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Copyright of Signa is the property of Editorial UNED 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 following article aims to analyze some epistemic keys in the way in which indigenous Diaguita intellectuals approach the writing of history. These writings put into play, on the one hand, the ethnic identity of the indigenous intellectual and the question about the subject and the place of enunciation from which his epistemic-political positioning is constructed. On the other hand, they propose a project of criticism and decolonization of history, to the extent that their writings propose a direct and open confrontation with the hegemonic (colonial) versions of history. From these two dimensions, we are interested in reflecting on the possibility that these writings configure a native episteme for the rewriting and rereading of indigenous history. [ABSTRACT FROM AUTHOR]

In most grammars, be to is treated as a modal periphrasis or construction, whose various interpretations derive from a primary semantic value, differing from one grammarian to another, which suggests the limits of such an approach. It appears in fact more fruitful to adopt a compositional approach and analyse be to as resulting from the combination of two distinct operations, the central one marked by be, and the background one marked by to, each of which, depending on the context, will contribute to the semantic value of the whole. The proposed approach will fall within the framework of the Theory of Enunciative Operations and will focus on three of the main values of the combination: arrangement/project, constraint/obligation and intention.

Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios 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.)

Renée Vivien's prose poems have been set aside by critics in 1902 and 1903, the publication dates of Brumes de Fjords and Du Vert au Violet. However, even though the use of prose poems seemed outdated at the beginning of the 20th century, it would be a mistake to consider that Renée Vivien was unaware of this. Prose poems provide prime opportunities for the display of irony, which we consider as a discrepancy between what is thought and what is said, as prose poems themselves straddle the line between two genres: prose and poetry. This article highlights the fact that the use of irony in Vivien's prose poems allows her to subvert what was expected from women writers, enabling her to explore her own poetic principles with a diffracted voice. [ABSTRACT FROM AUTHOR]

This essay examines the possibly subversive functions of cynical enunciations as found in Puerto Rican author Rafael Acevedo's 2014 novel Al otro lado del muro hay carne fresca (There's Fresh Meat on the Other Side of the Wall). It asks how the relocation of the cynical figure from a factual context into the world of dystopian fiction and metafiction may challenge a passive stance and allude to alternative enunciations beyond the reaffirmation of an extant neoliberal power structure. Through the stubborn insistence on the continuity of cynical discourse, as ambiguous and ever self-scrutinizing wavering motion among levels of enunciation, Acevedo's narrator explores and discusses counter-narratives and reflections in the parallel world of fiction. [ABSTRACT FROM AUTHOR]

The article essay about reading and textual production with adolescents in an elementary school in the municipality of Serra/ES, in 2022. The problematic field seeks to understand how the agencies produced by the desire of these thinking practitioners drive them to read and produce texts. The intervention research methodology is based on cartography (Deleuze; Guattari, 1995) and conversations (Bondía Larrosa, 2003). It problematizes the dialogues between 9th grade students and a Portuguese language teacher, making connections with the notion of text as the production of desire (Larrauri, 2009) and collective agency of enunciation (Deleuze; Parnet, 1998) in everyday school life. As a result, it highlights that students want to write, but there is little interest in expressing themselves with other communication languages. It points out the excessive care and time spent on grammar, to the detriment of other possibilities of textual production, other semiotics that are less structuring and more embodied in the lives of the subjects. It proposes investments in equipment, infrastructure and qualifications for the production of texts in virtual languages, structuring school libraries and increasing the number of student readers/writers in schools. [ABSTRACT FROM AUTHOR]

The Hebrew translation of Euclid's Elements ascribed to Rabbi Jacob is based on two leading sources. The definitions and the enunciations rely on an extant Arabic version which until recently was commonly considered to be a revision made by Thābit ibn Qurra of a translation by Isḥāq ibn Ḥunayn. The proofs and diagrams are based on a different version whose exact identity is unknown and had strong affinity to an Arabic version of the Elements axcribed to al-Ḥajjāj ibn Yūsuf ibn Maṭar. Focusing on the first six Books, this paper presents a fresh analysis of the sources and use of sources in Rabbi Jacob's translation, on the basis of a systematic comparison of this translation to the recently "discovered" new source of al-Ḥajjāj's work, namely the Arabic version of the Elements in MS Paris, BULAC ARA. 606. [ABSTRACT FROM AUTHOR]

From its beginnings, the tango song configured certain characters and modulated different voices. In this context, during the 20s in the 20th century, flourished a set of compositions known as “tangos of reproach”, inheritors of the challenge tone of the gaucho literature. This work outlines this transfer and then deals with the subject who assumes the enunciation and the rhetoric deployed by the tangos of reproach, considering their conditions of circulation. The hypothesis is that tango did not reflect preexisting social identities, but instead played an active role in its production and presented them in a problematic way, in a cultural framework crossed by social, identity and political contradictions. We maintain that songs are intermedial and complex discursive objects, whose study cannot be reduced to textual analysis, since it must contemplate its performance and its circumstances of circulation. [ABSTRACT FROM AUTHOR]

It is believed that the way in which media speak about emerging technologies can influence the public perception of their benefits and risks. Risk statements highlight the possible negative effects, real or imaginary, that a particular event could have on audiences. Just as journalism varies over space and time, what is considered a risk is deeply rooted in specific social, economic, and technological contexts. This variability implies that journalistic practices are neither universal nor static; instead, they change and adapt according to circumstance. Moreover, technological advances have allowed the press to better understand their audiences and adhere to their demands. In this context, the discursive construction of the risk of artificial intelligence was studied in the press of four European countries: Belgium, Spain, France, and Portugal. In total, 290 texts published in January 2024 were examined. Mentions of "artificial intelligence" were found in the following newspapers: Le Soir, El País, Le Figaro, and Público. Fourteen risk categories and seven groups of voices responsible for their enunciation were identified, with significant variations between the studied newspapers. It was concluded that national contexts make it possible to differentiate the way in which the press communicates the risks associated with artificial intelligence. Although these results do not directly reflect public awareness of the risks in each of these countries, they open a line of research on the possible influences of the progressive monitoring and knowledge of audiences in the construction of the media agenda. [ABSTRACT FROM AUTHOR]

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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 Semiotica is the property of De Gruyter 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.)

Virality plays on the emotion that drives people to quickly retransmit a message, without really analysing it or subjecting it to criticism. The more emotional the message is, the more appropriate it seems to go viral, which is one of the premises of viral marketing. This explains the virality of violent content on the Internet. From this pint of view can the fight against hate speech use virality when its aim is to call for reflection? We show that virality can serve as a catalyst for reflection, and that emotion can also be positive (Danblon, 2013). From this point of view, we take a look at the Council of Europe's Youth Campaign against Hate Speech, which uses social media to bring together and share in a community also made up of real-life interactions. We then analyse more particularly some visuals, memes, a community semiotic form which allows to start from emotions to reflect on the stereotypes which underlie hate speech.

This article analyzes viral environmentalist videos on YouTube. To do so, it observes the rise of the term “viral video” in the media and examines virality from a lexical point of view. Then, virality is connected with temporality in reference to an epidemiology of cultural representations on one hand, and with the discourse of knowledge transmission, on the other hand. The material characteristics of the corpus are then described, which shows one aspect of the virality of these videos, and the content of popularization and environmentalist discourse and the scenography of these videos are finally explained, which presents another aspect of virality.

The book "Nobody speaks. Artificial intelligence and the death of man" by Felipe Muller addresses the relationship between language and human existence, focusing on extensive language models such as ChatGPT. The author draws on Foucault's philosophy to analyze the proliferation of these models and how they affect language enunciation. Muller highlights the artificiality of these models and raises reflections on writing and human identity in a world where increasingly "nobody speaks". [Extracted from the article]

From a position as students, disciples, and collaborators of María Bertely, we reflect on her contributions to the gestation and development process of the project "Milpas Educativas: Socionatural Laboratories for good living". After specifying the locus of enunciation and the sources that support the analysis, the political and epistemological referents that are essential to understanding the essence of an educational project with a clear ethnopolitical and alter-globalization position are made explicit. These, in addition, allow us to appreciate the contributions of Bertely as coordinator and caretaker of the Intercultural Inductive Method and committed academic who felt mandated by the community educators of the Union of Teachers of the New Education for Mexico (UNEM) and the indigenous communities that appointed them. Subsequently, Bertely's contributions to the gestation phase of the project are analyzed, emphasizing her efforts before the financing body and the resulting achievements. Next, we reflect on her contributions to the development process of Milpas Educativas, highlighting the political, epistemic, axiological, and pedagogical dimensions that characterized them. We conclude by presenting some of his most important legacies to Mexican and Latin American educational anthropology, emphasizing her political commitment to the indigenous cause. [ABSTRACT FROM AUTHOR]

This text uses the concept of "place of enunciation" to explore the diverse sites of enunciation from which Anna Maria Guasch has discussed Visual Studies. Firstly, the article addresses Guasch's work from the standpoint of translation, providing a discussion of her "Los Estudios Visuales: un estado de la cuestión" through the prism of an expanded translation. Secondly, Guasch's work is analysed from an archaeocartographical stance, addressing her text "Doce reglas para una Nueva Academia" as an example of her capacity to produce coordinates to navigate the discourse of Visual Studies. Lastly, Guasch's work is analysed in terms of a Foucauldian genealogy. In this closing section, two more recent texts are discussed from a genealogical perspective. [ABSTRACT FROM AUTHOR]

We will see how in Plato’s Phaedrus there are initially two types of desires, one of which would be the epithymía desire and the other would be the hímeros desire, the latter being a noble desire, portrayed exclusively in Socrates’ palinody. We will study the semantic field associated with each of these desires within the three initial recitations of the dialogue, discerning the nature of each of them, their potential, direction and unfolding. The dialogue highlights the controlled enunciation of these desires in the Platonic conceptual plot, when Phaedrus draws Socrates’ attention to this remarkable aspect of the use of words (tois onómasin, Phdr. 234c7) in Lysias’ recitation, just as Socrates at the end of the Palinody reaffirms the poetic vocabulary (tois onómasin, Phdr. 257a5) to which he has been submitted. In this way, a physiological reading emerges, discerning the statics, movements and directions of the desires and friendships described, as well as their qualities and quantities. [ABSTRACT FROM AUTHOR]

The article highlights the dangers of conducting research without being aware of the place of enunciation. It reviews the deformation of the American reality by European science in the 17th and 18th centuries. Subsequently, it illustrates with examples the attempts to overcome this problem in the American eighteenth century, a period that gave rise to a marked interest in investigating the American reality, an endeavor that reached its climax with the emergence of the so-called Social Sciences in the mid-twentieth century. Finally, we reflect on some of the implications of situated and localized thinking. René Zavaleta's concept of variegation is used for this purpose. It is found that thinking and researching situationally, by attending to specific contexts, avoids losing sight of the heterogeneity and complexity of situated realities. It is something that can also contribute to create emancipatory possibilities. [ABSTRACT FROM AUTHOR]

Latin American marxism, understood as a category, phenomena and process hasn’t been studied broadly, despite how fruitful the Marxist tradition has been in our region. It is proposed in the next pages a series of theoretical-methodological approaches and coordinates to push out into its analysis, respecting the analytical plurality and heterogeneity that characterizes it, describing its enunciation origins and development and outlining the essential ingredients that separate it from other approaches giving its specificity within Latin American critical social thought. The purpose of the article is to provide the researcher a basic framework to dive into deeper inquiries that concern the different topics circumscribed to the marxisms in Latin America. [ABSTRACT FROM AUTHOR]

This article analyzes the work "Quarto de Despejo" by Carolina Maria de Jesus from the perspectives of border epistemology and the mystique of survival. It discusses the author's contributions to a counter-hegemonic epistemology that values subaltern knowledge. The analysis articulates the concepts of epistemic border, locus of enunciation, mystique of survival, and validation of knowledge. The article presents her trajectory and work, highlighting the tensions her writing provokes in dominant knowledge structures through the production of literary knowledge from the denied space of favelas, where, through the lens of Maria Zambrano, it is possible to identify the manifestation of a mystique of survival. The work concludes that Carolina leaves a lesson about the legitimacy of knowledge stemming from concrete life and the daily struggle of the oppressed. Her existence and work inherently represent an expression of a mystique of survival and the validation of a border epistemology. [ABSTRACT FROM AUTHOR]

In an interview published in the first volume of the Brazilian poetry and cultural criticism magazine Ouriço, the Portuguese poet, editor, and literary critic Manuel de Freitas answers peremptorily a question on the connections between poetry and music in the contemporary world: "I do not foresee a great future for either music or poetry." There is something ambiguous about this statement, especially when we consider the fact that Manuel de Freitas was dialoguing with someone who, at that time, was also one of the editors of his recently published book in Brazil, Jukebox, a collection of the same-titled poetic series published in Portugal in 2005, 2008 and 2012. It is noteworthy that his statement also became the title of the interview, "I do not foresee a great future for poetry," in a publication almost entirely dedicated to promoting contemporary poems and active poets. We witness in that situation a strategy to insert poetry into the Brazilian editorial landscape, recurring to the discourse of the denial of contemporary poetry, supported by a broader renunciation of the contemporary, perceived as a time of crisis. The poems in Jukebox contribute to the argument, since several of them point to a certain insufficiency of the poetic discourse either to enunciate the present or to evoke the past. This context is a relevant test to the proposition -- defended, for example, by Marcos Siscar -- that the discourse of crisis is a specific way of inserting poetry into contemporaneity, including in its enunciation every aspect of exaggeration, paradox, or apparent illogicality. [ABSTRACT FROM AUTHOR]

In this text I propose a philosophical method for approaching contemporary art. I formulate a philosophical strategy that responds to the need to say something about artistic pluralism and about a certain idea of crisis that today's art is thought to be suffering. Through the creation of basic principles, I want to offer a critical way of approaching contemporary art, of judging it and appreciating it correctly. I point out that we discuss art and when we do so we believe that what we say is true; the aesthetic community is realistic and therefore we can appeal to the objectivity of the enunciations we make about works of art. The word criticism, however, does not refer here to what one would think of as professional criticism, but to a critical thinking about art based on reasons justified through their positioning in categories. [ABSTRACT FROM AUTHOR]

This article analyzes how the poetry collection Susy, secretos del corazón (1989) by the Argentinian poet, playwright and cultural manager Susana Villalba (Buenos Aires, 1956) establishes a critical dialogue with the comic strip of the same name, published in the sixties and seventies in Latin America. The collection of poems also engages in dialogue with other cultural references through an enunciative process that reveals the social constructs aiming to define and establish femininity. The critical stance of the text becomes evident as it illuminates how the experience of romantic love in women is codified. At the discursive level, from the use of textual mechanisms related to collage and pastiche, an open, mobile, multiple, playful poetic voice is generated-it unfolds to reveal the role of social factors in the construction of subjectivity. [ABSTRACT FROM AUTHOR]

Parentheticals are utterances which appear inserted in others introducing an additional or clarifying information. This paper analyses the prosodic behaviour of parentheticals to study in more detail their discursive functioning. As features of these kind of utterances it is possible to notice a decrease in intensity and tone, and an acceleration in the speech rate. In respect to enunciation and modality, the exam of the parameters that determine the perception of these utterances by the interlocutors allows establishing a correlation between the two discursive planes that are compared and the phonetic procedures that characterise their acoustic emission, linked to the parameters that present more accentuated differences: tone and speech rate. The variations recorded reflect an adaptation between the prosodic form of parentheticals and the strategic functions that these constructions carry out in the discourse as argumentative resources. [ABSTRACT FROM AUTHOR]

Copyright of Nueva Revista del Pacífico is the property of Universidad de Playa Ancha de Ciencias de la Educacion 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.)

What kind of reading and viewing space is created within contemporary platforms? While existing research has explored the impact of surveillance, this article moves on to theoretically discuss the intersection of technosocial reading. It examines how algorithmic interpellation and profiling function as enunciative strategies, and how this is explored from a transgender perspective. The article raises theoretical questions about the flattening of enunciation and its implications for a critical reading and observation space. To further explore these concepts, it analyses Ada Ada Ada’s year-long in transitu Instagram performance. Through this analysis, the challenges posed by fixed, binary gender categorisations prevalent on platforms like Instagram are unpacked. Ada Ada Ada’s performance serves as an imminent criticism of the enunciative, representational and gender policies of platforms, demonstrating their arbitrary and absurd nature. Ultimately, in transitu invites platform users to reconsider their roles as technosocial readers and observers. [ABSTRACT FROM AUTHOR]

Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico 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 Bergamo recovery plan stands as a virtuous experience with which to establish a constructive comparison for the theoretical elaboration of the principles formulated in the Gubbio Charter. Bergamo, among the eight municipalities sponsoring the conference held in Gubbio in September 1960, was in those years completing the final stages of the plan that had been interrupted during World War II. Although the guiding principles of the Recovery Plan appreciated by Gustavo Giovannoni may be considered outdated at the time of the Gubbio conference, they nonetheless provide a benchmark for establishing operational and legislative procedures for the protection and preservation of historic urban environments. With regard to the latter, the considerations expressed in the final declaration of the conference can be read in the watermark of the discussions preceding the drafting of the Venice Charter and in its enunciations, for example in art. 1, where is written "the definition of historical monument includes both the isolated architectural building and the urban environment". [ABSTRACT FROM AUTHOR]

Copyright of Kipus: Revista Andina de Letras y Estudios Culturales is the property of Universidad Andina Simon Bolivar, Sede Ecuador 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 Escena: Revista de las Artes is the property of ESCENA. Revista de las 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 Pedagogía y Saberes is the property of Universidad Pedaggica Nacional 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 CIRCULO de Linguistica Aplicada a la Comunicacion is the property of Universidad Complutense de Madrid 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 CIRCULO de Linguistica Aplicada a la Comunicacion is the property of Universidad Complutense de Madrid 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 de Filosofía UIS is the property of Universidad Industrial de Santander 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.)

In this essay, a reflective analysis is carried out on the hermeneutics of devices in educational intervention, based on documentary research and its analogical integration in a philosophical, epistemological and methodological construct, achieved from the works of Beuchot (2018) and Deleuze (1999). The article begins by discussing the need to update approaches to intervention, to place them in a phronetic or prudent place with current events and educational emergencies, among which the post-pandemic, the Fourth Industrial Revolution, the urgency of respecting human rights stand out, the best interests of children and adolescents, the change in social roles and the crisis in multiple sectors, including the teaching profession. It continues with a critique of the old intervention models and their approaches, to propose a procedure from the analogical hermeneusis of devices. To achieve this, the conceptions of intervention and devices are analyzed from Remedi (2004), Yurén (2005); to Deleuze (1999), along with the conceptualization of analogical hermeneutics created by Beuchot (2018). From this, the proposal is built in its elements, namely: hermeneutical analysis of devices and the following are discussed: analogy of proportion (metonymy - metaphor), attribution (primary - secondary degrees), phónesis (rigor - flexibility ), which is articulated with the conceptualization offered in relation to the lines of the devices (visibility, enunciation, force, objectification). The article closes with some arguments about the relevance of what was offered; as well as the reflection in relation to some ethical elements of the intervention in its phases (reference, design, reconstruction), this to emphasize the collectivist, social and planetary ethical character that any process of change or action on educational conditions must have [ABSTRACT FROM AUTHOR]

Copyright of ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses 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.)

How can contemporary female artists sing the downside of romantic love, especially jealousy, without risking to be perceived as chained to patriarchy, or appearing naive, complacent and bitter ? How can a feminist singer present herself as the enunciator of a lyrical discourse that gives pride of place to self-pity and suffering ? This study weaves together enunciative and thematic criteria in the field of French popular music to determine the aesthetic and political constraints that affect female and feminist singers today.

The phenomenon of disinformation is characterized by being a way of telling the facts in a distorted way that modifies the perception of what is «real». In this sense, it deserves the attention of being analyzed by semiotics, since its look makes it possible to approach the problem of truth from a strategic point of view. For this discipline, the concept «truth» is not understood as a correspondence between what is said and the facts, but as an effect of meaning that is created in the discourse. In this regard, it is proposed that one way to deal with fake news is to revalue the figure of the journalist, as long as his job is to produce information that, in addition to being truthful, is credible. Likewise, the need to train the journalist to be able to master different enunciation and persuasion strategies present in any discursive configuration is emphasized. [ABSTRACT FROM AUTHOR]

The Anthropocene is a time of crisis with environmental, climatic, economic, social, political and epistemological dimensions, involving not only humanity, but planet Earth as a whole. Although the imminence of the non-existence of a world in becoming brings us anguish and longing, it is also an opportunity to think about other possible futures and the paths that can be (or are already being) taken to achieve them. We start from the hypothesis that the imagination of new aesthetic-ethical-political projects in the Anthropocene is inseparable from dialog with the voices of the land, its politics of ancestry and epistemes experienced daily in the heat of life. In this sense, the article aims to analyze reflections by indigenous and quilombola thinkers that enable us to escape the anthropocentric blindness of the modern world and understand other ways of dealing with time, other knowledges and enunciations, thus guaranteeing new perspectives for our survival in the Anthropocene. [ABSTRACT FROM AUTHOR]

As a symbolic enunciation of Black subjection and resistance, the cry has functioned as a central trope in negritude poetics. This essay revisits the trope by focusing on another geography of the negritude imagination beyond the francophone world. I analyse how the work of two women poets from the African archipelago of São Tomé and Príncipe, Alda Espírito Santo (1926–2010) and Maria Manuela Margarido (1925–2007), reorients the cry as a modality of decolonial critique. I argue that they intentionally mobilize the sonorous force, intensity, and frequency of the cry in their poetry to grapple with the colonial ritual of terror in the Portuguese empire. In the intersection of mourning and resistance, the cry functions as both a critique of colonial violence and the voicing of radical hope for a decolonial future. This essay brings postcolonial and decolonial thought into conversation with lyric studies as it maps out the connection between Espírito Santo's and Manuela Margarido's poetry, intellectual work, and political activism. It illuminates the entanglement of the voice, power, and resistance in negritude poetics. [ABSTRACT FROM AUTHOR]

Copyright of Orbis Tertius 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 Orbis Tertius 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 Fire Ecology is the property of Springer Nature 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, Individuo y Sociedad is the property of Universidad Complutense de Madrid 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.)