diferences between metaphor/analogy and pragmatic analogy; to list metaphors, from cell representation analysis, and argue about principals diferences and probable cognitive consequences between the metaphor event in the visual representation and speech sentences. Therefore we analysed the animal cell of a high school first grade studying book – biology – cell biology – used by São Paulo and another state students. The findings demonstrate the undeniable importance of the metaphor as a learning tool in the biology education, and new findings about that, such as its limits in the concept elaboration, gnosiologic consequences for receptioning, the search needs for propositions– pictures between concept relations – in the science speech construction, and other results.

Amongst the many artists mentioned in Éluard’s verse is Joan Miró, who has a whole poem to himself. The poem is con-tained in the volume Capitale de la douleur and bears Miro’s name as the title. Breton enthused about this book in the following terms: «Capitale de la douleur c’est paraît-il, un scandale pour certains si la passion et l’inspiration se persuadent qu’elles n’ont besoin que d’elles-mêmes». A study of this poem shows how the poet identifies with two modes of artistic creation, that of painting and that of poetry, through the interplay between metaphor and metamor-phosis.

As classificações dos signos de C.S.Peirce começam a ser desenvolvidas em 1865 e se estendem a até, pelo menos, 1909. Vou apresentar o período que tem início em 1865, e possui dois momentos de intensa produção - "On a New List of Categories" e "On the Algebra of Logic: a contribution to the philosophy of notation". Em seguida apresento as dez classes de signos, uma morfologia que aparece no "Syllabus of Certain Topics of Logic", e é desenvolvida a partir de 1903. Meu propósito aqui é familiarizar o leitor com as intrincadas classificações sígnicas de Peirce.Peirce’s classifications of signs started to be developed in 1865 and it extends up to 1909. I will present on the period that begins in 1865, and that has two moments of intense production - "On a New List of Categories"and "On the Algebra of Logic: a contribution to the philosophy of notation". It is an introductory approach whose intention is to make the reader be familiar with the Peircean complex classifications of signs.

The music exists at the theatre from his beginning. However, along the history, the classic comedy, the written drama, has different sense depending on the music. Appia, Meyerhold or Bob Wilson have explained the importance of the music in a staging, an use still polemic nowadays, doubtful, without an unanimous opinion, while the music sounds at the box.

WILLYS DE CASTRO desenvolveu os Objetos ativos (1959-1962) durante o período neoconcreto. A partir da lingüística de Ferdinand de Saussure e do conceito de "desconstrução" de Jacques Derrida, este artigo defende que a originalidade dessa série de objetos encontra-se na inscrição de "signos". Assim, a análise visual e semântica da descoberta do artista - tais como o "motivo positivo-negativo" e a ênfase na tridimensionalidade do suporte, realizadas em Soma entre planos I (1959), Objeto ativo de 1959, Objeto ativo de 1960 e Objeto ativo de 1962 - demonstra que esses signos representam mudanças sucessivas de registros pictóricos e escultóricos. Concluímos que a unidade desses trabalhos reside na convergência para o "paradigma da perspectiva", para declinarem as versões correlativas de pintura e escultura.WILLYS DE CASTRO has developed the Objetos ativos (1959-1962) during the neoconcrete phase. In accordance with Ferdinand de Saussure's linguistics and Jacques Derrida's concept of "deconstruction", this article supports the idea that the originality of this series of objects is based on the inscription of "signs". Thus, the visual and semantic analysis of the artist's discoveries - such as the "positive-negative motif" and the emphasis on the tridimensionality of the support, achieved in Soma entre planos I (1959), Objeto ativo de 1959, Objeto ativo de 1960 and Objeto ativo de 1962 - shows that these signs represent consecutive changes of pictorial and sculptural readings. We conclude that the unity of these works is found in the convergence to the "paradigm of perspective" to decline the correlative versions of painting and sculpture.

Considerando que o signo é portador de múltiplos significados construídos por meio de mediações estabelecidas pelas injunções presentes nas relações sociais e expressas pela linguagem verbal, o presente artigo discute alguns aspectos referentes a especificidades da recepção da mídia televisiva por parte da criança levando em conta as abordagens teóricas de Bakhtin (polifonia, dialogismo), Serrano e Barbero. Considering that the sign contains multiple meanings build by the mediations in the social relationships and express by the verbal language, this article discusses some aspects of child’s television reception focusing the Bakhtin’s (polyphonie, dialogism), Serrano’s and Barbero’s theoretical approaches.

Los meningiomas son los tumores endocraneanos primarios más frecuentes en el adulto. Constituyen muchas veces un hallazgo y no revisten demasiadas dificultades en su diagnóstico por su comportamiento típico en Resonancia Magnética (RM) y Tomografía Computada (TC). La descripción de este signo, basado en la similitud morfológica de este tumor con la hoja de malvón, pretende ser una herramienta útil para aquellos casos en los que la presentación atípica o la falta de secuencias adecuadas puedan dificultar su caracterización.Meningiomas are the most frequent primary intracranial tumors in adults. They are often a not difficult to diagnose finding, given their typical behavior on magnetic resonance imaging (MRI) and computed tomography (CT). The description of this sign, based on the morphologic resemblance of this tumor to the geranium leaf, aims to be a useful tool for those cases where either the atypical presentation or the lack of appropriate sequences could hinder their characterization.

Este trabalho tem como objetivo mostrar como o processo de conhecimento traduz-se numa estrutura triádica, cuja característica não pode prescindir da temporalidade e de seu aspecto social. De outra forma, conforme o dualismo subjacente nas teorias tradicionais, a esfera do conhecimento tornar-se-ia limitada pela inevitabilidade do recurso à coisa-em-si.This paper has as its objective to show how the knowledge process occurs in a triadic structure whose characteristics cannot prescind either of temporality or its social aspect. Would it not be so in accordance with the subjacent dualism in the traditionals of theories, the scope of knowledge would be itself limited by the inevitability the appeal to a thing-in-itself.