Open science has been consolidated as a global paradigm that seeks to democratize access to knowledge, expand scientific collaboration, and promote transparency in scientific production processes. However, this openness is marked by linguistic, epistemic, and political boundaries that make visible the contradictions between the universalizing ideal of open science and the reality of linguistic and cultural asymmetries in the production and circulation of knowledge. This article proposes a critical reflection on the role of language te chnologies—such as translation, subtitling, and digital archives—in open science, questioning the hegemony of English as the lingua franca of science and the mechanisms that render indigenous languages and pluriepistemic knowledge invisible. From a perspective of linguistic and epistemic sovereignty, we discuss how open science can be reconfigured through a multilingual and intercultural policy that recognizes and integrates different modes of knowledge production, especially those linked to indigenous and traditional populations, with the aim of addressing global challenges in health and the environment.
It analyzes contemporary transformations in scientific communication and research evaluation, with an emphasis on the interplay between the principles of Open Science, evaluation metrics (both traditional and alternative), internationalization demands, and the role of language technologies and policies within the context of Brazilian graduate education, particularly under the influence of CAPES. The objective is to critically discuss how these elements are interwoven, highlighting challenges and opportunities for Brazilian journals and researchers seeking to balance quality, international visibility, open access, and local relevance. The approach is theoretical-analytical, grounded in a critical review of the literature on Open Science, bibliometrics, altmetrics, multidimensional evaluation, language policies, and translation technologies, as well as the analysis of reference documents from organizations such as CAPES, UNESCO, DORA, and the Helsinki Initiative. The findings reveal tensions between the pressure for quantitative metrics and publishing in English, and the ideals of Open Science concerning epistemic inclusion, bibliodiversity, and social impact. The ambivalent role of language technologies is emphasized, as they expand the reach of scientific output but require careful editorial policies to avoid asymmetries. The article advocates for the adoption of more integrated evaluation models, sensitive to diverse contexts and impacts, alongside investments in infrastructure, training, and inclusive language policies. It concludes that building a fairer, more open, and socially engaged scientific ecosystem depends on coordinated actions among institutions, editors, evaluators, and researchers.
This article aims to analyze the issues surrounding the reproduction, sharing, and free access to copyrighted works in digital spaces, taking as its central focus the legal dispute between the Internet Archive and Hachette. Through this emblematic case, we will examine different materials that point to a certain regularity in this problem, situated in the tension between property rights and the rights to knowledge, access, and information. We are interested in understanding how these digital spaces, through their technical and political mechanisms, mobilize projects that challenge hegemonic regimes of text circulation and archiving—regimes traditionally upheld by publishers, libraries, and other institutional actors. Furthermore, we will explore how these spaces, in their diversity of propositions and through these disputes, construct experiences that not only allow for the denial, revision, or reinterpretation of traditional norms concerning property rights or the right to knowledge but also engage with experimental practices that position the digital as a horizon for the production of the commons.
The purpose of this paper is to present introductory aspects of Artificial Intelligence (AI), specifically the general-purpose technology ChatGPT, for scientists and academics who are beginning studies that intersect Language Sciences and AI. Unlike other works that start from experts in the field of AI, this work, despite using technical language, seeks to describe and exemplify the concepts and functionalities from the perspective of a language scientist. In the subsections, basic concepts such as AI and robots (mechanical and virtual) are distinguished, and what ChatGPT is and how it works in text processing is presented. In view of social, scientific and technological changes, it is important that Language Sciences promote studies on language and AI, especially because it involves its central object: language. Thus, this paper can contribute to the understanding of AI, so that more multi, inter and transdisciplinary research can be developed in both the areas of Linguistics and Literature.
The study analyses the communicative strategies employed by TEDx Talks speakers in order to determine a interactional space which acknowledges and engages the spectator, overcoming the restraints of a monological and (partially) virtual communicative context. TEDx Talks constitute an innovative textual genre and popularization format for the dissemination of Specialized Discourse – a cybergenre – combining the organization and the delivery of a multi-code text in a digital format. This textual organization process, the editing of the audiovisual product deriving from the delivery of the texts and the online archiving possibilities appear to influence the content transmission and reception. This study, conducted within the framework of the author's doctoral research, adopts a multidisciplinary theoretical perspective, integrating concepts from functionalism, sociolinguistics, and text linguistics. It explores how the use of inclusive pronouns in TEDx Talks can facilitate audience engagement in the communication process. We examine the impact of the audience’s participation mode on the construction of the interactional space, starting from the hypothesis that the physical presence of an audience can influence the use of inclusive strategies, leading to a reduction in the use of the selected pronominal forms in case of a virtual only audience. Based on the data, we propose that a compensatory communicative mechanism may intervene, by which speakers seek to emphasize the interlocutor inclusion through 1PP pronouns, reinforcing the engagement of a non-physically present audience.
This article proposes to draw a parallel between the terms “barbarian” / “savage” and “authorized” / “civilized subjects”, in order to reflect on the perpetuation of these bodies and the place they occupy in literature. Based on the reading of this body in the tragedy Medea by Euripides and its reinterpretation in the Argentine play The Border, staged in 1960 by David Cureses, we are interested in thinking about how the barbarian can be represented in a way that revives conflicts that remain in a state of tension. From this, some questions arise: in what ways is the barbarian inscribed in savage characters? And what is this space they inhabit? What causes our characters to be subjected to the place of monstrosity? We believe that literature makes it possible to understand these marginalized places, as well as how these borders are established and, at times, never crossed. Based on the plays mentioned above, we will analyze the relationship constructed between the terms “barbarians” / “savages” and “authorized” / “civilized subjects”, reflecting on the dialogue and the updating of contexts and characters that, although separated by time, represent the Other. Through the texts cited, we will offer theoretical considerations on these developments.
The article investigates the adherence of the field of Linguistics to Open Science (OS) practices, in line with UNESCO Recommendations and the global Open Access movement. Open Science seeks to democratize knowledge, guaranteeing the accessibility of research results to the academic community and society. The study analyzes the implementation of this approach in Linguistics, identifying patterns and challenges. The research questions the degree of adoption of Open Science practices in the field, especially in relation to open access publishing, deposits in institutional repositories and the use of open licenses. It is justified by the growing importance of scientific transparency and the need to assess the impacts of open access on the dissemination of knowledge, as well as its ethical implications and regional challenges. Through a qualitative-quantitative analysis of the OpenAlex database, the results indicate that 73% of the publications are Open Access, and are predominantly in academic journals (95%). Diamond Open Access prevails, while Green Open Access still faces low adherence. Language distribution reveals a predominance of English (78%), followed by Portuguese (20%) and Spanish (2%), highlighting the need for greater integration with Latin American production. Academic production is concentrated in the Southeast of Brazil, showing geographical polarization. The conclusion is that, despite significant adherence to Open Science, challenges remain, such as the expansion of Green Open Access, with adherence to institutional repositories, the strengthening of policies for data sharing and the expansion of the visibility of research, contributing to the improvement of practices in the area according to international guidelines.
Through the analysis of news published in digital newspapers about the Israel-Hamas conflict, this study aims to demonstrate how journalistic discourse is ideologically marked. Our hypothesis is that such analysis will provide evidence of the lack of impartiality in this medium. In light of the French Discourse Analysis, we examined 127 news articles found through Google search engines, published during the first three days after the initial attacks (in October 2023) and three months later (in January 2024). The results indicate that, initially, there is a predominantly negative tone referencing Hamas and its actions, which persists in the second period despite the escalation of Israel's actions.
This text aims to present the progress of the research Discursive Archive of Youth: internationalization of collaborative spaces for the production-circulation of knowledge in digital media (CNPq, 2024), an offshoot of previous external initiatives for the construction of the “Discursive Archive of Youth” (ADJuv) within the scope of the Pensar Jovem Extension Program (DEDC/CEFET-MG). The research, from a discursive perspective (Pêcheux, 1988[1975]; Mariani, 2016), has been organizing and developing theoretical-methodological processes and procedures for the implementation of ADJuv abroad, initially in Rome (Italy), with the purpose of constituting a collaborative network between different teaching and research institutions. Thus, the translation, analysis, adaptation and recording of the pilot podcast 13 de maio (Pensar Jovem, 2020) by university students of Portuguese as L2, in Italy, constitutes the first stage of a process of internationalization of enunciative spaces of production and circulation of knowledge from Brazil to other countries.
David Schine in Hell is a short one-act play by American playwright Tony Kushner. Originally published in The New York Times Magazine in 1996 as “A Backstage Pass to Hell” and republished in Death & Taxes: Hydriotaphia & Other Plays (2000), G. David Schine revisits the ghostly characters from Angels in America (1991) while introducing many others who, together with Roy Cohn, helped terrorize American politics in the 1950s and beyond. The scene takes place in Hell on a single day, June 19, 1996, the day Schine died. There, hard-hitting characters from American politics, dressed in drag, talk about love, politics as they try to find out whether they belong in hell. While questioning the existence of a limbo, Schine remains lost about his fate and what he is doing there. Like Angels, “G. David Schine in Hell” is a fantasy on American themes which, by exploring the demonic spectropolitics of that country's politics, advocates the possibility of a future that would lead to the election of Donald Trump to the presidency in 2025.
Imbued with a combative spirit against well-established truths, journalist and humorist Mill & ocirc;r Fernandes (1923-2012) chose the fable as one of his many fronts of action in the critical interpretation of 20th-century Brazil. With this literary genre, which for the ancients was an expression of marginalized sectors, his reception of Aesop and the resulting tradition expresses revolt against oppression, reclaiming the fable as a kind of critical, argumentative, and dismantling artifice aimed at the social and political forces that permeated both the times of military dictatorship and democracy in Brazil. With his lion characters specifically, several Aesopian-based fables by this author demonstrate the discomfort inherent in the prevailing hierarchies; the feline is sometimes portrayed as ignorant, sometimes as alienated, but always arrogant in the status that nature has assigned him. The animal he oppresses, often despised and diminished, excels in recursion, whether to escape the claws of the predator that ambushes it, or to confront the lion, and even defeat it. By presenting the source and target texts, we propose a joint analysis of the fables of Aesopian form and basis with which Mill & ocirc;r operates his recreational inversions, with the main goal of analysis being to demonstrate the way in which the texts illuminate each other reciprocally. In conclusion, we intend to demonstrate how Mill & ocirc;r Fernandes' receptive expedient operates on classical material, insofar as it rescues a long-neglected facet of the fable material: its capacity for critical questioning.
This study aims to analyze how the interventions of the goddess Athena manifest throughout the Odyssey, considering that her presence is essential for Odysseus's return to Ithaca. The role of the divinities in the Homeric epics proves to be an essential element in the construction of the heroic narrative, since the gods frequently influence earthly events, saving heroes from death, guiding them in decisive moments, or inspiring courage so that they may persist in their journeys. These divine interferences appear both in the Iliad and in the Odyssey, functioning as a constant link between the human and divine worlds. In the Iliad, the gods show partiality toward certain heroes, assisting, advising, or even intervening directly in battles. In the Odyssey, however, such influence is more directly centered on Athena, who plays a fundamental role as Odysseus's protector and guide. As Jaeger (1994) points out, the hero's piety toward the gods is a striking trait of his personality, and this reverence attracts the goddess's benevolence, as she takes pity on his suffering and strives to help him return to his homeland. The analysis of Athena's actions throughout the epic poem reveals not only the prominence of the deity in guiding the narrative but also the core values of Greek culture, such as philia, aret & eacute;, and the importance of divine favor in the fulfillment of the heroic destiny.
This article investigates the manifestation of the sublime, a concept traditionally associated with serious genres, in Lucian of Samosata's satirical dialogue Icaromenippus. The analysis articulates the theory of ancient satire (Ralph Rosen) with James Porter's reinterpretation of Hellenistic aesthetics, which emphasizes ai6Oi6n & varsigma;and the paradoxical interaction between detail and cosmic grandeur. It is argued that Menippus's intercosmic journey represents the search for a macroscopic visual capacity that utilizes the grandeur of the cosmic setting to intensify the perception of human smallness and vices, generating laughter. The study concludes that Lucian reconfigures the subli-me, manifesting it in the very existential suspension that critical laughter provokes in Menippus, having established the absurdity of the world from a cosmic perspective.
This article aims to present "mysterious ductus" as a distinctive factor in the way Padre Ant & ocirc;nio Vieira devises the progress of some of his sermons. To this end, it begins with a brief analysis of the category of prudence as incorporated in Jesuit belle lettres and, more specifically, in Vieira's sermons, aiming to highlight the moral dimension assumed therein. Integral to the Idea of decorum that regulated literary production, it serves as a basis for advancing a discussion about the importance of the practical dimension for preachers, mainly recovering discussions by Aristotle and Cicero. Entering the discussion on ductus, we present a brief survey of this category as classically understood, as well as analysis of this element of discourse in Vieira's texts carried out by contemporary researchers. By propounding the existence of a mysterious ductus, we propound that it is a rhetorical-poetic objetification of the Jesuit's concern with action, its material effects, the very material means of expression of the ser-mon and, above all, that it depends on a counter-reformist understanding of the world that takes that everything that exists is sacramentalized by the Presence of the creator. This understanding authorizes a figural interpretation, to use Auerbach's (1997) terminology, of the biblical text and of the things of the world themselves as signs of this presence, demanding from the authorized preacher a hermeneutical skill that directs the public to the absolute Good. From this, Vieira builds sermons in which the order of propositions becomes in itself an agudeza,
This article analyses the details in the myth of the hero Hercules' birth, as they appear in the play Amphitruo, attributed to the Latin playwright Plautus, in comparison with the corresponding details in other works that preceded the composition of this comedy, namely: the Iliad (attributed to Homer), the Shield of Heracles (attributed to Hesiod), Euripides' Heracles, and two painted pottery vases on display in the British Museum. With this comparative analysis, one observes that the elements presented in previous works do not harmonise with those present in Plautus' play: Hera's intervention in the Iliad does not match the absence of a Plautine Juno; Alcmena's conjunction with the fathers of her twins does not occur in the same way in the comedy as in the Shield; the hero's paternity in Euripides is not similarly treated in Plautus; and the vases indicate an attempted uxoricide that cannot be read into the Latin text. Thus, one concludes that the narrative, as it is in the Amphitruo, is a parodic version that subverts narrative elements from previous retellings, in order to cause laughter. Since the comedy is the version of the Herculean nativity that has become the most famous, it therefore represents a turning point in the reception of this myth, both in Antiquity as well as in Modernity.
It is not new that emotions play a central role in archaic epics. Just read a few verses from Iliad or Odyssey, for example, to realize the importance of feelings, like wrath (m & ecirc;nin) or bitter nostalgia (p & oacute;thos), in the construction of their narratives. In this article, we analyze an emotion that, for us, circulates and interconnects these two poems: fear. Our goal is to demonstrate, using the methodology of the History of Emotions, the faces of fear in homeric poems through two examples: the sea and war.
To contribute to a more productive appreciation of Ovid's Heroides, a work that was once the subject of criticism due to its supposed monotonous tone and inefficiency in moving its recipients, this article explores the rela-tionship between the characteristics of elegiac-epistolary writing and the constitutive features of drama in Heroides. Therefore, the present analysis of epistle 11(Canace's letter to Macareus) is based on two main concepts. On the one hand, this study draws upon the concept of a female literary community developed by Laurel Fulkerson (2005). On the other hand, it examines the relationship between drama and epistle, as proposed by Dan Curley (2013). The primary argument of this study is that this collection of Ovidian letters engages in a dialogue between literary genres and women's writing, thereby contributing to the characterization of Canace as the author of her own narrative.
Although rural communities are a major topic in studies on Roman bucolic poetry, the shepherds on these poems are usually not considered peasants. There is a context in which most characters in Calpurnius Siculus and Nemesianus may be seen as members of Roman peasantry. In these texts, the shepherds are represented as socially inferior to other kinds of poet. In Calpurnius Siculus' Eclogue 4, Corydon, in spite of his condition, despises the rustic poetic style and wants to go to Rome in order to have the emperor's approval, an aspect often considered an indicator of decay of the rural poetry. Furthermore, in Nemesianus' Eclogue 2, Alcon mentions Tityrus as his poetic model due to his success in Rome. For this paper, our aim is examining how conflicted is the image of the community depicted in bucolic poetry after Vergil. We also intend to reevaluate the perception that a rural artistic decadence is outlined in these poems instead of a complex relationship between peasants and the city.
This paper offers an analysis of the role of public spectacles in the biographies of Roman emperors in Suetonius' De Vita Caesarum. The author uses these events to highlight how the organization and execution of spectacles influenced the construction of the emperors' public image, reflecting both their virtues and vices. The methodology consists of translating and interpreting selected excerpts from the original Latin text, accompanied by an analysis of how Suetonius portrays the theme through his literary treatment, with a focus on the biographer's narrative strategies. Additionally, the study includes a theoretical review of the variety and purposes of spectacles in Ancient Rome, contextualizing their role in the legitimacy and popularity of rulers. Finally, the article reflects on how the promotion or neglect of spectacles by emperors affects the construction of their moral image in biographical literature.
