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Este texto es una reseña del libro de Alec Dempster Ni con pluma ni con letra.

Este artículo reflexiona y aporta aprendizajes sobre la experiencia de trabajo que demandó la tesina por la cual obtuve el título de Sociólogo. El objetivo es abordar reflexivamente aquellas cuestiones que atravesaron el trabajo de campo en el basural de Mar del Plata, y, además narrar las vivencias que posibilitaron concretar las entrevistas, y la siempre compleja tarea de desplegar los resultados de investigación mediante la escritura. Al tiempo que intenta abrir nuevos interrogantes sobre todo aquello que (nos) sucede, la manera que interviene y es intervenida nuestra propia biografía en este trayecto.

Los cambios que a nivel político, económico y social se vienen produciendo en los últimos años y su repercusión en el ámbito educativo, han provocado un replanteamiento de los procesos educativos, muy particularmente de los métodos y los recursos utilizados hasta el momento en las aulas. La educación musical, y en concreto la que se ofrece en los conservatorios de música (indistintamente de que estos impartan enseñanzas elementales, profesionales o superiores), exige profundos cambios pedagógicos y curriculares que permitan a los profesores convertirse en profesionales capaces de analizar de forma crítica su desempeño como docentes, para poder así desarrollar e implementar las estrategias didácticas que más favorezcan los procesos de enseñanza-aprendizaje de su materia. En este contexto de renovación curricular y didáctica, presentamos una investigación centrada en los conservatorios de música, y cuyo objetivo no ha sido otro que conocer la realidad de las clases de orquesta y otras agrupaciones musicales que se configuran en estos centros. A través del análisis de documentos y la entrevista semiestructurada como herramientas de investigación, hemos podido comprender el valor que estas materias colectivas cobran, tanto en el devenir de la institución, como en la formación musical de los estudiantes. Con este trabajo salen a la luz conclusiones tan importantes como la necesidad de reorientar el modelo pedagógico actual hacia un proceso de enseñanza-aprendizaje más centrado en el trabajo en grupo, para que el estudio individual encuentre su proyección y continuación lógica en las diferentes agrupaciones, y estas se conviertan en la motivación necesaria para afrontar el trabajo más personal de estudio técnico del instrumento.

Copyright of Sociedade e Estado is the property of Sociedade e Estado 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 presents the gold standard attachment assessment methods for each age group, the methods that allow obtaining important clinical material, as well as the questionnaires with the best psychometric properties validated in Spanish and extensively used. The methods are divided into two groups, firstly, those that evaluate attachment in a categorical way, that is, in mutually exclusive classes, and secondly, those that do so in a dimensional way, as degrees of a continuum. The first group includes those based on direct observation, which evaluate 'attachment models' based on the attachment behaviors of the young child and those based on verbal responses to interviews or semi-structured play therapy assessments sessions, which assess the states of mind regarding attachment. The second group, dimensional, includes the questionnaires, which evaluate "attachment styles". Given its extensive use, a method for evaluating dyadic interaction is also included. Strengths and weaknesses of each method and the challenges that attachment assessment still presents at certain ages are shown. [ABSTRACT FROM AUTHOR]

Copyright of Revista Electrónica Interuniversitaria De Formación del Profesorado is the property of Asociacion Universitaria de Formacion del Profesorado (AUFOP) 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.)

RESUMO Objetiva-se fazer, neste artigo, uma análise de produções jornalísticas de Clarice Lispector. Tendo-se destacado como uma das maiores autoras de contos e romances da literatura brasileira, a faceta de jornalista da escritora é pouco conhecida. Assinante de colunas do “universo feminino” na virada da metade do século XX, Clarice Lispector reproduz os clichês desse universo, dadas as características desse tipo de texto de propaganda não declarada de produtos de beleza, de fabricantes de tecidos e de outros produtos associados ao que era considerado preocupação das mulheres naqueles anos. Durante curto período, Clarice Lispector foi também ghost writer da atriz e modelo Ilka Soares, produzindo o mesmo tipo de texto dirigido exclusivamente às mulheres. Como entrevistadora, no entanto, a inquieta autora de textos questionadores do ser e da linguagem aparece, oferecendo ao leitor marcas reconhecíveis da elaboração textual e da construção das personagens da escritora.

The interviews, using digital devices, have been characterized as an important aspect of qualitative studies. However, the pandemic context amplified the challenges for the implementation of this information gathering technique. This chapter aimed to discuss the perspectives and uses telephone interviews during the COVID-19 pandemic. The chapter is initially organized with an overview of the electronic interview, the possibilities of its use and limitations. Then, the report on the experience of a group of Brazilian researchers in the development of a multicenter study on Integrative and Complementary Practices in Primary Health Care is presented. Next, the conduct of the interviews in this pandemic scenario is described as challenge. Several times, they were interrupted so that the respondent could attend to any pending issue to be resolved at the health unit. This circumstance is not a peculiarity of moments of pandemic since studies with themes similar to this one already reports the occurrence of similar experiences. However, COVID-19 was added to the priority processes of Primary Health Care. The Basic Health Units are close to users, playing an indispensable role in the health care of the population affected by the new coronavirus. Thus, it would be natural and expected that these cuts occurred during the interview. It is concluded that all the steps for conducting interviews were conditioned by the COVID19 pandemic and conditioned prior planning, maintenance of the ethical component, the choice of participants, interviewers, the moment for conducting them and the way to access their driving. [ABSTRACT FROM AUTHOR]

Copyright of Revista Metropolitana de Sustentabilidade is the property of Revista Metropolitana de Sustentabilidade - RMS 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 Didáctica Geográfica is the property of Grupo de Didactica de la Geografia 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 Tram[p]as de la Comunicación y la Cultura 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.)

Copyright of Cuadernos.info is the property of Pontificia Universidad Catolica de Chile, Facultad de Comunicaciones 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.)

Después de tener hasta dieciocho programas musicales simultáneos en la parrilla, la oferta televisiva española pasó en la última década a suprimir la música en directo de la televisión, a excepción de los omnipresentes concursos de talentos y al programa especial de Nochevieja. Una tendencia que parece estar revirtiéndose en la actualidad con nuevos espacios como Banana Split o Un país para escucharlo (ambos en La 2 de TVE). Pero fue en octubre de 2018 cuando comenzó el cambio con la emisión del primer programa de La Hora Musa, también en La 2 de TVE, un contenido de música en directo en prime time. Ese mismo mes se lanza Sesiones Movistar+, dedicado cada semana a un grupo o solista. El objetivo de esta investigación es explorar la dimensión y el contenido de estos dos programas, contextualizándolos y estableciendo una visión comparativa entre ellos que permita vislumbrar si se ha recuperado el formato imperante en la programación musical de antaño o si, por el contrario, se ha optado por una renovación estructural. La metodología empleada para la consecución de éste, además de la revisión de fuentes bibliográficas y audiovisuales, ha sido el análisis de contenido de la primera temporada de ambos espacios y entrevistas semiestructuradas a sus responsables y a músicos participantes en ellos. Entre las conclusiones destacamos las grandes similitudes entre ambos programas, aunque el espacio de la televisión pública acoge una mayor variedad de géneros y de artistas internacionales, así como el surgimiento de nuevas oportunidades para los profesionales del periodismo musical.

Resumo A proposta de emenda à Constituição Federal (PEC) 171/1993 prevê a redução da maioridade penal no Brasil de 18 para 16 anos. Essa proposta foi votada pela Câmara dos Deputados e está, atualmente, no Senado Federal, contando com intenso apoio do atual presidente. Embora haja evidências de que a idade não se relaciona a indicadores de violência, a opinião pública se manifesta favorável à medida. Diante disso, considera-se primordial escutar a fala dos próprios adolescentes sobre essa questão. Este trabalho objetivou investigar a perspectiva de adolescentes sobre a redução da maioridade penal. Participaram 25 adolescentes provenientes de uma escola pública e cinco que estavam em cumprimento de medida socioeducativa, todos na faixa etária entre 12 e 17 anos. A coleta de dados ocorreu por meio de rodas de conversa com o primeiro grupo e entrevistas com o segundo. Foram escritos relatos em ambos os momentos da coleta. Para a análise, esses relatos foram lidos e discutidos em grupo pelos pesquisadores. Os resultados apontam alguns analisadores que emergiram a partir das rodas e entrevistas: adolescência, raiva, medo, questão social, lei e violência. Observou-se que os participantes foram além de um posicionamento opinativo, produzindo importantes elaborações sobre o tema que foram disparadores capazes de abordar problemáticas próprias da adolescência e da realidade social. Considera-se que é tarefa ímpar da psicologia trazer à luz opiniões como as dos adolescentes objeto desta pesquisa.

Fact-checking has become a global journalism movement that is considered essential to fight against disinformation and address demands for new communication processes. Spanish-speaking fact-checking is constantly growing, with the number of platforms in Latin America and Spain increasing by more than 100% from 2018 to 2021. Collaboration networks between these platforms are also being implemented to address disinformation beyond national borders in the Spanish-speaking world. However, academic research regarding this phenomenon has mainly focused on fact-checking practices without paying much attention to the professionals themselves: the fact-checkers. Understanding the challenges faced by these professionals in Spanish-speaking contexts is key to contributing to the development of this activity beyond the Anglo-Saxon perspective. In this work, we conducted a survey (n = 52) among Spanish and Latin American fact-checkers. The professionals were asked about their perception on fact-checking's link to journalism, the competences they believed necessary for fact-checking, the main difficulties they usually face, as well as their thoughts on proposals for potential improvements. The survey results were then enriched by conducting 13 in-depth interviews of Spanish-speaking professionals and academics with expertise in fact-checking. Studying these variables is key to design new, more adequate and attractive curricular proposals to improve the training of future journalists and help them face the enormous and complex but necessary and urgent task of fighting disinformation. [ABSTRACT FROM AUTHOR]

Copyright of Universitas, Revista de Ciencias Sociales y Humanas is the property of Universidad Politecnica Salesiana 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 Iberoamericana de Educación (Version impresa) is the property of Organizacion de Estados Iberoamericanos (OEI) 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.)

Anexo: Entrevistas

Editorial para o nono número da ACTIO: docência em ciências.

Review

This is a case study in a penitentiary unit from Ceará, Brazil. The technique used was inspired by ethnographic research and consisted of approaches to people with a single question: “What is a prison for you?”. The data collection occurred in November 2017 and reached 16 inmates and 15 prison officers as participants. Their responses were evaluated by content analysis, identifying classes of speeches from internees, who perceive prison as punishment, learning, and response from the society; and also from the prison staff members, who perceive imprisonment as a response to society, as confinement and as a paradox. By applying the Environmental Psychology contributions, the study concluded that the environment acts over people’s minds and prison work activities allow a symbolic distancing from the imprisonment stage of mind, which helps to give a positive meaning to the convictions.

El trabajo realiza una aproximación a la psicología social, y más en concreto, al ámbito de la representación social del sujeto, desde la perspectiva de la conservación y restauración del arte contemporáneo. El uso de las entrevistas semi-dirigidas como método de obtención de información para la interpretación de las obras actuales, y para el entendimiento de la postura del artista frente a la restauración, es algo habitual y necesario como primer paso de las intervenciones a realizar. En este sentido, las percepciones previas que ambos grupos poseen, tanto los artistas como los conservadores-restauradores, pueden influir en las mismas. Las representaciones sociales están presentes en el proceso de obtención de información necesario para el objetivo común de la preservación del bien cultural. Así, algunos de los objetivos de este artículo han consistido en profundizar en el estudio de las relaciones que se establecen antes y durante las entrevistas entre artistas y conservadores, es decir, entre los sujetos involucrados en la producción, divulgación y preservación del arte contemporáneo. Como resultado de la investigación se reflexiona sobre el paso del tiempo y su efecto sobre la materia de las obras de arte, y sobre la aproximación al estado de ruina y muerte, a la vez que se propone una serie de cuestiones que pueden servir de guía durante los encuentros entre los agentes mencionados anteriormente.

En este artículo son analizados algunos documentos del Expediente 203 de la Colección Centro Mexicano de Escritores, correspondiente a Juan Rulfo. Se busca poner de relieve la importancia de este organismo en el campo literario, particularmente sobre Rulfo. Para ello tomé fragmentos de las reseñas y de algunos informes que envió al lugar del que formó parte durante tres décadas, si bien de modo interrumpido, primero en calidad de becario y después como asesor. Usé también dos publicaciones aparecidas en 1981 y 1991, las cuales dan a conocer testimonios de becarios, funcionarios y asesores, además de otros artículos que confirman, enriquecen o ponen en duda los datos expuestos. Todo lo anterior lleva a comprender por qué se identificó tanto al novelista con la primera escuela de escritura creativa del país.