Search

Copyright of Palíndromo is the property of Universidade do Estado de Santa Catarina 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 Apotheke is the property of Universidade do Estado de Santa Catarina 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 Olhar de Professor is the property of Olhar de Professor 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 article aims to problematize performance as an artistic practice that promotes resistance, plurality and difference, discussing how it (the performance) can favor educational aspects. This paper presents the concept of performance in its historical, anthropological and artistic aspects, as well as the autobiographical performance, which enables the recovery of personal experiences, collective memories, and, in the clipping pointed here, the exercise of feminist activism. The article also addresses aspects of the feminist movement and analyzes the performances of two women and feminist artists: US artist Carolee Schneemann and Brazilian artist Pammela Castro. Finally, it evaluates the path evoked by the performance as feasible for the establishment of resistance and sensitization strategies through the shared artistic experience between performer and spectators. In addition, the article points to performance as an alternative to instigate critical thinking, freedom, and the creation of possibilities for transformations at both the personal and collective levels, through actions that address identity themes which reflect the struggles of social movements, such as the feminist movement, the black movement, and the "LGBTQI+" movement. [ABSTRACT FROM AUTHOR]

Visual artifacts such as advertising and cinematographic and artistic images mark the ways in which subjects perceive others, the world and masculinities valued and visually devalued. In what measure does the representation of heroic masculinities differ from the representation of villainous masculinities? In order to present answers to this questioning, a research of documentary and analytical delineation was developed, whose objective was to analyze the visual construction and the performance of male characters as hero and villain. Under the foundations of the Studies of Visual Culture and the Studies of Masculinities, scenes of the animation "The Beauty and the Beast" (1991) of Disney were analyzed, whose protagonism and antagonism are both played by male characters. In the end, the aggressiveness, the competition and the non-demonstration of affections in the personality of Beast and Gaston were emphasized, and the need to expand and pluralize the emphasized representations of masculinity is highlighted. [ABSTRACT FROM AUTHOR]

At school, the study of the image, if not absent, is often done without questioning, as if the values and models inherent in the image were self-explanatory and naturalized. There is an understanding that the artistic knowledge is constituted exclusively by the beauty and craftsmanship. So we wonder: Visual Culture artifacts can operate as pedagogies that teach? To discuss this question, we conducted a literature research aiming to identify and problematize Visual Culture artifacts that exert pedagogical function. We consider that such artifacts offer models that teach. Therefore we argue about the need for teacher training to see the speeches and representations conveyed by Visual Culture artifacts. [ABSTRACT FROM AUTHOR]