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Starting from a movement of attraction and repulsion between the ideas of Mário de Andrade and Walter Benjamin on cinema, in this paper are presented simultaneities in the reflection of both authors on the new art. With this aim, it develops a reflected reading of Mario's essays of the 1920s, contrasting with the Benjaminian discussion of the following decade. Although conceptually about Art as Photography the author are not in agreement each other --about a new aesthetic sensitivity that is established in modernity where the image begins to place itself as an aesthetic foundation even in non-cinematographic--, Benjamin's analytical hypothesis may sustain a reading of a novel like Macunaíma, by Mario. Then, the paper discusses the tension in the Brazilian essayist and novelist Oeuvre, paying attention to how Art as Photography stands as power in its own aesthetics. [ABSTRACT FROM AUTHOR]

Copyright of Educación Física y Ciencia is the property of Universidad Nacional de La Plata 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 aims to present the originality of Lélia González's thought and her main contributions to Brazilian Black feminism. Intersectionality is emphasized. As first Black intellectual to investigate systematically the black intersectional feminism, González analyzed the sociopolitical phenomena that involved the Black community through an approach that contemplated gender, race, class, territorialities, etc. The paper also discusses the privileged locus of women's resistance today, the guarantee of civil rights and its consequences for the construction of an antiracist society. [ABSTRACT FROM AUTHOR]

While football is part of Western culture, and not just of it, this sport develops with particularities according to each historical and social context. Part of this phenomenon are the interpretations formulated not only about it, but based on it, about the society in which it takes root. In the case of Brazil, this arises, among other aspects, in disputes over which features demarcate a certain national authenticity. Football-art coexists with interpretations that see in the game some minimalism in a technical moment, not without aesthetic expressiveness. This eventually turns into intellectual delight. This essay defends a cultural critique that considers the football dialectic as a modernizing movement of a peripheral country, while observing its expressive possibilities, but with some detachment that authorizes a comment which is not just laudatory. Football can have aesthetic expression and be material for art: literature, cinema, painting, theater etc. On the other hand, social criticism cannot despise the materiality of what happens inside the field, nor can it ignore what makes it up in its social roots: class, ethnicity, gender, generation and other devices which make up the work-of-sports in its expressiveness. [ABSTRACT FROM AUTHOR]

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Copyright of Veritas is the property of EDIPUCRS - Editora Universitaria da PUCRS 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.)

Nowadays we are increasingly subordinated by the excesses of stimuli that result in the (de)formation of our senses, including during our free time. In this article, we questioned the production of the sight and its role in the tourism context. Based on the follow-up of 4 excursions in the Southern Region of Brazil and 15 interviews, we observed that previous images and the constant orientation of the tourist's sight determine an experience devoid of perceptibility, requiring photographic record as a resource for memory. We conclude that vision stimuli and the act of looking consist in entertainment, which results in the strengthening of the process of sensory alienation. [ABSTRACT FROM AUTHOR]

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The authors seek to establish a relationship between the challenges of Brazilian society in the present and its social and historical formation. For this purpose, the authors argue that the constitution of the national State in Brazil came about from the maintenance of elements of the colony and the empire, especially the predominance of patrimonial interests and the anti-popular character of the bourgeoisie.

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Copyright of Revista Práxis Educativa is the property of Revista Praxis Educativa 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 Educação is the property of EDIPUCRS - Editora Universitaria da PUCRS 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 Education Policy Analysis Archives / Archivos Analíticos de Políticas Educativas / Arquivos Analíticos de Políticas Educativas is the property of Educational Policy Analysis Archives & Education Review 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.)

Cinema and sport usually met each other. They are phenomena that have settled in the nineteenth century, linked to the set of changes, which marked that time. In this paper, we intend to discuss representations of modernity in one of the occasions in that there was a dialogue between both languages, in the work of one of the greatest exponents of the cinema: Charles Chaplin. We analyze eight short films produced between 1914 and 1921. Through humor and in function of the impeccable domain scenic and dramaturgical of the actor/director, these films criticize the "modern times", seeing ironically some of his most remarkable dimensions. Such films also show the importance of sports as an expression of modern experience, as well as its ability to dramatize the social transitions underway. [ABSTRACT FROM AUTHOR]

Copyright of Education Policy Analysis Archives / Archivos Analíticos de Políticas Educativas / Arquivos Analíticos de Políticas Educativas is the property of Educational Policy Analysis Archives & Education Review 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 Cadernos PAGU 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 História, Ciências, Saúde - Manguinhos is the property of Casa de Oswaldo Cruz 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 Educação is the property of EDIPUCRS - Editora Universitaria da PUCRS 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 Trans/Form/Ação is the property of Trans/Form/Acao 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.)