This text aims to present, based on cinematographic representations, workers who are socially, culturally and politically invisible. Workers who have their representation in films as a possible plan to “rob a bank without being seen”. Through a cinematographic selection, films are presented that allow the discussion of this invisibility, not only in cinema but in society. Cinema as a representation and at the same time a trigger for the problem.
First, it elucidates the peculiarities of the Aristotelian Coercive Tragic System. Second, it seeks to understand, through the assertions expressed in the Theatre of the Oppressed, how Boal represents the continuation of Brecht’s critique of the concept of catharsis. To address these categories, the study will draw on the works of the aforementioned playwrights and interpreters such as Jameson (2007), Lunn (1986), Miranda (2011), and Zanetti (2015).
This text aims to identify the limits of identity policies implemented in the United States since the 1960s, and their repercussions for the black population in economic, political, and cultural spheres. Through a materialist-dialectical approach in Haider (2019), Ture and Hamilton (2021), and Butler (1999), the contradictions of these policies in relation to the material reality of the country's black population were pointed out.
Partindo do exame das categorias que se encontram engendradas historicamente na totalidade das relações sociais de produção do negócio cinema, o texto se debruça conclusivamente sobre a importância da educação estética como meio de apreender o valor artístico de “obras que realmente importam”, como o filme Bye bye Brasil, de Cacá Diegues, e Ainda estou aqui, de Walter Salles. Palavras-chave: cinema, ideologia da estética, política, educação.
Historiographical work, like all sciences, is a constant appeal to all accumulated knowledge, to evidence placed in the light of criticism of the categories and concepts that order the world of knowledge. In this second decade of the 21st century, photography has become a protagonist, given the amount of information brought by the arts and by all the digital manipulation of visual and sound images. We have divided the text into three parts: first, the photographic object, memory and truth; then, photography as art; then, photography as a source of research and our final considerations.
The objective of this study is to examine shifts that have occurred in the work of primary school teachers and their repercussions on health, with a focus on union studies related the Technological Work Hour. Documental research was conducted within the scope of teaching union websites in Rio de Janeiro and São Paulo. Results show the Technological Work Hour's concept as a recent union achievement aimed at addressing extracurricular technological activities. Finally, the need for continuous monitoring of teachers' health is advocated, with the participation of teachers and their organizations.
The purpose of the article is to present the concept of experience that frequently appears in the debate on the schooling process of Youth and Adult Education (EJA). We present the biography of John Dewey and Edward Palmer Thompson and then distinguish the concept of experience used by both in their works; of the first, the pragmatist and liberal vision of the American philosopher; of the second, a historical materialist conception presented by the English Marxist historian, understood in the experience-history-work relationship. To develop the work, we analyzed the literature review on the authors' work, as well as using the respective scholars of their works.
THE MATERIALIST CULTURAL ANALYSIS: ON ART, CULTURE, AND DETERMINATION IN MARX, ENGELS, LUKÁCS, AND WILLIAMS Abstract This article aims to contribute to the debate on how to observe the relationship between art, culture, and society from a materialist cultural analysis. To this end, it begins with Karl Marx and Friedrich Engels, revisiting how they understand social and historical "determinations" and their relationship with culture. Then, it examines the elaborations of György Lukács, tracing his path from the "theory of reflection" to the "reconfigurations" of his Aesthetics. Finally, it explores in Raymond Williams the concepts of culture and art as "practice," as well as his materialist cultural proposition called "structure of feeling." Keywords: Marxist aesthetics; Cultural materialism; Theory of reflection; Karl Marx; György Lukács; Raymond Williams.
This article aims to reflect on the legislative path that secondary education has been going through, highlighting the importance of the demand for quality education. This research is of a documentary and bibliographic nature, based on authors who write on the subject and also on the legislation that governs the last stage of basic education, such as Law 13,415 of 2017, the National Common Curricular Base for Secondary Education of 2018, the Law 14,945 of 2024 and the movements against the reform
This study aims to present, through the scrutiny of material reality, the forms and relationships to which teaching work is subjected in the neoliberal context, shaped by reforms and the intensification of labor imposed by the development of capital in the current historical period, particularly with the implementation of the New High School (NEM). The investigation focuses on Colégio Modelo Luís Eduardo Magalhães in Feira de Santana, the locus where the research was conducted, primarily through the investigation of teaching praxis, the cornerstone of this analysis and the focal point to which it intends to return.
This article analyses how work activities linked to the production of symbolic goods and services were progressively mercantilized, until they became structured as a sector that mobilizes a wide range of professionals, with emphasis on the context of post-1970 capitalist restructuring. Based on a historical-critical approach, It is discussed, through a literature review, how the creative economy is an expression of the commodification of culture, which has incorporated creativity into the logic of capitalist accumulation. The relationship between aesthetics and work is analyzed, highlighting the contradictions of this process and its implications for the formation of subjectivity.
This work intends to analyze and discuss artistic presentations, understood by many teachers as a unique way of exposing results of educational processes with an emphasis on aesthetic and artistic training, by proposing alternatives based on experiences in an extension project. It was developed through bibliographical research and experience reports from an extension project. Initially, we will present the theoretical construct that founded our actions and analyses, based on historical-critical pedagogy and historical-cultural psychology. Next, we will discuss the texts that mention artistic presentations as a way of exposing the results of learning in bodily practices that dialogue with art, especially dance and the circus. Finally, we will present the experiences of the Circo em Contextos extension project, by proposing at the end of the year that the families of children and adolescents participate in a workshop and can learn from them.
No ensaio “Por Guaranis Kaiowa, Kaingangs, Makuxis, Terenas, Tikunas”, Sonia Maria Rummert, com as imagens reunidas aqui, inspiradas na tragédia das queimadas das terras indígenas, a fotógrafa e professora nos presenteia com um grito de angústia do humano que teima em nos unir “é sobre ser o outro em mim a motivação desse ensaio".
The aim of this study is to understand how the Marxian categories of history and ideology have been appropriated by Hauser's sociology of art. Thus, the research problem is expressed in this question: does Arnold Hauser's sociology of art offer contributions to the critique of the preponderance of subjectivism in current artistic productions? To answer this question, we start from the hypothesis that Hauser's sociology allows us to analyze the historical development of artistic productions as the result of collective human work, carrying within it the objectification of human subjectivity.
O artigo, de caráter teórico, bibliográfico e documental, objetiva analisar a relação entre o cotidiano e a música de Jackson do Pandeiro. Optamos, no plano da teoria, pelo embasamento fornecido pela Grande Estética de Georg Lukács. Recortamos, para essa finalidade, o período que vai desde o nascimento do artista até a sua ascensão musical na revista carnavalesca A Pisada é Essa (de 1919 até metade da década de 1950), da rádio Jornal do Commercio, quando o músico logrou grande sucesso na cidade de Recife. Inferimos, a título de considerações finais, que as contradições estruturais que circulam o entorno da vida de Jackson do Pandeiro deram-lhe os elementos necessários para que a subjetividade artística projetasse suas criações ao ponto de soerguer seus receptores a outro patamar de vivência, o que garante ao músico ser denominado Rei do Ritmo da Música Popular Brasileira.
O conhecimento tradicional e o conhecimento acadêmico: a formação artística e acadêmica de Kassia Borges Karajá
