If we stop to observe the ceramic work that houses the Museum of ContemporaryArt Vicente Aguilera Cerni de Vilafamés (MACVAC), we find an opportunity to reflect on this discipline and expand our vision around it. Very often, the idea that we have about ceramics is limited, due in large part to the usual association that, when studied, we establish with tradition or pottery. The pigeonholing de- rived from the issues outlined, limits its (our) possibilities and at the same time contributes to maintaining a canon that generates consequences such as the li- mited presence of ceramics in contemporaryart museums or the invisibility and undervaluation with respect to other artistic disciplines. Another issue would be the gender treatment that we can consider when analyzing it. This perspec- tive is important, because inequalities based on gender have been perpetuated socially and also in the ceramic field (despite the presence that, surely as a con- sequence of their devaluation, women have here).
In his seminal treatise of 1986, Inside the White Cube: The Ideology of the Gallery Space, Brian O’Doherty articulated the preferred methodology of display for modern art. He outlined specific models, from light that should emanate from the ceiling to the hardwood polished floors, to which curators must adhere in order to craft a «neutral» atmosphere for modern art. He compared the «white cube» to a tomb in the seemingly immortal quality it bestows upon works of art. In other words, the galleries of museums that display modern art architecturally transcend time and space, thus visitors are imbued with a sense of the eternal as they progress through sparse and windowless galleries, barring the outside world, where time seems to stand still. His conclusions regarding the paradigm shift of modern art display throughout the 1980s, are relevant today, since the GMB still employs the white cube strategy to frame contemporaryart. The myth of the white cube’s neutrality still persists. I argue, however, that neutrality is a construct, and though the white cube may have seemed like the best solution when first conceptualized, it is impossible to manufacture an entirely blank space in which to show art. Since the white cube is not neutral, but rather, a constructed space imbued with its own aura as any other, I ask: have architects and curators
Introduction: Currently in physical education performance speeches predominate to people who will work as professionals in the school environment and, therefore, should be oriented to participation. This fact makes that there is an identity crisis in PE teachers, which are oriented to be coaches instead of educators. Aim: Show the development of a physical education activity around contemporaryart and analyze whether the realization of this activity influences the initial conception that students have about the teaching identity of the physical education teacher. Methods: The activity was carried out with 89 teaching students from three different universities. To analyze the activity in each of the universities, a qualitative methodology is used through questionnaires of open questions, focus groups and photoelicitation. Results: The results obtained in the work show how the realization of the activity favors the students to change some of the conceptions they had initially in relation to the purpose of the PE and their identity as teachers. Discussion &Conclusions: The innovation represented by learning about art in the field of PE requires opening future lines of research with a greater number of activities focused on demonstrating the potential of this methodology. In addition, this study shows the need for the university institution to take a self-critical look at physical education training.
In each of the axes of analysis outlined, I will analyze different works of art that take the processes of deconstruction proposed by contemporaryart to the limit. This involves re- situating the work of art, the artist and the public with regard to the canons and movements of Art History. I will analyze elements of "In the Face of time: History of art and anachronism of Images" (2000), by Georges Didi-Huberman. In addition, I will single out two texts that are crucial to the psychoanalytic method: "The Uncanny” (1919), by Sigmund Freud and "Function and field of speech and Language" (1953/1998), by Jacques Lacan.
his work aims to analyze recent Brazilian literature on innovation in the search for studies related to the United Nations’ ninth Sustainable Development Goal (SDG) Industry, Innovation and Infrastructure: "build resilient infrastructure, promote sustainable industrialization and foster innovation’. he theoretical framework on innovation is based on classic authors from the ield such as Freeman (1995); Lundvall (1985, 1996, 2009); Hippel (2007); Nelson and Winter (2002); Srivas and Sutz (2008). he paper is developed as a literature review with a comparative study to analyze data collected from a Brazilian journal on business and innovation: Revista de Administração e Inovação (RAI). Due to the topicality of the subject, the period between 2014 -2015 was chosen for the sample. During this time, 73 articles were published in ive numbers of RAI. Among them, 48 articles were selected according to the established criteria to determine the identiication with the theme of SDG9 Industry, Innovation and Infrastructure. hese 48 articles were stratiied and analyzed. he results indicate the need to stimulate research in the area of innovation in line with SDG9 approach.
These writers come from very different disciplinary perspectives -- business, law, anthropology, and cultural studies -- and they write in very different styles. We can't really call this work an intellectual movement: Most of us didn't know of one another's existence until our books started to hit the shelves. Yet taken together, these books can be read as a paradigm shift in our understanding of media, culture, and society. This work embodies an ecological perspective on media, one that refuses to concentrate on only one medium at a time but insists that we take it all in at once and try to understand how different layers of media production affect one another. As such, these books represent a new route around the ideological and methodological impasses between political economy (with its focus on media concentration) and cultural studies (with its focus on resistant audiences). And these books represent a new way of thinking about how power operates within an informational economy, describing how media shifts are changing education, politics, religion, business, and the press.
ABSTRACT. Although major tenets of Lorenz’s hypothetical-realist evolution- ary epistemology have not withstood close philosophical scrutiny, by and large his philosophical naturalism can still inspire us today. To prepare the ground for my argument I interpret some key aspects of the current debate about the significance of Lorenz’s scientific and philosophical achievements from the perspective of science studies, viz., the history, philosophy, and social studies of science. I move on to assess Lorenz’s peculiar brand of evolutionary naturalism in the light of the booming development of philosophical natural- ism in the last three decades. Contemporary philosophical naturalism as I understand it may be defined in terms of four attitudes: (i) the articulation of philosophy in a way that is continuous with scientific method and explanation; (ii) anti-transcendence (Diesseitigkeit); (iii) an anti-transcendental stance that requires abandoning the ambition of finding epistemological foundations, and (iv) a deep appreciation of the bounded rationality of all cognizing systems, whether human, animal, or artificial. Lorenz’s views, in particular in “The innate forms of possible experience” (1943) and Behind the Mirror (1973/1977), provide a powerful antidote for a variety of unwarranted anti-naturalistic leanings that persist in epistemology and the philosophy of mind to this very day. KEY WORDS . Adaptationism, bounded rationality, context of justification, evo- lutionary epistemology, Konrad Lorenz, Immanuel Kant, philosophical natu- ralism, transcendence, transcendental arguments.
According to previous information my work as a research assistant is focus in macro- project one, exactly in subproject two “Understanding English teaching & learning contexts and their importance in EFL education”. This subproject try to describe how is the process in EFL teaching and learning in different context according to their specific characteristics, In order to make a relevant description so I needed to make a relevant state of the art, it is look at background previous research, to know what has been done and what lacks to be done on a specific topic, Londoño, Maldonado and Calderon (2014) the main objective is to establish a critical and analytical account on the research tendencies, research outcomes, and hypothesis in regards to the research topic. It is important to do a state of the art before starting any investigation as it allows researchers to use prior knowledge and save efforts in doing research that perhaps has already been investigated. A state of the art can be organized having into consideration topics and subtopics, periods of time and geographical settings. The selection of the approach to conduct the state of the art depends on the researcher’s logic and particular needs.
The first chapter, by Marisol Morales-Ladrón, analyses the literature produced by Irish women writers since the 1980s in order to underscore different forms of dysfunction, ranging from incest, child abuse, and orphanage, to domestic violence, problematic parenting, and unconventional/abject motherhood. The chapter begins by offering an overview of the socio- historical evolution of the trope of the Irish family, concentrating on the implementation of new laws on contraception, abortion and divorce. After this, Morales-Ladrón concentrates on eight narratives which have been carefully selected as representative of each of the periods discussed: Julia O’Faolain’s No Country for Young Men (1980), Deirdre Madden’s The Birds of the Innocent Wood (1988), Lia Mill’s Another Alice (1996), Mary O’Donnell’s The Elysium Testament (1999), Anne Enright’s The Gathering (2007), Jennifer Johnston’s Foolish Mortals (2007), Claire Keegan’s Foster (2010), and Nuala Ní Chonchúir’s You (2010). While recognizing previous critical studies on these novels, this chapter is unique in its comparative analysis of literary texts rarely studied in conjunction and in its focus on the trope of the family, an issue rarely discussed with respect to these narratives. In most of the novels examined, Morales-Ladrón reveals how dysfunction appears in relation to the disclosure of a traumatic event in the past, which often involves pain, violence, a suffocating patriarchal context, and at times, the defence of new forms of family bonding. The author concludes by asserting that “the dysfunctional Irish family is not a new phenomenon of the last forty years, but a sign of identity of much of the literature published in Ireland in previous decades” (78). Chapters such as this constitute an important attempt to counteract the gender imbalance observed in many anthologies and literary compilations which still privilege the male perspective over the female one.
In the Qur’an, Allah SWT mentions clearly in Surah sad: “(Here is) a Book, which We sent down unto thee, full of blessing that they may mediate on its Signs and that men of understanding may receive admonition”. (Surah Sad 38:29). Thinking in considered as ‘Ibadah’ or a form of worshipping Allah, which, shall be rewarded as long as it is done with sincerity or ‘ikhlas’, good intention and for a good purpose. Abbas Al- ‘aqad’, a contemporary prominent thinker, considers ‘tafkir’ or thinking as an Islamic obligation. Al-Qur’an mentions the requirement of ‘ulul al-bab’ that leads to thinking. Thinki ng is an integral part of the Islamic tradition. Allah created man to think by using reasoning (afala ya’qilun), think creatively (afala tatafaqqarun) and also to ponder, to inquire and to investigate things (afala ya tadabbarun). The tradition of thinking in the past led to tremendous achievements of the Muslims in the fields of philosophy and science such as astrophysics, mathematics, mechanics, music and many others. (Sidek, 2005)
Although the artistic achievements of the Colonial period have encouraged many Brazilian intellectuals to deepen their studies in the area, few of them had degrees in Art History. Up to the 1970's they were mainly lawyers, architects, and historians: people who had their academic education in other fields and came to Art History led by their own curiosity. It has been only in the last twenty years that professionals have started being prepared in the field, going somewhere abroad to study Art History at post-graduate level. During the 1980's some post-graduate programmes were created in the Country which equated to MA and MPhil levels and the first P h D courses were created in the year 2000. But the problem remains at undergraduate level -inexplicably, a BA in Art History has yet to be introduced in Brazil. This means that Brazilianart historians almost always come from other fields of study such as Law, History, Philosophy, Literature, Art and, especially, Architecture. Perhaps the predominance of architects working on art historical issues that was always, and still is, so common in Brazil, led to an unbalanced number of articles and books dedicated to Colonial architecture in comparison to the amount one is able to find concerning painting or sculpture. In fact these subjects sometimes appear in Brazilian publications being approached as accessories to architecture, receiving a secondary place that is far from what they deserve as autonomous means of expression in the Colonial society.
The Penelopiad, by Margaret Atwood, is a lyrical drama mainly based on the Odyssey, yet phocalized from Penelope‟s perspective. The original title in English evokes other titles from the ancient Greek epic tradition, which confined the heroic glory to the illustrious male figures of myth. With an acute feminist sensitivity, Atwood accords Penelope a similar heroic stature to her male peers in myth, focusing on her own „odyssey‟ at Ithaca and beyond. Moreover, Atwood is also concerned with a social critique of the original poem, a concern she channels through the device of the chorus, composed by the servants of Penelope, as the Spanish translation of The Penelopiad – «Penélope y las doce criadas»– underscores. These servants play a pivotal role in Atwood‟s reception of the Odyssey and they are unique in their having a lyrical voice that resounds all over the play. The aim of this essay is, firstly, to analyse the main characters from the Odyssey, such as Penelope, Odysseus, Telemachus, the suitors, Eurycleia, and even Helen, and, secondly, to explore the specific refigurations of these very characters in Atwood‟s version. Our analysis will depend largely on the concepts, methods and terminology from Classical Tradition as well as Gender and Reception Studies.
Para concluir podemos considerar que el brazilian jiu jitsu de competencia, se caracteriza por ser una serie de ejecuciones de esfuerzos intermitentes (Baz, 2016) e impredecibles debido a la variación en el número de combates, el tiempo de duración de estos y el lapso de descanso. El sistema metabólico que predomine dependerá de la intensidad que se manifieste dentro de la lucha. Aunque el sistema anaeróbico es indispensable para la ejecución de los momentos determinantes (Franchini 2003), debido al déficit en la resíntesis de los sustratos glucolíticos (Fernández,2007), el sistema aeróbico asume gran parte del aporte energético, por lo que el entrenamiento de las dos capacidades es imprescindible. Establecer la predominancia de cierto sistema energético frente a un ejercicio determinado, no solo permite realizar un mejor control adaptativo, sino que además brinda la posibilidad al entrenador y al atleta de identificar adecuadamente las necesidades específicas de su deporte, logrando repercutir en una mejor intervención en los planes de entrenamiento periodizados, permitiendo prescribir una carga de entrenamiento optima, contando con un mejor control sobre los picos en el rendimiento guiado hacia la competición en el deporte de rendimiento.
The Italian economist Paolo Sylos Labini in his work Elementi di dinámica eco- nomica emphasized the fact that the distinction between logical time, real time and historical time can also be of great interest to display a mode of research in econom- ics which combines relevance and rigor. It tries to give explanations concerning rele- vant economic processes in an analysis which integrates rigorous methods, including, as Schumpeter did, theory, quantification and history. In this work, Becattini, with his studies on the Marshallian Industrial District, brought to contemporary economic analysis, a way of doing economics using Marshallian methodology, which includes a theory about and a knowledge of reality, and a study of economic processes in his- torical time. Thus, he builds a significant part of the «economic theory of the future» proposed by Schumpeter.
disappeared. Whatever its restrictions, audience has always kept an eye on what happens beyond the immediate text/reader/listener/viewer moment. And this is true even of those studies that sat squarely in the 1.0 tradition. In a critical postscript to The Nationwide Audience, Morley (1990) confessed that his efforts to understand the television’s social significance through asking people how they interpreted the eponymous 1970s UK news magazine show mistakenly defined audience in reactive terms. Reviewing the entire project, where reception studies had been preceded by textual analysis that tried to fix the preferred meaning of the show, Morley and Brunsdon (1999) argued that this mistake should not disguise their real interest in cultural participation. However mundane the text, and however ham fisted the effort to understand its relevance, or not, to viewers, Nationwide was one of the places where ‘Englishness’ came to be; ‘it is in what is taken for granted – these seemingly inconsequential matters of “mere continuity” – that we find the most embedded assumptions about the conduct of social life’ (p. 11). Studies such as this therefore ‘might increase understanding of people’s conditions of existence and the production of alternative histories and art practices’ (p. 3).
Along with those of Aguilar (2010) and Page (2009), Jens Andermann’s (2015) study of recent Argentine cinema –published in English in 2012 and translated into Spanish in 2015– is essential due to its ability to articulate aesthetic analysis with the sociocultural gaze. Andermann studies both fiction and documentary films; despite the title (Nuevo Cine Argentino), his work does not strictly refer to the NCA. The main difference between Andermann (2015) and the two authors already mentioned is the incorporation of commercial movies, such as those of Campanella, omitted in most of the academic approaches. The author suggests the need to “look beyond the uncertain boundaries of an ‘independent’ generational project, which has in many ways been but a critical fiction” and address “the wider, more contradictory and multilayered landscape of film- making in Argentina” (2015, p.14), including quality commercial cinema. In this vein, he argues that, since there is no industrial system of studios in Argentina, it is artificial to distinguish between independent cinema and commercial cinema, an opposition that is considered imported from the United States and not very useful for analyzing Argentine cinema, because it masks the diversity of production models.