Articles de revues sur le sujet « Lisa (1971-2007) »

The hair in Ma tendre ennemie by Lisa Bresner : the queue, the ink brush and the castrated painter Lisa Bresner (1971‐2007) is a novelist, translator, and sinologist, who has dedicated her entire life to literary creation around China and Asia. Ma tendre ennemie is her second novel, published in 1994 by Gallimard. The themes of Lisa Bresner’s work have to do with body and sensation. As for Ma tendre ennemie, this symbolic role returns to the hair – the support of sexual seduction, of power, of fertility, and more particularly of this novel, of artistic creation. This article aims to analyse, how the notion of hair in the novel goes hand in hand with the ambiguous political and social stake of the wearing of the queue during the first Sino‐Japanese war, the deconstruction of the castration, the aesthetic of cruelty, and the reinterpretation of Asian eroticism.

The hair in Ma tendre ennemie by Lisa Bresner : the queue, the ink brush and the castrated painter Lisa Bresner (1971‐2007) is a novelist, translator, and sinologist, who has dedicated her entire life to literary creation around China and Asia. Ma tendre ennemie is her second novel, published in 1994 by Gallimard. The themes of Lisa Bresner’s work have to do with body and sensation. As for Ma tendre ennemie, this symbolic role returns to the hair – the support of sexual seduction, of power, of fertility, and more particularly of this novel, of artistic creation. This article aims to analyse, how the notion of hair in the novel goes hand in hand with the ambiguous political and social stake of the wearing of the queue during the first Sino‐Japanese war, the deconstruction of the castration, the aesthetic of cruelty, and the reinterpretation of Asian eroticism.

The present work presentes a bibliographical reserach, in which we analyze innovation in Brazilian Romantic poetry through the work “O Guesa” by the Brazilian Romantic poet Joaquim de Sousa Andrade, or Sousândrade, as he preferred to call him. Sousândrade lived during the XIX century, during a period of intense political transformation in Brazil. This time was marked by Brazilian independence in 1822, leading to nationalist sentiment among the current literary movement. The aim of this word is to demonstrate how the writer innovated within the hierarchical standards of his time based on a reading of his work, in which he focuses on the issues surrounding his protagonist. Therefore, the research has na exploratory and explanatory nature, base on the collection of information and ideas from theorists and literacy critics, which will give sustainability to the arguments presented. Thus, among them we have: Abrams (1991), Bosi (1994), Cândido (2002), Cuccagna (2004), Lima (1982), Moisés (1971), Nejar (2007), Pound (1997), Sodré (2002), and the main base used, Campos (1982).

Las escritoras de narrativa surcoreanas ocupan un lugar importante tanto en la literatura de su país como a nivel internacional. Sus novelas y relatos muestran los efectos en la sociedad, del colonialismo, la guerra, la desigualdad social, la represión política, la brutalidad policial, el peso de las tradiciones y los cambios sociales y económicos producidos en el país desde los años cincuenta. Sobre todo, las historias de sus protagonistas reflejan la situación de las mujeres en una sociedad profundamente patriarcal y los diferentes tipos de violencia que todavía sufren las mujeres en el siglo veintiuno. El cuerpo, físico y mental, es el lugar donde se encarna la violencia, y es también a través de sus cuerpos como las mujeres ejercen diferentes formas de resistencia y rebeldía. Este trabajo realiza un estudio comparativo entre las novelas surcoreanas La Vegetariana (2007) de Han Kang; Por favor, cuida de mamá (2008), de Shin Kyung-Sook, y Kim Ji-young, nacida en 1982 (2016), de Cho Man-Jo, y las siguientes obras de escritoras latinoamericanas: la novela Fruta podrida (2007), de Lina Meruane (Chile); y los relatos Lección de cocina (1971), de la mexicana Rosario Castellanos, El Ovillo (1986) de la paraguaya Renée Ferrer, Nada de carne sobre nosotras y Las cosas que perdimos en el fuego (2016) de la argentina Mariana Enríquez.

Neste artigo investigamos a distinção massivo-contável na língua Rikbaktsa (Macro-Jê). Partimos do questionário de Lima & Rothstein (2020), o qual procuramos responder levantando os dados em um acervo inédito do qual já dispúnhamos, na pouca literatura sobre a língua (Boswood 1971, 1978; SIL 2007; Silva 2011), e em uma elicitação de dados com um falante nativo. A análise mostrou que há morfologia de plural e que ela não se combina com nomes de massa. Nomes que denotam átomos estáveis se combinam diretamente com numerais. Para serem contados, nomes de substância exigem a presença de sintagmas de medidas. Esses são indícios de que a língua em questão pode ser caracterizada como uma língua de número marcado (Chierchia 2010, 2015), mesmo que haja alguns nomes de massa que podem ser contados diretamente. Em nenhuma das quinze línguas apresentadas em Lima & Rothstein (2020) há relato de um morfema especializado para marcar massa. Chacon (2012) afirma que o Kubeo (Tukano-Oriental) exibe um demonstrativo de massa. Esse é também o caso em Rikbaktsa, mas nesta língua o demonstrativo na ‘isto’, que seleciona nomes massivos, se espalha pela gramática: aparece com marca de terceira pessoa no pronome pessoal a-na, com proformas interrogativas e em construção atributiva. Este estudo contribui, portanto, para uma melhor compreensão da distinção massivo-contável através das línguas e da gramática desta língua minoritária.

Il documento presenta una ricostruzione sintetica delle principali tappe del processo di globalizzazione e dell'economia italiana dalla fine della seconda guerra mondiale ad oggi. Per quanto riguarda lo scenario internazionale, si individuano due chiare fratture: la fine dell'"età dell'oro" con la crisi del dollaro dell'agosto 1971 e lo shock petrolifero del 1973; la crisi finanziaria del 2007-2008, dovuta all'accumulo di gravi squilibri macroeconomici negli anni della cosiddetta "Grande Moderazione". Queste due fratture trovano una chiara corrispondenza in due analoghe fratture dello sviluppo economico italiano. L'Italia, tuttavia, presenta una terza frattura intermedia con la crisi della lira dell'agosto 1992 legata a specifiche debolezze interne; uno spartiacque per la politica economica italiana. Oggi le tensioni nei rapporti commerciali internazionali e gli impulsi populisti nei Paesi avanzati testimoniano che la crisi del 2008 è ben lungi dall'essere ricomposta nelle sue determinanti. Il documento propone un suggerimento: alla base delle dinamiche economiche degli ultimi 75 anni c'è un rapporto irrisolto tra crescita economica capitalistica ed espansione della democrazia a livello nazionale e internazionale.

“Conrad e a razão cínica” objetiva a comparação da literatura de Coração das trevas (1899) do autor inglês Joseph Conrad(1857-1924) juntamente com o conceito de cinismo antigo e moderno. Peter Sloterdijk (1947) propõe a retomada do cinismo antigo e a renuncia do cinismo moderno, pois a dinâmica desse último é ambivalente e na obra de Conrad, enevoa ou torna tênue a linha entre a liberdade e a domesticação. Referências BibliográficasBOOTH, Wayne C. The Retoric of Fiction. Chicago London: The University of Chicago Press, 1983.CONRAD, Joseph. Coração das trevas. Tradução de Celso Parcionick, Iluminuras, 2002.CONRAD, Joseph. Coração das trevas. Tradução de Sérgio Flaksman. São Paulo: Cia das Letras, 2008.EIKHENBAUM, Boris. A teoria do método formal. In: TOLEDO, Dionísio de Oliveira (org.). Teoria da Literatura - formalistas russos. Porto Alegre: Globo, 1971.FUENTES GONZÁLEZ, Pedro Pablo. “El atajo filosófico de los cínicos antiguos hacia la felicidad”. Cuadernos de Filología Clásica: Estudios griegos e indo europeos. Vol. 12, 2002, 203-251.GOULET-CAZÉ, Marie-Odile BRANHAM, R. Bracht, Orgs. Os Cínicos: O Movimento Cínico na Antiguidade e o seu Legado. Edições Loyola: São Paulo, 2007.LAÊRTIOS, Diógenes. Vidas e doutrinas dos filósofos ilustres. Brasília, Ed.UnB, 2008LIMA, Luiz Costa- O redemunho do horror: as margens do ocidente/Luiz Costa Lima- São Paulo- Editora planeta do Brasil, 2003.MOLES L., John. Cosmopolitismo cínico. In: GOULET-CAZÉ, Marie-Odile; BRANHAM, Bracht R. (Org). Os cínicos. O movimento cínico na antigüidade e o seu legado. Tradução de Cecília Camargo Bartalotti. São Paulo: Edições Loyola, 2007.MILLER, J. Hillis. A Ética da leitura: Ensaios 1979-1989. Trad.Elieane Fitipaldi e Kátia Orberg.Rio de Janeiro, Imago, 1995.NAVIA, Luis E. Diógenes, o cínico.Tradução de João Miguel Moreira Auto. São Paulo: Odysseus, 2009.PIERING, Julie.“Cynics”.Internet encyclopedia of philosophy,U. S. A. University of Arkansas at Little Rock. 2006 Disponível em: http://www.iep.utm.edu/cynics/. Acesso em 13/11/2013.SLOTERDIJK, Peter. Critica da razão cínica. Trad.: Marco Casanova, Paulo Soethe, Mauricio Mendonça Cardozo, Pedro Costa Rego, Ricardo Hiendlmayer. São Paulo: Estação Liberdade, 2012.WATT, Ian, Conrad in the Nineteenth Century, (Berkeley, University of California Press, 1979.

In the last decade, rambutan (Nephelium lappaceum L., Sapindaceae) and pulasan (N. mutabile Blume) have been cultivated in Honduras to produce exotic fruits for export to North America (2). Recently, a disease was observed that produces dark brown to black fissured cankers from 1 to 3 cm long and 1 to 4 cm wide. The infected bark tissue becomes swollen with the middle region 3 to 8 mm thick. Symptoms appear when the trees are approximately 3 years old. As the trees mature, the cankers increase in size and weaken the branches, often resulting in breakage with the weight of the fruit causing substantial plant damage and fruit loss. In August 2010, fissured branch samples of rambutan and pulasan were collected from 6- to 8-year-old trees from the Humid Tropical Demonstrative Agroforestry Center in Honduras, Atlantida, La Masica (15°33′47.4″N, 87°05′2.5″W, elevation 106 m). A fungus associated with the cankers was identified as Dolabra nepheliae. It produces black, stipitate, elongate ascomata, 312 to 482 × 250 to 281 μm with broadly cylindric, bitunicate asci, 120 to 138 × 11.2 to 15.0 μm, and filiform, hyaline ascospores, 128 to 135 × 2.8 to 3.2 μm. Fungi from rambutan and pulasan were isolated on cornmeal agar plus 0.5% dextrose and antibiotics. On potato dextrose agar, the ascospores produced slow-growing colonies, 5 mm per week. In culture, isolates from both hosts produced pycnidia with elongated, slightly to strongly curved or S-shaped, hyaline conidia, 22.8 to 46.4 × 2.8 to 3.7 μm. This fungus was first reported on rambutan and pulasan from Malaysia (1,4), and later reported on rambutan and litchi in Hawaii and Puerto Rico (3). To our knowledge, this is the first report of D. nepheliae on pulasan and rambutan from Honduras. Specimens have been deposited at the U.S. National Fungus Collections (BPI 882442 on N. lappaceum and BPI 882443 on N. mutabile). Cultures were deposited at the Centraalbureau voor Schimmelcultures (CBS) as CBS 131490 on N. lappaceum and CBS 131491 on N. mutabile. Sequences of the internal transcribed spacer (ITS) region including ITS1, 5.8S, and ITS2 intergenic spacers were deposited in GenBank (Accession No. JQ004281 on N. lappaceum and Accession No. JQ004280 on N. mutabile). A BLAST search and pairwise comparison using the GenBank web server were used to compare ITS sequence data and recovered the following results: (i) CBS 131490 on N. lappaceum is 99% (538 of 544) identical to D. nepheliae CBS 123297 on Litchi chinensis from Puerto Rico; and (ii) CBS 131491 on N. mutabile is 99% (527 of 533) identical to the same strain of D. nepheliae. On the basis of the ITS sequence data, the isolates from Honduras were confirmed as the same species, D. nepheliae from Puerto Rico. Efforts to develop resistant germplasm and management strategies to control this disease have been initiated. References: (1) C. Booth and W. P. Ting. Trans. Brit. Mycol. Soc. 47:235, 1964. (2) T. Ramírez et al. Manual Para el Cultivo de Rambutan en Honduras. Fundación Hondureña de Investigación Agrícola. La Lima, Cortes, Honduras, 2003. (3) A. Y. Rossman et al. Plant Dis. 91:1685, 2007. (4) H. Zalasky et al. Can. J. Bot. 49:559, 1971.

RESUMENEl objetivo de este artículo es reflexionar sobre los mecanismos de financiación y de control de las instituciones religiosas por los laicos en las primeras décadas de la conquista y colonización de Hispanoamérica. Investigar sobre la inversión laica en lo sagrado supone en un primer lugar aclarar la historiografía sobre laicos, religión y dinero en las sociedades de Antiguo Régimen y su trasposición en América, planteando una mirada desde el punto de vista de las motivaciones múltiples de los actores seglares. A través del ejemplo de restituciones, donaciones y legados en losAndes, se explora el papel de los laicos españoles, y también de las poblaciones indígenas, en el establecimiento de la densa red de instituciones católicas que se construye entonces. La propuesta postula el protagonismo de actores laicos en la construcción de un espacio cristiano en los Andes peruanos en el siglo XVI y principios del XVII, donde la inversión económica permite contribuir a la transición de una sociedad de guerra y conquista a una sociedad corporativa pacificada.PALABRAS CLAVE: Hispanoamérica-Andes, religión, economía, encomienda, siglos XVI y XVII.ABSTRACTThis article aims to reflect on the mechanisms of financing and control of religious institutions by the laity in the first decades of the conquest and colonization of Spanish America. Investigating lay investment in the sacred sphere means first of all to clarifying historiography on laity, religion and money within Ancien Régime societies and their transposition to America, taking into account the multiple motivations of secular actors. The example of restitutions, donations and legacies inthe Andes enables us to explore the role of the Spanish laity and indigenous populations in the establishment of the dense network of Catholic institutions that was established during this period. The proposal postulates the role of lay actors in the construction of a Christian space in the Peruvian Andes in the sixteenth and early seventeenth centuries, when economic investment contributed to the transition from a society of war and conquest to a pacified, corporate society.KEY WORDS: Hispanic America-Andes, religion, economics, encomienda, 16th and 17th centuries. BIBLIOGRAFIAAbercrombie, T., “Tributes to Bad Conscience: Charity, Restitution, and Inheritance in Cacique and Encomendero Testaments of 16th-Century Charcas”, en Kellogg, S. y Restall, M. 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M., De rosa y espinas: economía, sociedad y mentalidades andinas, siglo XVII. Lima, IEP, BCRP, 1998.Godelier, M., L’énigme du don, Paris, Fayard, 1997.Goffman, E., Encounters: two studies in the sociology of interaction, MansfieldCentre, Martino publishing, 2013.Grosse, C., “La ‘religion populaire’. L’invention d’un nouvel horizon de l’altérité religieuse à l’époque moderne», en Prescendi, F. y Volokhine, Y (eds.), Dans le laboratoire de l’historien des religions. Mélanges offerts à Philippe Borgeaud, Genève, Labor et fides, 2011, pp. 104-122.Grosse, C., “Le ‘tournant culturel’ de l’histoire ‘religieuse’ et ‘ecclésiastique’», Histoire, monde et cultures religieuses, 26 (2013), pp. 75-94.Hall, S., “Cultural studies and its Theoretical Legacy”, en Grossberg, L., Nelson, C. y Treichler, P. (eds.), Cultural Studies, New York, Routledge, 1986, pp. 277-294.Horne, J., “Démobilisations culturelles après la Grande Guerre”, 14-18, Aujourd’hui, Today, Heute, Paris, Éditions Noésis, mai 2002, pp. 45-5.Iogna-Prat, D., “Sacré’ sacré ou l’histoire d’un substantif qui a d’abord été un qualificatif”, en Souza, M. de, Peters-Custot, A. y Romanacce, F.-X., Le sacré dans tous ses états: catégories du vocabulaire religieux et sociétés, de l’Antiquité à nos jours, Saint-Étienne, Publications de l’Université de Saint-Étienne, 2012, pp. 359-367.Iogna-Prat, D., Cité de Dieu. Cité des hommes. L’Église et l’architecture de la société, Paris, Presses universitaires de France, 2016.Kalifa, D., “Les historiens français et ‘le populaire’», Hermès, 42, 2005, pp. 54-59.Knowlton, R. J., “Chaplaincies and the Mexican Reform”, The Hispanic American Historical Review, 48.3 (1968), pp. 421-443.Lamana, G., Domination without Dominance: Inca-Spanish Encounters in Early Colonial Peru, Durham, Duke University Press, 2008.Las Casas B. de, Aqui se contienen unos avisos y reglas para los que oyeren confessiones de los Españoles que son o han sido en cargo a los indios de las Indias del mas Océano (Sevilla : Sebastián Trujillo, 1552). Edición moderna en Las Casas B. de, Obras escogidas, t. V, Opusculos, cartas y memoriales, Madrid, Biblioteca de Autores Españoles, 1958, pp. 235-249.Lavenia, V., L’infamia e il perdono: tributi, pene e confessione nella teologia morale della prima età moderna, Bologne, Il Mulino, 2004.Lempérière, A., Entre Dieu et le Roi, la République: Mexico, XVIe-XIXe siècle, Paris, les Belles Lettres, 2004.Lenoble, C., L’exercice de la pauvreté: économie et religion chez les franciscains d’Avignon (XIIIe-XVe siècle), Rennes, Presses universitaires de Rennes, 2013.León Portilla, M., Visión de los vencidos: relaciones indígenas de la conquista, México, Universidad nacional autónoma, 1959.Levaggi, A., Las capellanías en la argentina: estudio histórico-jurídico, Buenos Aires, Facultad de derecho y ciencias sociales U. B. A., Instituto de investigaciones Jurídicas y sociales Ambrosio L. Gioja, 1992.Lohmann Villena, G., “La restitución por conquistadores y encomenderos: un aspecto de la incidencia lascasiana en el Perú”, Anuario de Estudios americanos 23 (1966) 21-89.Luna, P., El tránsito de la Buenamuerte por Lima. Auge y declive de una orden religiosa azucarera, siglos XVIII y XIX, Francfort, Universidad de navarra-Iberoamericana-Vervuert, 2017.Macera, P., Instrucciones para el manejo de las haciendas jesuitas del Perú (ss. XVII-XVIII), Lima, Universidad Nacional Mayor de San Marcos, 1966.Málaga Medina, A., “Los corregimientos de Arequipa. Siglo XVI”, Histórica, n. 1, 1975, pp. 47-85.Maldavsky, A., “Encomenderos, indios y religiosos en la región de Arequipa (siglo XVI): restitución y formación de un territorio cristiano y señoril”, en A. Maldavsky yR. Di Stefano (eds.), Invertir en lo sagrado: salvación y dominación territorial en América y Europa (siglos XVI-XX), Santa Rosa, EdUNLPam, 2018, cap. 3, mobi.Maldavsky, A., “Finances missionnaires et salut des laïcs. La donation de Juan Clemente de Fuentes, marchand des Andes, à la Compagnie de Jésus au milieu du XVIIe siècle”, ASSR, publicación prevista en 2020.Maldavsky, A., “Giving for the Mission: The Encomenderos and Christian Space in the Andes of the Late Sixteenth Century”, en Boer W., Maldavsky A., Marcocci G. y Pavan I. (eds.), Space and Conversion in Global Perspective, Leiden-Boston, Brill, 2014, pp. 260-284.Maldavsky, A., “Teología moral, restitución y sociedad colonial en los Andes en el siglo XVI”, Revista portuguesa de teología, en prensa, 2019.Margairaz, D., Minard, P., “Le marché dans son histoire”, Revue de synthèse, 2006/2, pp. 241-252.Martínez López-Cano, M. del P., Speckman Guerra, E., Wobeser, G. von (eds.) La Iglesia y sus bienes: de la amortización a la nacionalización, México, Universidad Nacional Autónoma de México, Instituto de Investigaciones Históricas, 2004.Mauss, M., “Essai sur le don. 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Colonial andean religion and extirpation, 1640-1750, Princeton, New Jersey, Princeton University Press, 1997.Mörner, M., The Political and Economic Activities of the Jesuits in the La Plata Region: The Hapsburg Era, Stockholm, Library and Institute of Ibero-American Studies, 1953.Morales Padrón, F., Teoría y leyes de la conquista, Madrid, Ediciones Cultura Hispánica del Centro Iberoamericano de Cooperación, 1979.“Nuevos avances en el estudio de las reducciones toledanas”, Bulletin of the National Museum of Ethnology, 39(1), 2014, pp. 123-167.O’Gorman, E., Destierro de sombras: luz en el origen de la imagen y culto de Nuestra Señora de Guadalupe del Tepeyac, México, Universidad nacional autónoma de México, Instituto de Investigaciones Históricas, 1986.Pompa, C., Religião como tradução: Missionários, Tupi e Tapuia no Brasil colonial, São Paulo, ANPOCS, 2003.Prodi, P. Una historia de la justicia. De la pluralidad de fueros al dualismo moderno entre conciencia y derecho, Buenos Aires-Madrid, Katz, 2008.Ragon, P., “Entre religion métisse et christianisme baroque : les catholicités mexicaines, XVIe-XVIIIe siècles», Histoire, monde et cultures religieuses, 2008/1, n°5, pp. 15-36.Ragon, P., “Histoire et christianisation en Amérique espagnole», en Kouamé, Nathalie (éd.), Historiographies d’ailleurs: comment écrit-on l’histoire en dehors du monde occidental ?, Paris, Karthala, 2014, pp. 239-248.Ramos G., Muerte y conversión en los Andes, Lima, IFEA, IEP, 2010.Rodríguez, D., Por un lugar en el cielo. Juan Martínez Rengifo y su legado a los jesuitas, 1560-1592, Lima, Universidad Nacional Mayor de San Marcos, 2005.Romano, R., Les mécanismes de la conquête coloniale: les conquistadores, Paris, Flammarion, 1972.Saignes, T., “The Colonial Condition in the Quechua-Aymara Heartland (1570–1780)”, en Salomon, F. y Schwartz, S.(eds.), The Cambridge History of theNative Peoples of the Americas. Vol. 3, South America, Cambridge, Cambridge University Press, 1999, pp. 58–137.Saignes, T., Caciques, tribute and migration in the Southern Andes: Indian society and the 17th century colonial order (Audiencia de Charcas), Londres, Inst. of Latin American Studies, 1985.Schmitt, J.-C., “‘Religion populaire’ et culture folklorique (note critique) [A propos de Etienne Delaruelle, La piété populaire au Moyen Age, avant- propos de Ph. Wolff, introduction par R. Manselli et André Vauchez] «, Annales. Économies, Sociétés, Civilisations, 31/5, 1976, pp. 941953.Schwaller, J. F., Origins of Church Wealth in Mexico. Ecclesiastical Revenues and Church Finances, 1523-1600, Albuquerque, University of New Mexico press, 1985.Spalding, K., Huarochirí, an Andean society under Inca and Spanish rule, Stanford, Stanford University Press, 1984.Stern, S. J., Los pueblos indígenas del Perú y el desafío de la conquista española: Huamanga hasta 1640, Madrid, Alianza, 1986.Taylor, W. B., Magistrates of the Sacred: Priests and Parishioners in Eighteenth-Century Mexico. Stanford University Press, 1996.Thomas, Y., “La valeur des choses. Le droit romain hors la religion”, Annales, Histoire, Sciences Sociales, 2002/T, 57 année, pp. 1431-1462.Thornton, J. K., Africa and Africans in the Formation of the Atlantic World, 1400–1680), New York, Cambridge University Press, 1998.Tibesar, A., Franciscan beginnings in colonial Peru, Washington, Academy of American Franciscan History, 1953.Tibesar A., “Instructions for the Confessors of Conquistadores Issued by the Archbishop of Lima in 1560”, The Americas 3, n. 4 (Apr. 1947), pp. 514-534.Todeschini, G., Richesse franciscaine: de la pauvreté volontaire à la société de marché, Lagrasse, Verdier, 2008.Toneatto, V., “La richesse des Franciscains. Autour du débat sur les rapports entre économie et religion au Moyen Âge”, Médiévales. Langues, Textes, Histoire 60, n. 60 (30 juin 2011), pp. 187202.Toneatto, V., Les banquiers du Seigneur: évêques et moines face à la richesse, IVe-début IXe siècle, Rennes, Presses universitaires de Rennes, 2012.Toquica Clavijo, M. C., A falta de oro: linaje, crédito y salvación, Bogotá, Universidad Nacional de Colombia, Ministero de Cultura, Instituto Colombiano de Antropología e Historia, 2008.Torre, A., “‘Faire communauté’. Confréries et localité dans une vallée du Piémont (XVIIe -XVIIIe siècle)”, Annales. Histoire, Sciences Sociales 2007/1 (año 62), pp. 101-135.Torre, A., “Politics Cloaked in Worship: State, Church and Local Power in Piedmont 1570-1770”, Past and Present, 134, 1992, pp. 42-92.Vargas Ugarte, R., “Archivo de la beneficencia del Cuzco”, Revista del Archivo Histórico del Cuzco, no. 4 (1953), pp. 105-106.Vauchez A., Les laïcs au Moyen Age. Pratiques et expériences religieuses, Paris, Cerf, 1987.Vincent, C., “Laïcs (Moyen Âge)”, en Levillain, P. (ed.), Dictionnaire historique de la papauté, Paris, Fayard, 2003, pp. 993-995.Vincent, C., Les confréries médiévales dans le royaume de France: XIIIe-XVe siècle, Paris, A. Michel, 1994.Valle Pavón, G. del, Finanzas piadosas y redes de negocios. Los mercaderes de la ciudad de México ante la crisis de Nueva España, 1804-1808, México, Instituto Mora, Historia económica, 2012.Vovelle, M., Piété baroque et déchristianisation en Provence au XVIIIe siècle, Paris, Plon, 1972.Wachtel, N., La Vision des vaincus: les Indiens du Pérou devant la Conquête espagnole, Paris, Gallimard, 1971.Wilde, G., Religión y poder en las misiones de guaraníes, Buenos Aires, Ed. Sb, 2009.Wobeser, G. von, El crédito eclesiástico en la Nueva España, siglo XVIII, México, Universidad Nacional Autónoma de México, Instituto de Investigaciones Históricas, 1994.Wobeser, G. von, Vida eterna y preocupaciones terrenales. Las capellanías de misas en la Nueva España, 1600-1821, Mexico, Universidad Nacional Autónoma de México, 2005.Zavala, S., La encomienda indiana, Madrid, Junta para ampliación de estudios e investigaciones científicas-Centro de estudios históricos, 1935.Zemon Davis, N., Essai sur le don dans la France du XVIe siècle, Paris, Seuil, 2003.

Em 1931 a Reforma Francisco Campos (Decreto nº 19.890, de 1931) organizou o ensino secundário no país, dividindo-o em dois cursos seriados: fundamental (com duração de cinco anos) e complementar (com duração de dois anos), este último exigido para o acesso a alguns cursos superiores. A reforma também tornava obrigatório a aprovação em exames para admissão ao ginásio e, com isso, acentuava a descontinuidade entre o primário e o secundário, além de conferir caráter elitista e excludente a este último. (Nunes, 2000; Minhoto, 2007; Silva, 2016). A reforma de 1942, de Gustavo Capanema, não alteraria essa condição[i].Chama a atenção que variados discursos que circularam nas décadas de 1940 e 1950 (período de grande expansão do secundário em todo o país), especialmente em veículos voltados à Educação, não raro chamavam a atenção para a “crise do ensino secundário”. A revista da Editora do Brasil S/A, Documentário de Ensino, publicação mensal que circulou entre 1947 e foi desativada nos anos 1990, pautou, em diferentes momentos, seja em editoriais ou artigos assinados por professores, presidentes de sindicatos, diretores etc. a preocupação com o secundário, e com as propostas de reformas encampadas pelo Estado que visavam resolver tal crise. O editorial de julho de 1948, constatava:A organização do ensino secundário tem sido, entre nós, tanto no Império, como na República, objeto de constante e geral preocupação. Sistematicamente fala-se no “baixo nível” do ensino médio apontando-se como causas da “desorganização” fatores intrínsecos representados por “erros” de estruturação do próprio ensino e por “vícios de origem” da rede escolar. (EBSA, Editorial, ano I, n.9, julho de 1948, aspas no original) Dentre os problemas considerados mais graves chamava-se a atenção para aqueles relacionados a baixa qualidade do ensino ofertado ou, em outra ponta, um ensino essencialmente acadêmico e teórico dos programas escolares secundários que preparavam apenas uma restrita elite para os cursos superiores ou ocupações de “colarinho e gravata”, deixando de preparar a grande massa de estudantes para a vida real, para a compreensão dos problemas da sociedade contemporânea, e para o trabalho. Deve-se destacar que somente o curso secundário preparava e dava acesso legal aos cursos superiores. As outras modalidades de ensino médio existentes – normal, industrial ou comercial – não permitiam tal acesso até pelo menos 1953, quando a Lei nº 1.821 aprovou a equivalência entre os diferentes cursos de nível médio para efeito de matrícula no ciclo colegial e nos cursos superiores. Os debates em torno do secundário nas primeiras décadas do século XX expressam ambiguidades que podem ser observadas também nos debates atuais sobre o Ensino Médio[ii] e subsidiam argumentos para a necessidade de reforma nesse nível de ensino. Em que pese que a Lei de Diretrizes e Bases da Educação Nacional (LDBEN), de 1996, tenha estabelecido que o Ensino Médio seja a etapa conclusiva da Educação Básica, observa-se que ainda não foi superado seu caráter dual. A questão que permanece é se Ensino Médio deve preparar para o mundo do trabalho ou para a continuidade dos estudos dos jovens, independentemente de sua condição social. O grande desafio – dentre outros a ser enfrentados – é articular essas dimensões de modo competente. É pensar na natureza da formação que se quer ofertar, sem cair na armadilha datada do dilema da dualidade entre uma formação acadêmica e uma formação profissionalizante. O caráter político de sua concepção precisa urgentemente ser repensado, debatido. Por isso que aprovar uma reforma do Ensino Médio por Medida Provisória (746/2016) sem amplo debate nacional é uma afronta a todos aqueles e aquelas que pensam a Educação nesse país e que dela necessitam. A Revista História Hoje, assim como também tornou público seu repúdio ao Movimento Escola Sem Partido, acompanha aqui o manifesto da Associação Nacional de História – ANPUH[iii], e se coloca contrária a forma como o governo tem conduzido o processo de reforma do Ensino Médio, ou seja, através de Medida Provisória, bem como se posiciona contra sua aprovação no Congresso Nacional, nesses termos. Ao encontro desses desafios e na perspectiva de contribuir para discussões necessárias relativas a permanências e mudanças no Ensino Médio, este novo número da Revista História Hoje apresenta a seus leitores o Dossiê Ensino de História na Educação Profissional. Organizado pela Profa. Dra. Olivia Morais de Medeiros Neta, da Universidade Federal do Rio Grande do Norte (UFRN) e pelo Prof. Dr. Francisco das Chagas Silva Souza, do Instituto Federal de Educação Ciência e Tecnologia do Rio Grande do Norte (IFRN) o dossiê reúne artigos que problematizam o lugar da disciplina de História e as práticas pedagógicas dos professores no Ensino Médio Integrado à Educação Profissional. Esperamos que não apenas os artigos desse dossiê e a entrevista realizada com Prof. Dr. Ronaldo Marcos de Lima Araujo, mas também os artigos das diferentes seções da Revista possam servir de estímulo à reflexão e ao combate por um ensino de História capaz de estabelecer diálogos críticos com os mundos que habitamos em nossas diferenças e singularidades. Boa Leitura! Cristiani Bereta da Silva – EditoraFlorianópolis, primavera de 2016.[i] Em 1942, o ensino secundário sofreu nova alteração com a Reforma Gustavo Capanema (Decreto-Lei nº 4.244). Ele foi dividido em dois ciclos: um primeiro de quatro anos, chamado de ginásio, e um segundo de três anos, chamado de colegial (com dois tipos de curso: científico e clássico).[ii] A Lei nº 5.692, de 1971, unificou o ensino primário com o ginásio, constituindo o Primeiro Grau, com duração de oito anos e o Segundo Grau, com duração de três anos. Essa denominação vigorou até a Lei n°. 9.394/96, que passou a denominar esses mesmos níveis de ensino como Ensino Fundamental, com duração de nove anos e Ensino Médio, com duração de três anos.[iii] Disponível em: http://site.anpuh.org/index.php/2015-01-20-00-01-55/noticias2/noticias-destaque/item/3780-nota-da-associacao-nacional-de-historia-sobre-a-mpv-746-2016. Acesso em 31 out. 2016.

RECIPIENTS of The Endocrine Society’s Laureate Awards are selected annually by the Awards Committee. The Laureate Awards are presented to endocrinologists, members or nonmembers, from anywhere in the world. Each recipient is presented with an award certificate and is honored at the Society’s annual Awards Dinner in June. Nominations may be submitted by Society members only. A complete listing of all past awardees is available on the Society’s web site, www.endo-society.org. Nominations must be submitted by early April on the appropriate nomination form. The nomination form may be obtained by visiting the Society web site or by contacting The Endocrine Society. Fred Conrad Koch Award In 1957 a substantial legacy was bequeathed to the Society by the late Elizabeth Koch for the purpose of establishing the Fred Conrad Koch Memorial Fund in memory of her late husband, Distinguished Service Professor of Physiological Chemistry at the University of Chicago, and pioneer in the isolation of the androgens. This is the highest honor of the Society and is presented with the Koch Medal of The Endocrine Society, as well as a $25,000 honorarium. The award is given annually for exceptional contributions to endocrinology. The recipients of this award for the past ten years were: Ronald M. Evans and Michael G. Rosenfeld, 1999; C. Ronald Kahn, 2000; Robert J. Lefkowitz, 2001; Jan-Åke Gustafsson, 2002; Maria I. New, 2003; Patricia K. Donahoe, 2004; William F. Crowley, Jr., 2005; Gerald M. Reaven, 2006; John D. Baxter, 2007; and P. Reed Larsen, 2008. Ernst Oppenheimer Memorial Award The Ernst Oppenheimer Memorial Award was first presented by The Endocrine Society in 1944 and is the premier award to a young investigator in recognition of meritorious accomplishments in the field of basic or clinical endocrinology. The recipient must not have reached age 45 by July 1 of the year in which the award is presented. The award includes a $3,000 honorarium. The recipients of this award for the past five years were: Ursula B. Kaiser, 2004; Steven A. Kliewer, 2005; Charis Eng, 2006; Rohit N. Kulkarni, 2007; and Joel K. Elmquist and Randy J. Seeley, 2008. Robert H. Williams Distinguished Leadership Award The Robert H. Williams Distinguished Leadership Award was established by Dr. Robert H. Williams in 1970. The award is presented annually in recognition of outstanding leadership in endocrinology as exemplified by the recipient’s contributions and those of his/her trainees and associates to teaching, research, and administration. Distinguished leadership in endocrinology and metabolism may be manifest in a variety of ways and activities (international, national, and local). This award includes a $5,000 honorarium. The recipients of this award for the past five years were: David M. de Kretser, 2004; Gordon H. Williams, 2005; Richard J. Santen, 2006; Lewis E. Braverman, 2007; and Ron G. Rosenfeld, 2008. Edwin B. Astwood Award Lecture The Edwin B. Astwood Award Lecture is awarded for outstanding research in endocrinology. The recipient presents a plenary lecture at the annual meeting to honor the late Dr. Edwin B. Astwood of Boston. The award includes a $2,000 honorarium. The recipients of this award for the past five years were: Paolo Sassone-Corsi, 2004; Willa A. Hsueh, 2005; Mitchell A. Lazar, 2006; Lawrence C. Chan, 2007; and John A. Cidlowski, 2008. Clinical Investigator Award Lecture The Clinical Investigator Award Lecture is presented to an internationally recognized clinical investigator who has made major contributions to clinical research related to the pathogenesis, pathophysiology, and therapy of endocrine disease. The recipient presents a plenary lecture at the annual meeting and receives a $3,500 honorarium. The recipients of this award for the past five years were: Shlomo Melmed, 2004; Paul M. Stewart, 2005; Walter L. Miller, 2006; Stephen O’Rahilly, 2007; and John C. Marshall, 2008. Gerald D. Aurbach Award Lecture This award was first presented in 1993 in honor of the late Dr. Gerald D. Aurbach, who served as president of The Endocrine Society from 1989–1990. This award is presented for outstanding contributions to research in endocrinology. Dr. Aurbach received his B.A. and M.D. from the University of Virginia. After his training in endocrinology at Tufts University School of Medicine, he joined the Public Health Service and the National Institutes of Health in 1959 and had served as chief of the Metabolic Disease Branch, National Institute of Diabetes, Digestive and Kidney Diseases since 1973. He was the first to isolate PTH and played a key role in discovering the hormone’s biochemical mechanism of action in bone disease and calcium metabolism. The recipient presents a plenary lecture at the annual meeting and receives an honorarium of $1,000. The recipients of this award for the past five years were: David J. Mangelsdorf, 2004; David R. Clemmons, 2005; Paul A. Kelly, 2006; Eve Van Cauter, 2007; and Andrew F. Stewart, 2008. Sidney H. Ingbar Distinguished Service Award The Sidney H. Ingbar Distinguished Service Award is named in honor of the 65th President of The Endocrine Society and presented in recognition of distinguished service in the field of endocrinology. The award includes a $2,000 honorarium. The recipients of this award for the past five years were: Margaret A. Shupnik, 2004; P. Michael Conn, 2005; Robert D. Utiger, 2006; Robert A. Vigersky, 2007; and Lisa H. Fish, 2008. Roy O. Greep Award Lecture This award was first presented in 1999 in memory of Dr. Roy O. Greep, President of The Endocrine Society in 1965–1966, Editor-in-Chief of Endocrinology, and President of the Laurentian Hormone Conference. He retired in 1974 as director emeritus of the Laboratory of Human Reproductive Biology at Harvard’s Medical School and as the John Rock Professor Emeritus of Population Studies at Harvard’s School of Public Health. Dr. Greep received international recognition as a pioneer in the field of endocrinology, receiving the Society’s highest honor, the Fred Conrad Koch Award, in 1971. Dr. Greep will be remembered by his colleagues as a remarkable investigator, a loyal friend, and a patient and devoted teacher. The recipient of this award presents a plenary lecture at the annual meeting and receives a $1,000 honorarium. The recipients of this award for the past five years were: Phyllis M. Wise, 2004; Evan R. Simpson, 2005; Benita S. Katzenellenbogen and John Katzenellenbogen, 2006; Sally A. Camper, 2007; and Nancy Lynn Weigel, 2008. Distinguished Educator Award This award was established by the Society in 1998 to recognize exceptional achievement of educators in the field of endocrinology and metabolism. The award includes an honorarium of $3,000. The recipients of this award for the past five years were: E. Brad Thompson, 2004; Ernest L. Mazzaferri, 2005; Gilbert H. Daniels, 2006; Kenneth L. Becker, 2007; and Ronald S. Swerdloff, 2008. Distinguished Physician Award The Distinguished Physician Award was established by the Society in 1998 to honor physicians who have made outstanding contributions to the practice of endocrinology. The award includes an honorarium of $3,000. The recipients of this award for the past five years were: Edward S. Horton, 2004; Robert M. Carey, 2005; Glenn D. Braunstein, 2006; Bernardo L. Wajchenberg, 2007; and F. John Service, 2008. Richard E. Weitzman Memorial Award This award was established in 1982 to honor outstanding research achievements in the field of endocrinology and metabolism by a young investigator. The award was established in memory of the late Dr. Richard E. Weitzman. Born in 1943, Dr. Weitzman was educated at Cornell University and the State University of New York Upstate Medical Center (Syracuse). He received training in endocrinology at the University of Virginia and the Harbor-UCLA School of Medicine, rising to the rank of Associate Professor, and began a productive career studying neurohypophyseal hormone and cardiovascular-endocrine physiology. In honor of Dr. Weitzman, an anonymous donor has provided funds for an annual award of $1,000 to be given to an exceptionally promising young investigator who has not reached the age of 40 before July 1 of the year in which the award is presented. The award is based on the contributions and achievements of the nominee’s independent scholarship performed after completion of training and shall be based on the entire body of these contributions, rather than a single work. The recipients of this award for the past five years were: Tso-Pang Yao, 2004; Peter Tontonoz, 2005; Fabio Broglio, 2006; W. Lee Kraus, 2007; and Tannishtha Reya, 2008. The Endocrine Society and Pfizer, Inc. International Award for Excellence in Published Clinical Research in The Journal of Clinical Endocrinology & Metabolism In 1998, “The Endocrine Society and Pfizer, Inc. International Award for Excellence in Published Clinical Research in The Journal of Clinical Endocrinology & Metabolism (JCE&M)” was established to encourage, recognize, and reward excellence in clinical research published in JCE&M. There are no restrictions with respect to professional affiliation or geographic location. Each year, a jury selects the four best clinical research papers published in JCE&M in a volume year. Each finalist paper receives a $10,000 award. In addition to the monetary prize, the award includes coach airline travel, meeting registration, hotel for one night, and one day’s per diem for one author on each paper to attend the Society’s annual meeting in June. The announcement of the winners is made in April each year with the awards presented at The Endocrine Society annual meeting in June. Papers accepted for publication but not yet published are not eligible until the year that they are actually published.

Esse estudo tem como objeto a produção do conhecimento na área do direito,especificamente na pós graduação strictu sensu (mestrados e doutorados) denominadas“estado da arte” no período entre 1971 á 2000 que tratem das temáticas relativas ánegritudeeoracismo,etemcomoobjetivoapossibilitaraampliaçãodoatualescopodaspesquisas já realizadas na área do direito e suas possíveis interfaces com os estudos nocampo das relações raciais. O referencial teórico ampara-se na Teoria Crítica Racial dodireitoapartirdeteóricosDerrickBell,KimberlyKrewshaw,PatríciaJ.Willians,PatríciaHillColins,AngelaHarris,RichardDelgado,nosconceitosde“sociologiasdasausências” e “Direito dos Oprimidos” do Jurista Boaventura dos Santos Souza, e nasteoriaspan-africanistasedanegritudenaperspectivadepensadorescomoEdwardBogartDu Bois, Marcus Garvey, Léopold Senghor, Frantz Fanon, Angela Daves, Abdias doNascimento e Lélia Gonzáles, dentre outros. O referencial metodológico ampara nospressupostosepistemológico-metodológicodapesquisaqualitativaequantitativa(Creswell, 2007), em diálogo com estudo sobre o estado da arte (Ferreira, 2002), apesquisa bibliográfica (Gil, 2008; Lima e Mioto, 2007) e documental Cellard (2008),portanto,umapesquisamista naáreado direito.

The Rio de Janeiro City suffered great floods due to the storms that took place between April5th and 6th 2010. According to the official information, the total accumulated in 24 hours was 278mm(considered the worst flood in 44 years, since 1966) and the high tide also contributed to the 60 floodingpoints verified in the whole city. The purpose of the present work is to compare the daily maximum rainfall(P1day) available in Agência Nacional de Águas (ANA) database with the data from the Fundação deGeotécnica da Cidade do Rio de Janeiro (GEO-RIO) rain gauges network and historical records. Theprecipitation gauges registered in ANA and selected for the study were SABÓIA LIMA; IRAJÁ; PRAÇAXV and JARDIM BOTÂNICO and the P1day values found were, respectively, 330.9mm (02/26/1971);339.6mm (02/26/1971); 237.0mm (01/11/1966); and, 242.6mm (01/11/1966). The selected stationsfrom GEO-RIO were TIJUCA; SAÚDE and JARDIM BOTÂNICO and the P1day values found were,respectively, 259.9mm (01/08/1998); 160.8mm (10/24/2007); and 239.0mm (04/06/2010). For the samedays, is also presented an analysis of the recorded tides, observed by Diretoria de Hidrografia e Navegação– DHN, which is a Brazilian navy organization, as a complement to understand the phenomenon. Inconclusion, it was possible to infer that April 2010 event was overcome twice in the last 40 years (February,1971 and January, 1998).

Los presentes datos complementan resultados publicados anteriormente que se refieren a los nemátodos de mamíferos brasileños, con la inclusión de otros géneros, especies y huéspedes. Son presentadas medidas e ilustraciones solamente de los nemátodos diagnosticados como nuevos o que tuvieron su descripción ampliada y, también, de los que fueron señalados en Brasil ocurriendo en mamíferos desde 1997: Ancylostoma pluridentatum (Alessandrini, 1905), Angiostrongylus lenzii Souza, Simões, Thiengo, Lima, Mota, Rodrigues-Silva, Lanfredi & Maldonado Jr, 2009, Anisakis physeteris Baylis, 1923, A. simplex (Rudolphi, 1808) Dujardin, 1845, A. typica (Diesing, 1860), Anisakis sp., Ascaris elongata (Rudolphi, 1819), Avellaria intermedia Durette-Desset, Gonçalves & Pinto, 2006, Cheiropteronema globocephala Sandground, 1929, Contracaecum sp., Dentostomella translucida Schulz & Krepkorgorskaya, 1932, Freitastrongylus angelae Gonçalves, Pinto & Durette- Desset, 2007, Gracilioxyuris agilisis Feijó, et al., 2008, Guerrerostrongylus zetta (Travassos, 1937) Sutton & Durette-Desset, 1991, Hadrostrongylus speciosum Hoppe & Nascimento, 2007, Halocercus (Posthalocercus) kleinenbergi Delyamure, 1951, Litomosoides chagasfilhoi Moraes Neto, Lanfredi & Souza, 1997, Litomosoides odilae Notarnicola & Navone, 2002, Longistriata myopotami Petrov & Sadykov, 1969, Moennigia littlei Durette-Desset, 1970, Molinema nattereri Guerrero & Bain, 2001, Parabronema pecariae Ivaschkin, 1960, Physaloptera herthameyrae Torres, Maldonado Jr & Lanfredi, 2009, Pseudoterranova sp., Pterygodermatites (Multipectines) pluripectinata Hoppe, Lima, Tebaldi & Nascimento, 2010, Stenurus globicephalae Baylis & Daubney, 1925, Stilestrongylus lanfrediae Souza, Digiani, Simões, Luque, Rodrigues-Silva & Maldonado Jr, 2009, Syphacia carlitosi Robles & Navone, 2007, Syphacia kinsellai Robles & Navone, 2007, Syphacia mesocriceti Quentin, 1971, Thelazia californiensis Price, 1930, Trichofreitasia lenti Sutton & Durette-Desset, 1991, Trichuris didelphis Babero, 1960, Trichuris opaca Barker & Noyes, 1915, Trichuris thrichomysi Torres, Nascimento, Menezes, Garcia, Santos, Maldonado Jr, Miranda, Lanfredi & Souza, 2011, Viannella trichospicula Durette-Desset, Gonçalves & Pinto, 2006. En adición, listas relacionadas a otros huéspedes mamíferos para las especies de nemátodos que habían sido reportados en el catálogo anterior, son incluidas en el presente inventario.

Esta é uma pesquisa de tipo estado da arte sobre a produção de conhecimento em forma de teses de doutorado e dissertações de mestrado sobre os temas criminologia, negritude e racismo na pós-graduação stricto sensu em Direito no Brasil, no período de 1971 a 2000 (30 anos). O referencial teórico fundamenta-se na literatura internacional e nacional sobre sobre o nosso tema de estudo, a partir das contribuições de autoras/es como Lombroso (2017); Rodrigues (2019); Fanon (2021); Bell Jr (1976; 1980, 1992); Conceição (2009; 2014); Santos (2002; 2014); Santos e Menezes (2010), dentre outros. O referencial metodológico fundamenta-se nos estudos sobre estado da arte em diálogo com a perspectiva da pesquisa bibliográfica, documental e de campo (Gil, 2022; Cellard, 2008; Lima e Mioto, 2007; Paula e Guimarães, 2014; Ferreira, 2002) com pesquisa in loco realizada junto ao Banco de Dados do BDTD/IBICT/MCT e dos repositórios institucionais da PUCSP; PUCRIO; USP e UFSC. Os principais resultados evidenciam como o trabalho de pesquisa realizado pelos/as autores/as, Prudente (1980), Bertulio (1989), Duarte (1998) e Silva Júnior (2000), nos leva a compreender os limites e possibilidades de inserção de temáticas invisibilidades e marginais no âmbito da pesquisa em Direito, como a criminologia, a negritude e o racismo.

Consumer or home use (previously ‘amateur’) moving image formats are distinguished from professional (still known as ‘professional’) ones by relative affordability, ubiquity and simplicity of use. Since Pathé Frères released its Pathé Baby camera, projector and 9.5mm film gauge in 1922, a distinct line of viewing and making equipment has been successfully marketed at nonprofessional use, especially in the home. ‘Amateur film’ is a simple term for a complex, variegated and longstanding set of activities. Conceptually it is bounded only by the negative definition of nonprofessional (usually intended as sub-professional), and the positive definition of being for the love of the activity and motivated by personal passion alone. This defines a field broad enough that two major historians of US amateur film, Patricia R. Zimmermann and Alan D. Kattelle, write about different subjects. Zimmermann focuses chiefly on domestic use and ‘how-to’ literature, while Kattelle unearths the collective practices and institutional structure of the Amateur Ciné Clubs and the Amateur Ciné League (Zimmerman, Reel Families, Professional; Kattelle, Home Movies, Amateur Ciné). Marion Norris Gleason, a test subject in Eastman Kodak’s development of 16mm and advocate of amateur film, defined it as having three parts, the home movie, “the photoplay produced by organised groups”, and the experimental film (Swanson 132). This view was current at least until the 1960s, when domestic documentation, Amateur Ciné clubs and experimental filmmakers shared the same film gauges and space in the same amateur film magazines, but paths have diverged somewhat since then. Domestic documentation remains committed to the moving image technology du jour, the Amateur Ciné movement is much reduced, and experimental film has developed a separate identity, its own institutional structure, and won some legitimacy in the art world. The trajectory of Super 8, a late-coming gauge to amateur film, has been defined precisely by this disintegration. Obsolescence was manufactured far more slowly during the long reign of amateur film gauges, allowing 9.5mm (1922-66), 16mm (1923-), 8mm (1932-), and Super 8 (1965-) to engage in protracted format wars significantly longer than the life spans of their analogue and digital video successors. The range of options available to nonprofessional makers – the quality but relative expense of 16mm, the near 16mm frame size of 9.5mm, the superior stability of 8mm compared to 9.5mm and Super 8, the size of Super 8’s picture relative to 8mm’s – are not surprising in the context of general competition for a diverse popular market on the usual basis of price, quality, and novelty. However, since analogue video’s ascent the amateur film gauges have all comprehensibly lost the battle for the home use market. This was by far the largest section of amateur film and the manufacturers’ overt target segment, so the amateur film gauges’ contemporary survival and significance is as something else. Though all the gauges from 8mm to 16mm remain available today to the curious and enthusiastic, Super 8’s afterlife is distinguished by the peculiar combination of having been a tremendously popular substandard to the substandard (ie, to 16mm, the standardised film gauge directly below 35mm in both price and quality), and now being prized for its technological excellence. When the large scale consumption that had supported Super 8’s manufacture dropped away, it revealed the set of much smaller, apparently non-transferable uses that would determine whether and as what Super 8 survived. Consequently, though Super 8 has been superseded many times over as a home movie format, it is not obsolete today as an art medium, a professional format used in the commercial industry, or as an alternative to digital video and 16mm for low budget independent production. In other words, everything it was never intended to be. I lately witnessed an occasion of the kind of high-fetishism for film-versus-video and analogue-versus-digital that the experimental moving image world is justifiably famed for. Discussion around the screening of Peter Tscherkassky’s films at the Xperimenta ‘09 festival raised the specifics and availability of the technology he relies on, both because of the peculiarity of his production method – found-footage collaging onto black and white 35mm stock via handheld light pen – and the issue of projection. Has digital technology supplied an alternative workflow? Would 35mm stock to work on (and prints to pillage) continue to be available? Is the availability of 35mm projectors in major venues holding up? Although this insider view of 35mm’s waning market share was more a performance of technological cultural politics than an analysis of it, it raised a series of issues central to any such analysis. Each film format is a gestalt item, consisting of four parts (that an individual might own): film stock, camera, projector and editor. Along with the availability of processing services, these items comprise a gauge’s viability (not withstanding the existence of camera-less and unedited workflows, and numerous folk developing methods). All these are needed to conjure the geist of the machine at full strength. More importantly, the discussion highlights what happens when such a technology collides with idiosyncratic and unintended use, which happens only because it is manufactured on a much wider scale than eccentric use alone can support. Although nostalgia often plays a role in the advocacy of obsolete technology, its role here should be carefully qualified and not overstated. If it plays a role in the three main economies that support contemporary Super 8, it need not be the same role. Further, even though it is now chiefly the same specialist shops and technicians that supply and service 9.5mm, 8mm, Super 8, and 16mm, they are not sold on the same scale nor to the same purpose. There has been no reported Renaissances of 9.5mm or 8mm, though, as long term home movie formats, they must loom large in the memories of many, and their particular look evokes pastness as surely as any two-colour process. There are some specifics to the trajectory of Super 8 as a non-amateur format that cannot simply be subsumed to general nostalgia or dead technology fetishism. Super 8 as an Art Medium Super 8 has a longer history as an art medium than as a pro-tool or low budget substandard. One key aspect in the invention and supply of amateur film was that it not be an adequate substitute for the professional technology used to populate the media sphere proper. Thus the price of access to motion picture making through amateur gauges has been a marginalisation of the outcome for format reasons alone (Zimmermann, Professional 24; Reekie 110) Eastman Kodak established their 16mm as the acceptable substandard for many non-theatrical uses of film in the 1920s, Pathé’s earlier 28mm having already had some success in this area (Mebold and Tepperman 137, 148-9). But 16mm was still relatively expensive for the home market, and when Kiyooka Eiichi filmed his drive across the US in 1927, his 16mm camera alone cost more than his car (Ruoff 240, 243). Against this, 9.5mm, 8mm and eventually Super 8 were the increasingly affordable substandards to the substandard, marginalised twice over in the commercial world, but far more popular in the consumer market. The 1960s underground film, and the modern artists’ film that was partly recuperated from it, was overwhelmingly based on 16mm, as the collections of its chief distributors, the New York Film-Makers’ Co-op, Canyon Cinema and the Lux clearly show. In the context of experimental film’s longstanding commitment to 16mm, an artist filmmaker’s choice to work with Super 8 had important resonances. Experimental work on 8mm and Super 8 is not hard to come by, even from the 1960s, but consider the cultural stakes of Jonas Mekas’s description of 8mm films as “beautiful folk art, like song and lyric poetry, that was created by the people” (Mekas 83). The evocation of ‘folk art’ signals a yawning gap between 8mm, whose richness has been produced collectively by a large and anonymous group, and the work produced by individual artists such as those (like Mekas himself) who founded the New American Cinema Group. The resonance for artists of the 1960s and 1970s who worked with 8mm and Super 8 was from their status as the premier vulgar film gauge, compounding-through-repetition their choice to work with film at all. By the time Super 8 was declared ‘dead’ in 1980, numerous works by canonical artists had been made in the format (Stan Brakhage, Derek Jarman, Carolee Schneemann, Anthony McCall), and various practices had evolved around the specific possibilities of this emulsion and that camera. The camcorder not only displaced Super 8 as the simplest to use, most ubiquitous and cheapest moving image format, at the same time it changed the hierarchy of moving image formats because Super 8 was now incontestably better than something. Further, beyond the ubiquity, simplicity and size, camcorder video and Super 8 film had little in common. Camcorder replay took advantage of the ubiquity of television, but to this day video projection remains a relatively expensive business and for some time after 1980 the projectors were rare and of undistinguished quality. Until the more recent emergence of large format television (also relatively expensive), projection was necessary to screen to anything beyond very small audience. So, considering the gestalt aspect of these technologies and their functions, camcorders could replace Super 8 only for the capture of home movies and small-scale domestic replay. Super 8 maintained its position as the cheapest way into filmmaking for at least 20 years after its ‘death’, but lost its position as the premier ‘folk’ moving image format. It remained a key format for experimental film through the 1990s, but with constant competition from evolving analogue and digital video, and improved and more affordable video projection, its market share diminished. Kodak has continued to assert the viability of its film stocks and gauges, but across 2005-06 it deleted its Kodachrome Super 8, 16mm and slide range (Kodak, Kodachrome). This became a newsworthy Super 8 story (see Morgan; NYT; Hodgkinson; Radio 4) because Super 8 was the first deletion announced, this was very close to 8 May 2005, which was Global Super 8 Day, Kodachrome 40 (K40) was Super 8’s most famous and still used stock, and because 2005 was Super 8’s 40th birthday. Kodachome was then the most long-lived colour process still available, but there were only two labs left in the world which could supply processing- Kodak’s Lausanne Kodachrome lab in Switzerland, using the authentic company method, and Dwayne’s Photo in the US, using a tolerable but substandard process (Hodgkinson). Kodak launched a replacement stock simultaneously, and indeed the variety of Super 8 stocks is increasing year to year, partly because of new Kodak releases and partly because other companies split Kodak’s 16mm and 35mm stock for use as Super 8 (Allen; Muldowney; Pro8mm; Dager). Nonetheless, the cancelling of K40 convulsed the artists’ film community, and a spirited defence of its unique and excellent properties was lead by artist and activist Pip Chodorov. Chodorov met with a Kodak executive at the Cannes Film Festival, appealed to the French Government and started an online petition. His campaign circular read: EXPLAIN THE ADVANTAGES OF K40We have to show why we care specifically about Kodachrome and why Ektachrome is not a replacement. Kodachrome […] whose fine grain and warm colors […] are often used as a benchmark of quality for other stocks. The unique qualities of the Kodachrome image should be pointed out, and especially the differences between Kodachrome and Ektachrome […]. What great films were shot in Kodachrome, and why? […] What are the advantages to the K-14 process and the Lausanne laboratory? Is K40 a more stable stock, is it more preservable, do the colors fade resistant? Point out differences in the sensitometry curves, the grain structure... There was a rash of protest screenings, including a special all-day programme at Le Festival des Cinemas Différents de Paris, about which Raphaël Bassan wrote This initiative was justified, Kodak having announced in 2005 that it was going to stop the manufacturing of the ultra-sensitive film Kodachrome 40, which allowed such recognized artists as Gérard Courant, Joseph Morder, Stéphane Marti and a whole new generation of filmmakers to express themselves through this supple and inexpensive format with such a particular texture. (Bassan) The distance Super 8 has travelled culturally since analogue video can be seen in the distance between these statements of excellence and the attributes of Super 8 and 8mm that appealed to earlier artists: The great thing about Super 8 is that you can switch is onto automatic and get beyond all those technicalities” (Jarman)An 8mm camera is the ballpoint of the visual world. Soon […] people will use camera-pens as casually as they jot memos today […] and the narrow gauge can make finished works of art. (Durgnat 30) Far from the traits that defined it as an amateur gauge, Super 8 is now lionised in terms more resembling a chemistry historian’s eulogy to the pigments used in Dark Ages illuminated manuscripts. From bic to laspis lazuli. Indie and Pro Super 8 Historian of the US amateur film Patricia R. Zimmermann has charted the long collision between small gauge film, domesticity and the various ‘how-to’ publications designed to bridge the gap. In this she pays particular attention to the ‘how-to’ publications’ drive to assert the commercial feature film as the only model worthy of emulation (Professional 267; Reel xii). This drive continues today in numerous magazines and books addressing the consumer and pro-sumer levels. Alan D. Kattelle has charted a different history of the US amateur film, concentrating on the cine clubs and their national organisation, the Amateur Cine League (ACL), competitive events and distribution, a somewhat less domestic part of the movement which aimed less at family documentation more toward ‘photo-plays’, travelogues and instructionals. Just as interested in achieving professional results with amateur means, the ACL encouraged excellence and some of their filmmakers received commissions to make more widely seen films (Kattelle, Amateur 242). The ACL’s Ten Best competition still exists as The American International Film and Video Festival (Kattelle, Amateur 242), but its remit has changed from being “a showcase for amateur films” to being open “to all non-commercial films regardless of the status of the film makers” (AMPS). This points to both the relative marginalisation of the mid-century notion of the amateur, and that successful professionals and others working in the penumbra of independent production surrounding the industry proper are now important contributors to the festival. Both these groups are the economically important contemporary users of Super 8, but they use it in different ways. Low budget productions use it as cheap alternative to larger gauges or HD digital video and a better capture format than dv, while professional productions use it as a lo-fi format precisely for its degradation and archaic home movie look (Allen; Polisin). Pro8mm is a key innovator, service provider and advocate of Super 8 as an industry standard tool, and is an important and long serving agent in what should be seen as the normalisation of Super 8 – a process of redressing its pariah status as a cheap substandard to the substandard, while progressively erasing the special qualities of Super 8 that underlay this. The company started as Super8 Sound, innovating a sync-sound system in 1971, prior to the release of Kodak’s magnetic stripe sound Super 8 in 1973. Kodak’s Super 8 sound film was discontinued in 1997, and in 2005 Pro8mm produced the Max8 format by altering camera front ends to shoot onto the unused stripe space, producing a better quality image for widescreen. In between they started cutting professional 35mm stocks for Super 8 cameras and are currently investing in ever more high-quality HD film scanners (Allen; Pro8mm). Simultaneous to this, Kodak has brought out a series of stocks for Super 8, and more have been cut down for Super 8 by third parties, that offer a wider range of light responses or ever finer grain structure, thus progressively removing the limitations and visible artefacts associated with the format (Allen; Muldowney; Perkins; Kodak, Motion). These films stocks are designed to be captured to digital video as a normal part of their processing, and then entered into the contemporary digital work flow, leaving little or no indication of the their origins on a format designed to be the 1960s equivalent of the Box Brownie. However, while Super 8 has been used by financially robust companies to produce full-length programmes, its role at the top end of production is more usually as home movie footage and/or to evoke pastness. When service provider and advocate OnSuper8 interviewed professional cinematographer James Chressanthis, he asserted that “if there is a problem with Super 8 it is that it can look too good!” and spent much of the interview explaining how a particular combination of stocks, low shutter speeds and digital conversion could reproduce the traditional degraded look and avoid “looking like a completely transparent professional medium” (Perkins). In his history of the British amateur movement, Duncan Reekie deals with this distinction between the professional and amateur moving image, defining the professional as having a drive towards clarity [that] eventually produced [what] we could term ‘hyper-lucidity’, a form of cinematography which idealises the perception of the human eye: deep focus, increased colour saturation, digital effects and so on. (108) Against this the amateur as distinguished by a visible cinematic surface, where the screen image does not seem natural or fluent but is composed of photographic grain which in 8mm appears to vibrate and weave. Since the amateur often worked with only one reversal print the final film would also often become scratched and dirty. (108-9) As Super 8’s function has moved away from the home movie, so its look has adjusted to the new role. Kodak’s replacement for K40 was finer grained (Kodak, Kodak), designed for a life as good to high quality digital video rather than a film strip, and so for video replay rather than a small gauge projector. In the economy that supports Super 8’s survival, its cameras and film stock have become part of a different gestalt. Continued use is still justified by appeals to geist, but the geist of film in a general and abstract way, not specific to Super 8 and more closely resembling the industry-centric view of film propounded by decades of ‘how-to’ guides. Activity that originally supported Super 8 continues, and currently has embraced the ubiquitous and extremely substandard cameras embedded in mobile phones and still cameras for home movies and social documentation. As Super 8 has moved to a new cultural position it has shed its most recognisable trait, the visible surface of grain and scratches, and it is that which has become obsolete, discontinued and the focus of nostalgia, along with the sound of a film projector (which you can get to go with films transferred to dvd). So it will be left to artist filmmaker Peter Tscherkassky, talking in 1995 about what Super 8 was to him in the 1980s, to evoke what there is to miss about Super 8 today. Unlike any other format, Super-8 was a microscope, making visible the inner life of images by entering beneath the skin of reality. […] Most remarkable of all was the grain. While 'resolution' is the technical term for the sharpness of a film image, Super-8 was really never too concerned with this. Here, quite a different kind of resolution could be witnessed: the crystal-clear and bright light of a Xenon-projection gave us shapes dissolving into the grain; amorphous bodies and forms surreptitiously transformed into new shapes and disappeared again into a sea of colour. Super-8 was the pointillism, impressionism and the abstract expressionism of cinematography. (Howath) Bibliography Allen, Tom. “‘Making It’ in Super 8.” MovieMaker Magazine 8 Feb. 1994. 1 May 2009 ‹http://www.moviemaker.com/directing/article/making_it_in_super_8_3044/›. AMPS. “About the American Motion Picture Society.” American Motion Picture Society site. 2009. 25 Apr. 2009 ‹http://www.ampsvideo.com›. Bassan, Raphaël. “Identity of Cinema: Experimental and Different (review of Festival des Cinémas Différents de Paris, 2005).” Senses of Cinema 44 (July-Sep. 2007). 25 Apr. 2009 ‹http://archive.sensesofcinema.com/contents/07/44/experimental-cinema-bassan.html›. Chodorov, Pip. “To Save Kodochrome.” Frameworks list, 14 May 2005. 28 Apr. 2009 ‹http://www.hi-beam.net/fw/fw29/0216.html›. Dager, Nick. “Kodak Unveils Latest Film Stock in Vision3 Family.” Digital Cinema Report 5 Jan. 2009. 27 Apr. 2009 ‹http://www.digitalcinemareport.com/Kodak-Vision3-film›. Durgnat, Raymond. “Flyweight Flicks.” GAZWRX: The Films of Jeff Keen booklet. Originally published in Films and Filming (Feb. 1965). London: BFI, 2009. 30-31. Frye, Brian L. “‘Me, I Just Film My Life’: An Interview with Jonas Mekas.” Senses of Cinema 44 (July-Sep. 2007). 15 Apr. 2009 ‹http://archive.sensesofcinema.com/contents/07/44/jonas-mekas-interview.html›. Hodgkinson, Will. “End of the Reel for Super 8.” Guardian 28 Sep. 2006. 20 Mar. 2009 ‹http://www.guardian.co.uk/film/2006/sep/28/1›. Horwath, Alexander. “Singing in the Rain - Supercinematography by Peter Tscherkassky.” Senses of Cinema 28 (Sep.-Oct. 2003). 5 May 2009 ‹http://archive.sensesofcinema.com/contents/03/28/tscherkassky.html›. Jarman, Derek. In Institute of Contemporary Arts Video Library Guide. London: ICA, 1987. Kattelle, Alan D. Home Movies: A History of the American Industry, 1897-1979. Hudson, Mass.: self-published, 2000. ———. “The Amateur Cinema League and its films.” Film History 15.2 (2003): 238-51. Kodak. “Kodak Celebrates 40th Anniversary of Super 8 Film Announces New Color Reversal Product to Portfolio.“ Frameworks list, 9 May 2005. 23 Mar. 2009 ‹http://www.hi-beam.net/fw/fw29/0150.html›. ———. “Kodachrome Update.” 30 Jun. 2006. 24 Mar. 2009 ‹http://www.hi-beam.net/fw/fw32/0756.html›. ———. “Motion Picture Film, Digital Cinema, Digital Intermediate.” 2009. 2 Apr. 2009 ‹http://motion.kodak.com/US/en/motion/index.htm?CID=go&idhbx=motion›. Mekas, Jonas. “8mm as Folk Art.” Movie Journal: The Rise of the New American Cinema, 1959-1971. Ed. Jonas Mekas. Originally Published in Village Voice 1963. New York: Macmillan, 1972. Morgan, Spencer. “Kodak, Don't Take My Kodachrome.” New York Times 31 May 2005. 4 Apr. 2009 ‹http://query.nytimes.com/gst/fullpage.html?res=9F05E1DF1F39F932A05756C0A9639C8B63&sec=&spon=&pagewanted=2›. ———. “Fans Beg: Don't Take Kodachrome Away.” New York Times 1 Jun. 2005. 4 Apr. 2009 ‹http://www.nytimes.com/2005/05/31/technology/31iht-kodak.html›. Muldowney, Lisa. “Kodak Ups the Ante with New Motion Picture Film.” MovieMaker Magazine 30 Nov. 2007. 6 Apr. 2009 ‹http://www.moviemaker.com/cinematography/article/kodak_ups_the_ante_with_new_motion_picture_film/›. New York Times. “Super 8 Blues.” 31 May 2005: E1. Perkins, Giles. “A Pro's Approach to Super 8.” OnSuper8 Blogspot 16 July 2007. 13 Apr. 2009 ‹http://onsuper8.blogspot.com/2007/07/pros-approach-to-super-8.html›. Polisin, Douglas. “Pro8mm Asks You to Think Big, Shoot Small.” MovieMaker Magazine 4 Feb. 2009. 1 May 2009 ‹http://www.moviemaker.com/cinematography/article/think_big_shoot_small_rhonda_vigeant_pro8mm_20090127/›. Pro8mm. “Pro8mm Company History.” Super 8 /16mm Cameras, Film, Processing & Scanning (Pro8mm blog) 12 Mar. 2008. 3 May 2009 ‹http://pro8mm-burbank.blogspot.com/2008/03/pro8mm-company-history.html›. Radio 4. No More Yellow Envelopes 24 Dec. 2006. 4 May 2009 ‹http://www.bbc.co.uk/radio4/factual/pip/m6yx0/›. Reekie, Duncan. Subversion: The Definitive History of the Underground Cinema. London: Wallflower Press, 2007. Sneakernet, Christopher Hutsul. “Kodachrome: Not Digital, But Still Delightful.” Toronto Star 26 Sep. 2005. Swanson, Dwight. “Inventing Amateur Film: Marion Norris Gleason, Eastman Kodak and the Rochester Scene, 1921-1932.” Film History 15.2 (2003): 126-36 Zimmermann, Patricia R. “Professional Results with Amateur Ease: The Formation of Amateur Filmmaking Aesthetics 1923-1940.” Film History 2.3 (1988): 267-81. ———. Reel Families: A Social History of Amateur Film. Bloomington: Indiana UP, 1995.

O presente artigo discute textos que retratam a mulher dentro dos valores do mundo patriarcal brasileiro, juntamente, com textos em que as personagens ousam arrostar esse mesmo ideário. Em dois retratos feitos em forma de canções, as duas mulheres apresentadas não têm sequer nomes próprios e suas vidas existem em função do homem. Em outros dois, o conto A fuga, de Clarice Lispector, escrito em 1940 e publicado em 1979 e o cordel A mulher que vendeu o marido por 1,99, de Janduhi Dantas, duas mulheres protagonistas demandam em busca de autodeterminação. Ambas as personagens são casadas e são infelizes no casamento; ambas suportam condições adversas que as inquietam e oprimem e das quais desejam sair. Será utilizado o conceito do dominante de (JAKOBSON, 1983), como ferramenta teórica, assim como ferramentas dos estudos de gêneros (BUTLER, 2003; LOURO, 1997) e da literatura comparada (CARVALHAL, 1986).REFERÊNCIAS:ASSIS, Machado. Dom Casmurro. São Paulo: Editora Ática, 1996 [1899].BADINTER, Elisabeth. Um Amor conquistado: o mito do amor materno. Rio de Janeiro: Nova Fronteira, 1985.BARTHES, Roland. Mitologias. 9. ed. Rio de Janeiro: Bertrand Brasil, 1993.BUTLER, Judith P. Problemas de gênero: feminismo e subversão da identidade. Tradução de Renato Aguiar. Rio de Janeiro: Editora Civilização Brasileira, 2003.CALDEIRA, Teresa Pires do Rio. Cidade de Muros: crime, segregação e cidadania em São Paulo. São Paulo: Edusp/Ed. 34, 2000.CANEVACCI, M. Introdução. In: Dialética da Família: gênese, estrutura e dinâmica de uma instituição repressiva. São Paulo: Brasiliense, 1981.CARNEIRO, Sueli. Racismo, sexismo e desigualdade no Brasil. São Paulo: Selo Negro, 2008.CARVALHAL, Tânia Franco. Literatura comparada. São Paulo: Ática, 1986.COLASSANTI, Marina. Mulher daqui pra a frente. Rio de Janeiro: Nórdica, 1981.DANTAS, Janduhi. A mulher que vendeu o marido por 1,99. Patos: Editora Patos, 2009.DEL PRIORI, Mary (Org.). História das mulheres no Brasil. São Paulo: Contexto, 2000.DELUMEAU, Jean. História do medo no Ocidente: 1300-1800 - uma cidade sitiada. Tradução de Maria Lucia Machado, tradução das notas de Heloisa Jahn. São Paulo: Cia das letras, 1989. FLAUBERT, G. Madame Bovary. Paris: Gallimard, Pléiade, 1951 [1857].FREUD, Sigmund. Obras Completas. São Paulo: Imago, 1974.FRIEDAN, Betty. A Mística Feminina. Petrópolis:Vozes, 1971.FRYE, Northrop. Anatomia da Crítica. Tradução de Péricles Eugênio da Silva Ramos. São Paulo: Cultrix, 1973.GOTLIB, Nádia Batella. Clarice uma vida que se conta. São Paulo: Ática, 1995.GUEDES, O.; DAROS, A. O cuidado como atribuição feminina: contribuições para um debate ético. Serv. Soc. Rev., Londrina, v. 12, n. 1, p. 122-134, jul./dez. 2009.HAHNER, J. E. Emancipating the female sex: The struggle for women’s rights in Brazil, 1850-1940. Durham: Duke University Press, 1990. HIRATA, H. Guimarães (Org.). Cuidado e cuidadoras: as várias facetas do trabalho do care. São Paulo: Atlas; 2012.JAKOBSON, Roman. O dominante. In: LIMA, Luiz Costa (Org.). Teoria da literatura em suas fontes. vol. 1; 2a ed. Rio de Janeiro: Francisco Alves, 1983.KAUFMANN, Jean-Claude. L’Entretien Compréhensif. Paris : Éditions Nathan, 1996.LABOV, Williams. Alguns passos iniciais na análise da narrativa. Trad. Waldemar Ferreira Neto. The Journal of Narrative and Life History, v. 7, p. 1-18, 1997. Disponível em: https://www.academia.edu/4598767/LABOV_William._Alguns_passos_iniciais_na_an%C3%A1lise_da_narrativa . Acesso em: 05 nov. 2018.LISPECTOR, Clarice. A Bela e Fera. Rio de Janeiro: Nova Fronteira, 1992.LISPECTOR, Clarice. A fuga. In: LISPECTOR, Clarice. A bela e a fera. Rio de Janeiro: Rocco, 1999.LISPECTOR, Clarice. Água Viva. Edição bilíngue. Paris: des femmes, 1973.LOURO, Guacira. Gênero, sexualidade e educação: uma perspectiva pós-estruturalista. Petrópolis: Vozes, 1997.MAINGUENEAU, Dominique. Análise de Textos da Comunicação. Tradução de Cecília P. de Souza-e-Silva e Décio Rocha. 6. ed. São Paulo: Cortez, 2011.MEJIA, Blanca Flor Demenjour Munoz; CONCEIÇÃO, Rute Izabel Simões. Qualidade discursiva concretude e projeções metonímicas: um estudo comparativo em narrativas. Revista Arredia, Dourados, Editora UFGD, v. 3, n. 4, p. 82-99, jan./jul. 2014.MOISÉS, Massaud. A Criação Literária. São Paulo: Melhoramentos, 1974.MONEGAL, Emir Rodríguez. Sexo y poesía en el Novecientos. Montevidéu: Alfa, 1969.NASCIMENTO, Evando. Clarice Lispector: uma literatura pensante. Rio de Janeiro, Civilização Brasileira, 2012.NASIO, J. D. A histeria: teoria e clínica psicanalítica. Rio de Janeiro: Zahar, 1991NUNES, A. B. Jr. Êxtase e clausura: sujeito místico, Psicanálise e estética. São Paulo: Annablume, 2005.OLIVEIRA, Valdeci Batista de Melo. Figurações da donzela-guerreira: Luzia-Homem e Dona Guidinha do Poço. São Paulo: Annablume, 2005.PAIVA, Oliveira. Dona Guidinha do Poço. São Paulo: Editora Ática, 2004 [1891].PÊCHEUX, Michel. 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Belo Horizonte: Itatiaia, 1978.TRILLAT, E. História da histeria. São Paulo: Escuta, 1991.VIANNA, Cynthia Semíramis Machado. A reforma sufragista: marco inicial da igualdade de direitos entre mulheres e homens no Brasil. Tese de doutorado. Universidade Federal de Minas Gerais: Belo Horizonte, 2017.VIDINHA de balada. Intérpretes: Henrique e Juliano. [S.l.]: Independente, 2017. (3 min.).ZOLIN, Lúcia Osana. Literatura de Autoria Feminina. In: ZOLIN, L. O.; BONNICI, T. (Orgs). Teoria Literária: abordagens históricas e tendências contemporâneas. 2a ed. rev. e amp. Maringá: Eduem, 2005.ENVIADO EM 24-04-19 | ACEITO EM 04-07-19

There is, in our sense of place, little cognisance of what lies underground. Yet our sense of place, instinctive, unconscious, primeval, has its own underground: the secret spaces which mirror our insides; the world beneath the skin. Our roots lie beneath the ground, with the minerals and the dead. (Hughes 83) The-Home-and-Away-Game Imagine the earth-grounded, “diagrammatological” trajectory of a footballer who as one member of a team is psyching himself up before the start of a game. The siren blasts its trumpet call. The footballer bursts out of the pavilion (where this psyching up has taken place) to engage in the opening bounce or kick of the game. And then: running, leaping, limping after injury, marking, sliding, kicking, and possibly even passing out from concussion. Finally, the elation accompanying the final siren, after which hugs, handshakes and raised fists conclude the actual match on the football oval. This exit from the pavilion, the course the player takes during the game itself, and return to the pavilion, forms a combination of stasis and movement, and a return to exhausted stasis again, that every player engages with regardless of the game code. Examined from a “diagrammatological” perspective, a perspective Rowan Wilken (following in the path of Gilles Deleuze and W. J. T. Mitchell) understands as “a generative process: a ‘metaphor’ or way of thinking — diagrammatic, diagrammatological thinking — which in turn, is linked to poetic thinking” (48), this footballer’s scenario arises out of an aerial perspective that depicts the actual spatial trajectory the player takes during the course of a game. It is a diagram that is digitally encoded via a sensor on the footballer’s body, and being an electronically encoded diagram it can also make available multiple sets of data such as speed, heartbeat, blood pressure, maybe even brain-wave patterns. From this limited point of view there is only one footballer’s playing trajectory to consider; various groupings within the team, the whole team itself, and the diagrammatological depiction of its games with various other teams might also be possible. This singular imagining though is itself an actuality: as a diagram it is encoded as a graphic image by a satellite hovering around the earth with a Global Positioning System (GPS) reading the sensor attached to the footballer which then digitally encodes this diagrammatological trajectory for appraisal later by the player, coach, team and management. In one respect, this practice is another example of a willing self-surveillance critical to explaining the reflexive subject and its attribute of continuous self-improvement. According to Docker, Official Magazine of the Fremantle Football Club, this is a technique the club uses as a part of game/play assessment, a system that can provide a “running map” for each player equipped with such a tracking device during a game. As the Fremantle Club’s Strength and Conditioning Coach Ben Tarbox says of this tactic, “We’re getting a physiological profile that has started to build a really good picture of how individual players react during a game” (21). With a little extra effort (and some sizeable computer processing grunt) this two dimensional linear graphic diagram of a footballer working the football ground could also form the raw material for a three-dimensional animation, maybe a virtual reality game, even a hologram. It could also be used to sideline a non-performing player. Now try another related but different imagining: what if this diagrammatological trajectory could be enlarged a little to include the possibility that this same player’s movements could be mapped out by the idea of home-and-away games; say over the course of a season, maybe even a whole career, for instance? No doubt, a wide range of differing diagrammatological perspectives might suggest themselves. My own particular refinement of this movement/stasis on the footballer’s part suggests my own distinctive comings and goings to and from my own specific piece of home country. And in this incessantly domestic/real world reciprocity, in this diurnally repetitive leaving and coming back to home country, might it be plausible to think of “Home as Capital of the Region”? If, as Walter Benjamin suggests in the prelude to his monumental Arcades Project, “Paris — the Capital of the Nineteenth Century,” could it be that both in and through my comings and goings to and from this selfsame home country, my own burgeoning sense of regionality is constituted in every minute-by-minutiae of lived experience? Could it be that this feeling about home is manifested in my every day-to-night manoeuvre of home-and-away-and-away-and-home-making, of every singular instance of exit, play/engage, and the return home? “Home, Capital of the Region” then examines the idea that my home is that part of the country which is the still-point of eternal return, the bedrock to which I retreat after the daily grind, and the point from which I start out and do it all again the next day. It employs, firstly, this ‘diagrammatological’ perspective to illustrate the point that this stasis/movement across country can make an electronic record of my own psychic self-surveillance and actualisation in-situ. And secondly, the architectural plan of the domestic home (examined through the perspective of critical regionalism) is used as a conduit to illustrate how I am physically embedded in country. Lastly, intermingling these digressive threads is chora, Plato’s notion of embodied place and itself an ancient regional rendering of this eternal return to the beginning, the place where the essential diversity of country decisively enters the soul. Chora: Core of Regionality Kevin Lynch writes that, “Our senses are local, while our experience is regional” (10), a combination that suggests this regional emphasis on home-and-away-making might be a useful frame of reference (simultaneously spatiotemporal, both a visceral and encoded communication) for me to include as a crucial vector in my own life-long learning package. Regionality (as, variously, a sub-generic categorisation and an extension/concentration of nationality, as well as a recently re-emerged friend/antagonist to a global understanding) infuses my world of home with a grounded footing in country, one that is a site of an Eternal Return to the Beginning in the micro-world of the everyday. This is a point John Sallis discusses at length in his analysis of Plato’s Timaeus and its founding notion of regionality: chora. More extended absences away from home-base are of course possible but one’s return to home on most days and for most nights is a given of post/modern, maybe even of ancient everyday experience. Even for the continually shifting nomad, nightfall in some part of the country brings the rest and recreation necessary for the next day’s wanderings. This fundamental question of an Eternal Return to the Beginning arises as a crucial element of the method in Plato’s Timaeus, a seemingly “unstructured” mythic/scientific dialogue about the origins and structure of both the psychically and the physically implaced world. In the Timaeus, “incoherence is especially obvious in the way the natural sequence in which a narrative would usually unfold is interrupted by regressions, corrections, repetitions, and abrupt new beginnings” (Gadamer 160). Right in the middle of the Timaeus, in between its sections on the “Work of Reason” and the “Work of Necessity”, sits chora, both an actual spatial and bodily site where my being intersects with my becoming, and where my lived life criss-crosses the various arts necessary to articulating a recorded version of that life. Every home is a grounded chora-logical timespace harness guiding its occupant’s thoughts, feelings and actions. My own regionally implaced chora (an example of which is the diagrammatological trajectory already outlined above as my various everyday comings and goings, of me acting in and projecting myself into context) could in part be understood as a graphical realisation of the extent of my movements and stationary rests in my own particular timespace trajectory. The shorthand for this process is ‘embedded’. Gregory Ulmer writes of chora that, “While chorography as a term is close to choreography, it duplicates a term that already exists in the discipline of geography, thus establishing a valuable resonance for a rhetoric of invention concerned with the history of ‘place’ in relation to memory” (Heuretics 39, original italics). Chorography is the geographic discipline for the systematic study and analysis of regions. Chora, home, country and regionality thus form an important multi-dimensional zone of interplay in memorialising the game of everyday life. In light of these observations I might even go so far as to suggest that this diagrammatological trajectory (being both digital and GPS originated) is part of the increasingly electrate condition that guides the production of knowledge in any global/regional context. This last point is a contextual connection usefully examined in Alan J. Scott’s Regions and the World Economy: The Coming Shape of Global Production, Competition, and Political Order and Michael Storper’s The Regional World: Territorial Development in a Global Economy. Their analyses explicitly suggest that the symbiosis between globalisation and regionalisation has been gathering pace since at least the end of World War Two and the Bretton Woods agreement. Our emerging understanding of electracy also happens to be Gregory Ulmer’s part-remedy for shifting the ground under the intense debates surrounding il/literacy in the current era (see, in particular, Internet Invention). And, for Tony Bennett, Michael Emmison and John Frow’s analysis of “Australian Everyday Cultures” (“Media Culture and the Home” 57–86), it is within the home that our un.conscious understanding of electronic media is at its most intense, a pattern that emerges in the longer term through receiving telegrams, compiling photo albums, listening to the radio, home- and video-movies, watching the evening news on television, and logging onto the computer in the home-office, media-room or home-studio. These various generalisations (along with this diagrammatological view of my comings and goings to and from the built space of home), all point indiscriminately to a productive confusion surrounding the sedentary and nomadic opposition/conjunction. If natural spaces are constituted in nouns like oceans, forests, plains, grasslands, steppes, deserts, rivers, tidal interstices, farmland etc. (and each categorisation here relies on the others for its existence and demarcation) then built space is often seen as constituting its human sedentary equivalent. For Deleuze and Guatteri (in A Thousand Plateaus, “1227: Treatise on Nomadology — The War Machine”) these natural spaces help instigate a nomadic movement across localities and regions. From a nomadology perspective, these smooth spaces unsettle a scientific, numerical calculation, sometimes even aesthetic demarcation and order. If they are marked at all, it is by heterogenous and differential forces, energised through constantly oscillating intensities. A Thousand Plateaus is careful though not to elevate these smooth nomadic spaces over the more sedentary spaces of culture and power (372–373). Nonetheless, as Edward S. Casey warns, “In their insistence on becoming and movement, however, the authors of A Thousand Plateaus overlook the placial potential of settled dwelling — of […] ‘built places’” (309, original italics). Sedentary, settled dwelling centred on home country may have a crust of easy legibility and order about it but it also formats a locally/regionally specific nomadic quality, a point underscored above in the diagrammatological perspective. The sedentary tendency also emerges once again in relation to home in the architectural drafting of the domestic domicile. The Real Estate Revolution When Captain Cook planted the British flag in the sand at Botany Bay in 1770 and declared the country it spiked as Crown Land and henceforth will come under the ownership of an English sovereign, it was also the moment when white Australia’s current fascination with real estate was conceived. In the wake of this spiking came the intense anxiety over Native Title that surfaced in late twentieth century Australia when claims of Indigenous land grabs would repossess suburban homes. While easily dismissed as hyperbole, a rhetorical gesture intended to arouse this very anxiety, its emergence is nonetheless an indication of the potential for political and psychic unsettling at the heart of the ownership and control of built place, or ‘settled dwelling’ in the Australian context. And here it would be wise to include not just the gridded, architectural quality of home-building and home-making, but also the home as the site of the family romance, another source of unsettling as much as a peaceful calming. Spreading out from the boundaries of the home are the built spaces of fences, bridges, roads, railways, airport terminals (along with their interconnecting pathways), which of course brings us back to the communications infrastructure which have so often followed alongside the development of transport infrastructure. These and other elements represent this conglomerate of built space, possibly the most significant transformation of natural space that humanity has brought about. For the purposes of this meditation though it is the more personal aspect of built space — my home and regional embeddedness, along with their connections into the global electrosphere — that constitutes the primary concern here. For a sedentary, striated space to settle into an unchallenged existence though requires a repression of the highest order, primarily because of the home’s proximity to everyday life, of the latter’s now fading ability to sometimes leave its presuppositions well enough alone. In settled, regionally experienced space, repressions are more difficult to abstract away, they are lived with on a daily basis, which also helps to explain the extra intensity brought to their sometimes-unsettling quality. Inversely, and encased in this globalised electro-spherical ambience, home cannot merely be a place where one dwells within avoiding those presuppositions, I take them with me when I travel and they come back with me from afar. This is a point obliquely reflected in Pico Iyer’s comment that “Australians have so flexible a sense of home, perhaps, that they can make themselves at home anywhere” (185). While our sense of home may well be, according to J. Douglas Porteous, “the territorial core” of our being, when other arrangements of space and knowledge shift it must inevitably do so as well. In these shifts of spatial affiliation (aided and abetted by regionalisation, globalisation and electronic knowledge), the built place of home can no longer be considered exclusively under the illusion of an autonomous sanctuary wholly guaranteed by capitalist property relations, one of the key factors in its attraction. These shifts in the cultural, economic and psychic relation of home to country are important to a sense of local and regional implacement. The “feeling” of autonomy and security involved in home occupation and/or ownership designates a component of this implacement, a point leading to Eric Leed’s comment that, “By the sixteenth century, literacy had become one of the definitive signs — along with the possession of property and a permanent residence — of an independent social status” (53). Globalising and regionalising forces make this feeling of autonomy and security dynamic, shifting the ground of home, work-place practices and citizenship allegiances in the process. Gathering these wide-ranging forces impacting on psychic and built space together is the emergence of critical regionalism as a branch of architectonics, considered here as a theory of domestic architecture. Critical Regionality Critical regionalism emerged out of the collective thinking of Liane Lefaivre and Alexander Tzonis (Tropical Architecture; Critical Regionalism), and as these authors themselves acknowledge, was itself deeply influenced by the work of Lewis Mumford during the first part of the twentieth century when he was arguing against the authority of the international style in architecture, a style epitomised by the Bauhaus movement. It is Kenneth Frampton’s essay, “Towards a Critical Regionalism: Six Points for an Architecture of Resistance” that deliberately takes this question of critical regionalism and makes it a part of a domestic architectonic project. In many ways the ideas critical regionalism espouses can themselves be a microcosm of this concomitantly emerging global/regional polis. With public examples of built-form the power of the centre is on display by virtue of a building’s enormous size and frequently high-cultural aesthetic power. This is a fact restated again and again from the ancient world’s agora to Australia’s own political bunker — its Houses of Parliament in Canberra. While Frampton discusses a range of aspects dealing with the universal/implaced axis across his discussion, it is points five and six that deserve attention from a domestically implaced perspective. Under the sub-heading, “Culture Versus Nature: Topography, Context, Climate, Light and Tectonic Form” is where he writes that, Here again, one touches in concrete terms this fundamental opposition between universal civilization and autochthonous culture. The bulldozing of an irregular topography into a flat site is clearly a technocratic gesture which aspires to a condition of absolute placelessness, whereas the terracing of the same site to receive the stepped form of a building is an engagement in the act of “cultivating” the site. (26, original italics) The “totally flat datum” that the universalising tendency sometimes presupposes is, within the critical regionalist perspective, an erroneous assumption. The “cultivation” of a site for the design of a building illustrates the point that built space emerges out of an interaction between parallel phenomena as they contrast and/or converge in a particular set of timespace co-ordinates. These are phenomena that could include (but are not limited to) geomorphic data like soil and rock formations, seismic activity, inclination and declension; climatic considerations in the form of wind patterns, temperature variations, rainfall patterns, available light and dark, humidity and the like; the building context in relation to the cardinal points of north, south, east, and west, along with their intermediary positions. There are also architectural considerations in the form of available building materials and personnel to consider. The social, psychological and cultural requirements of the building’s prospective in-dwellers are intermingled with all these phenomena. This is not so much a question of where to place the air conditioning system but the actuality of the way the building itself is placed on its site, or indeed if that site should be built on at all. A critical regionalist building practice, then, is autochthonous to the degree that a full consideration of this wide range of in-situ interactions is taken into consideration in the development of its design plan. And given this autochthonous quality of the critical regionalist project, it also suggests that the architectural design plan itself (especially when it utilised in conjunction with CAD and virtual reality simulations), might be the better model for designing electrate-centred projects rather than writing or even the script. The proliferation of ‘McMansions’ across many Australian suburbs during the 1990s (generally, oversized domestic buildings designed in the abstract with little or no thought to the above mentioned elements, on bulldozed sites, with powerful air-conditioning systems, and no verandas or roof eves to speak of) demonstrates the continuing influence of a universal, centralising dogma in the realm of built place. As summer temperatures start to climb into the 40°C range all these air-conditioners start to hum in unison, which in turn raises the susceptibility of the supporting infrastructure to collapse under the weight of an overbearing electrical load. The McMansion is a clear example of a built form that is envisioned more so in a drafting room, a space where the architect is remote-sensing the locational specificities. In this envisioning (driven more by a direct line-of-sight idiom dominant in “flat datum” and economic considerations rather than architectural or experiential ones), the tactile is subordinated, which is the subject of Frampton’s sixth point: It is symptomatic of the priority given to sight that we find it necessary to remind ourselves that the tactile is an important dimension in the perception of built form. One has in mind a whole range of complementary sensory perceptions which are registered by the labile body: the intensity of light, darkness, heat and cold; the feeling of humidity; the aroma of material; the almost palpable presence of masonry as the body senses it own confinement; the momentum of an induced gait and the relative inertia of the body as it traverses the floor; the echoing resonance of our own footfall. (28) The point here is clear: in its wider recognition of, and the foregrounding of my body’s full range of sensate capacities in relation to both natural and built space, the critical regionalist approach to built form spreads its meaning-making capacities across a broader range of knowledge modalities. This tactility is further elaborated in more thoroughly personal ways by Margaret Morse in her illuminating essay, “Home: Smell, Taste, Posture, Gleam”. Paradoxically, this synaesthetic, syncretic approach to bodily meaning-making in a built place, regional milieu intensely concentrates the site-centred locus of everyday life, while simultaneously, the electronic knowledge that increasingly underpins it expands both my body’s and its region’s knowledge-making possibilities into a global gestalt, sometimes even a cosmological one. It is a paradoxical transformation that makes us look anew at social, cultural and political givens, even objective and empirical understandings, especially as they are articulated through national frames of reference. Domestic built space then is a kind of micro-version of the multi-function polis where work, pleasure, family, rest, public display and privacy intermingle. So in both this reduction and expansion in the constitution of domestic home life, one that increasingly represents the location of the production of knowledge, built place represents a concentration of energy that forces us to re-imagine border-making, order, and the dynamic interplay of nomadic movement and sedentary return, a point that echoes Nicolas Rothwell’s comment that “every exile has in it a homecoming” (80). Albeit, this is a knowledge-making milieu with an expanded range of modalities incorporated and expressed through a wide range of bodily intensities not simply cognitive ones. Much of the ambiguous discontent manifested in McMansion style domiciles across many Western countries might be traced to the fact that their occupants have had little or no say in the way those domiciles have been designed and/or constructed. In Heidegger’s terms, they have not thought deeply enough about “dwelling” in that building, although with the advent of the media room the question of whether a “building” securely borders both “dwelling” and “thinking” is now open to question. As anxieties over border-making at all scales intensifies, the complexities and un/sureties of natural and built space take ever greater hold of the psyche, sometimes through the advance of a “high level of critical self-consciousness”, a process Frampton describes as a “double mediation” of world culture and local conditions (21). Nearly all commentators warn of a nostalgic, romantic or a sentimental regionalism, the sum total of which is aimed at privileging the local/regional and is sometimes utilised as a means of excluding the global or universal, sometimes even the national (Berry 67). Critical regionalism is itself a mediating factor between these dispositions, working its methods and practices through my own psyche into the local, the regional, the national and the global, rejecting and/or accepting elements of these domains, as my own specific context, in its multiplicity, demands it. If the politico-economic and cultural dimensions of this global/regional world have tended to undermine the process of border-making across a range of scales, we can see in domestic forms of built place the intense residue of both their continuing importance and an increased dependency on this electro-mediated world. This is especially apparent in those domiciles whose media rooms (with their satellite dishes, telephone lines, computers, television sets, games consuls, and music stereos) are connecting them to it in virtuality if not in reality. Indeed, the thought emerges (once again keeping in mind Eric Leed’s remark on the literate-configured sense of autonomy that is further enhanced by a separate physical address and residence) that the intense importance attached to domestically orientated built place by globally/regionally orientated peoples will figure as possibly the most viable means via which this sense of autonomy will transfer to electronic forms of knowledge. If, however, this here domestic habitué turns his gaze away from the screen that transports me into this global/regional milieu and I focus my attention on the physicality of the building in which I dwell, I once again stand in the presence of another beginning. This other beginning is framed diagrammatologically by the building’s architectural plans (usually conceived in either an in-situ, autochthonous, or a universal manner), and is a graphical conception that anchors my body in country long after the architects and builders have packed up their tools and left. This is so regardless of whether a home is built, bought, rented or squatted in. Ihab Hassan writes that, “Home is not where one is pushed into the light, but where one gathers it into oneself to become light” (417), an aphorism that might be rephrased as follows: “Home is not where one is pushed into the country, but where one gathers it into oneself to become country.” For the in-and-out-and-around-and-about domestic dweller of the twenty-first century, then, home is where both regional and global forms of country decisively enter the soul via the conduits of the virtuality of digital flows and the reality of architectural footings. Acknowledgements I’m indebted to both David Fosdick and Phil Roe for alerting me to the importance to the Fremantle Dockers Football Club. The research and an original draft of this essay were carried out under the auspices of a PhD scholarship from Central Queensland University, and from whom I would also like to thank Denis Cryle and Geoff Danaher for their advice. References Benjamin, Walter. “Paris — the Capital of the Nineteenth Century.” Charles Baudelaire: A Lyric Poet in the Era of High Capitalism. Trans. Quintin Hoare. London: New Left Books, 1973. 155–176. Bennett, Tony, Michael Emmison and John Frow. Accounting for Tastes: Australian Everyday Cultures. Cambridge: Cambridge UP, 1999. Berry, Wendell. “The Regional Motive.” A Continuous Harmony: Essays Cultural and Agricultural. San Diego: Harcourt Brace. 63–70. Casey, Edward S. The Fate of Place: A Philosophical History. Berkeley: U of California P, 1997. Deleuze, Gilles and Félix Guattari. A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. Minneapolis: U of Minneapolis P, 1987. Deleuze, Gilles. “The Diagram.” The Deleuze Reader. Ed. Constantin Boundas. Trans. Constantin Boundas and Jacqueline Code. New York: Columbia UP, 1993. 193–200. Frampton, Kenneth. “Towards a Critical Regionalism: Six Points for an Architecture of Resistance.” The Anti-Aesthetic: Essays on Post-Modern Culture. Ed. Hal Foster. Port Townsend: Bay Press, 1983. 16–30. Gadamer, Hans-Georg. “Idea and Reality in Plato’s Timaeus.” Dialogue and Dialectic: Eight Hermeneutical Studies on Plato. Trans. P. Christopher Smith. New Haven: Yale UP, 1980. 156–193. Hassan, Ihab. “How Australian Is It?” The Best Australian Essays. Ed. Peter Craven. Melbourne: Black Inc., 2000. 405–417. Heidegger, Martin. “Building Dwelling Thinking.” Poetry, Language, Thought. Trans. Albert Hofstadter. New York: Harper and Row, 1971. 145–161. Hughes, John. The Idea of Home: Autobiographical Essays. Sydney: Giramondo, 2004. Iyer, Pico. “Australia 1988: Five Thousand Miles from Anywhere.” Falling Off the Map: Some Lonely Places of the World. London: Jonathon Cape, 1993. 173–190. “Keeping Track.” Docker, Official Magazine of the Fremantle Football Club. Edition 3, September (2005): 21. Leed, Eric. “‘Voice’ and ‘Print’: Master Symbols in the History of Communication.” The Myths of Information: Technology and Postindustrial Culture. Ed. Kathleen Woodward. Madison, Wisconsin: Coda Press, 1980. 41–61. Lefaivre, Liane and Alexander Tzonis. “The Suppression and Rethinking of Regionalism and Tropicalism After 1945.” Tropical Architecture: Critical Regionalism in the Age of Globalization. Eds. Alexander Tzonis, Liane Lefaivre and Bruno Stagno. Chichester, West Sussex: Wiley-Academy, 2001. 14–58. Lefaivre, Liane and Alexander Tzonis. Critical Regionalism: Architecture and Identity in a Globalized World. New York: Prestel, 2003. Lynch, Kevin. Managing the Sense of a Region. Cambridge, Massachusetts: MIT P, 1976. Mitchell, W. J. T. “Diagrammatology.” Critical Inquiry 7.3 (1981): 622–633. Morse, Margaret. “Home: Smell, Taste, Posture, Gleam.” Home, Exile, Homeland: Film, Media, and the Politics of Place. Ed. Hamid Naficy. New York and London: Routledge, 1999. 63–74. Plato. Timaeus and Critias. Trans. Desmond Lee. Harmondsworth: Penguin Classics, 1973. Porteous, J. Douglas. “Home: The Territorial Core.” Geographical Review LXVI (1976): 383-390. Rothwell, Nicolas. Wings of the Kite-Hawk: A Journey into the Heart of Australia. Sydney: Pidador, 2003. Sallis, John. Chorology: On Beginning in Plato’s Timaeus. Bloomington: Indianapolis UP, 1999. Scott, Allen J. Regions and the World Economy: The Coming Shape of Global Production, Competition, and Political Order. Oxford: Oxford University Press, 1998. Storper, Michael. The Regional World: Territorial Development in a Global Economy. New York: The Guildford Press, 1997. Ulmer, Gregory L. Heuretics: The Logic of Invention. New York: John Hopkins UP, 1994. Ulmer, Gregory. Internet Invention: Literacy into Electracy. Longman: Boston, 2003. Wilken, Rowan. “Diagrammatology.” Illogic of Sense: The Gregory Ulmer Remix. Eds. Darren Tofts and Lisa Gye. Alt-X Press, 2007. 48–60. Available at http://www.altx.com/ebooks/ulmer.html. (Retrieved 12 June 2007)

Introduction Food has always been an essential component of daily life. Today, thinking about food is a much more complicated pursuit than planning the next meal, with food studies scholars devoting their efforts to researching “anything pertaining to food and eating, from how food is grown to when and how it is eaten, to who eats it and with whom, and the nutritional quality” (Duran and MacDonald 234). This is in addition to the work undertaken by an increasingly wide variety of popular culture researchers who explore all aspects of food (Risson and Brien 3): including food advertising, food packaging, food on television, and food in popular fiction. In creating stories, from those works that quickly disappear from bookstore shelves to those that become entrenched in the literary canon, writers use food to communicate the everyday and to explore a vast range of ideas from cultural background to social standing, and also use food to provide perspectives “into the cultural and historical uniqueness of a given social group” (Piatti-Farnell 80). For example in Oliver Twist (1838) by Charles Dickens, the central character challenges the class system when: “Child as he was, he was desperate with hunger and reckless with misery. He rose from the table, and advancing basin and spoon in hand, to the master, said, somewhat alarmed at his own temerity–‘Please, sir, I want some more’” (11). Scarlett O’Hara in Margaret Mitchell’s Gone with the Wind (1936) makes a similar point, a little more dramatically, when she declares: “As God is my witness, I’m never going to be hungry again” (419). Food can also take us into the depths of another culture: places that many of us will only ever read about. Food is also used to provide insight into a character’s state of mind. In Nora Ephron’s Heartburn (1983) an item as simple as boiled bread tells a reader so much more about Rachel Samstat than her preferred bakery items: “So we got married and I got pregnant and I gave up my New York apartment and moved to Washington. Talk about mistakes [...] there I was, trying to hold up my end in a city where you can’t even buy a decent bagel” (34). There are three ways in which writers can deal with food within their work. Firstly, food can be totally ignored. This approach is sometimes taken despite food being such a standard feature of storytelling that its absence, be it a lonely meal at home, elegant canapés at an impressively catered cocktail party, or a cheap sandwich collected from a local café, is an obvious omission. Food can also add realism to a story, with many authors putting as much effort into conjuring the smell, taste, and texture of food as they do into providing a backstory and a purpose for their characters. In recent years, a third way has emerged with some writers placing such importance upon food in fiction that the line that divides the cookbook and the novel has become distorted. This article looks at cookbooks and cookery in popular fiction with a particular focus on crime novels. Recipes: Ingredients and Preparation Food in fiction has been employed, with great success, to help characters cope with grief; giving them the reassurance that only comes through the familiarity of the kitchen and the concentration required to fulfil routine tasks: to chop and dice, to mix, to sift and roll, to bake, broil, grill, steam, and fry. Such grief can come from the breakdown of a relationship as seen in Nora Ephron’s Heartburn (1983). An autobiography under the guise of fiction, this novel is the first-person story of a cookbook author, a description that irritates the narrator as she feels her works “aren’t merely cookbooks” (95). She is, however, grateful she was not described as “a distraught, rejected, pregnant cookbook author whose husband was in love with a giantess” (95). As the collapse of the marriage is described, her favourite recipes are shared: Bacon Hash; Four Minute Eggs; Toasted Almonds; Lima Beans with Pears; Linguine Alla Cecca; Pot Roast; three types of Potatoes; Sorrel Soup; desserts including Bread Pudding, Cheesecake, Key Lime Pie and Peach Pie; and a Vinaigrette, all in an effort to reassert her personal skills and thus personal value. Grief can also result from loss of hope and the realisation that a life long dreamed of will never be realised. Like Water for Chocolate (1989), by Laura Esquivel, is the magical realist tale of Tita De La Garza who, as the youngest daughter, is forbidden to marry as she must take care of her mother, a woman who: “Unquestionably, when it came to dividing, dismantling, dismembering, desolating, detaching, dispossessing, destroying or dominating […] was a pro” (87). Tita’s life lurches from one painful, unjust episode to the next; the only emotional stability she has comes from the kitchen, and from her cooking of a series of dishes: Christmas Rolls; Chabela Wedding Cake; Quail in Rose Petal Sauce; Turkey Mole; Northern-style Chorizo; Oxtail Soup; Champandongo; Chocolate and Three Kings’s Day Bread; Cream Fritters; and Beans with Chilli Tezcucana-style. This is a series of culinary-based activities that attempts to superimpose normalcy on a life that is far from the everyday. Grief is most commonly associated with death. Undertaking the selection, preparation and presentation of meals in novels dealing with bereavement is both a functional and symbolic act: life must go on for those left behind but it must go on in a very different way. Thus, novels that use food to deal with loss are particularly important because they can “make non-cooks believe they can cook, and for frequent cooks, affirm what they already know: that cooking heals” (Baltazar online). In Angelina’s Bachelors (2011) by Brian O’Reilly, Angelina D’Angelo believes “cooking was not just about food. It was about character” (2). By the end of the first chapter the young woman’s husband is dead and she is in the kitchen looking for solace, and survival, in cookery. In The Kitchen Daughter (2011) by Jael McHenry, Ginny Selvaggio is struggling to cope with the death of her parents and the friends and relations who crowd her home after the funeral. Like Angelina, Ginny retreats to the kitchen. There are, of course, exceptions. In Ntozake Shange’s Sassafrass, Cypress & Indigo (1982), cooking celebrates, comforts, and seduces (Calta). This story of three sisters from South Carolina is told through diary entries, narrative, letters, poetry, songs, and spells. Recipes are also found throughout the text: Turkey; Marmalade; Rice; Spinach; Crabmeat; Fish; Sweetbread; Duck; Lamb; and, Asparagus. Anthony Capella’s The Food of Love (2004), a modern retelling of the classic tale of Cyrano de Bergerac, is about the beautiful Laura, a waiter masquerading as a top chef Tommaso, and the talented Bruno who, “thick-set, heavy, and slightly awkward” (21), covers for Tommaso’s incompetency in the kitchen as he, too, falls for Laura. The novel contains recipes and contains considerable information about food: Take fusilli […] People say this pasta was designed by Leonardo da Vinci himself. The spiral fins carry the biggest amount of sauce relative to the surface area, you see? But it only works with a thick, heavy sauce that can cling to the grooves. Conchiglie, on the other hand, is like a shell, so it holds a thin, liquid sauce inside it perfectly (17). Recipes: Dishing Up Death Crime fiction is a genre with a long history of focusing on food; from the theft of food in the novels of the nineteenth century to the utilisation of many different types of food such as chocolate, marmalade, and sweet omelettes to administer poison (Berkeley, Christie, Sayers), the latter vehicle for arsenic receiving much attention in Harriet Vane’s trial in Dorothy L. Sayers’s Strong Poison (1930). The Judge, in summing up the case, states to the members of the jury: “Four eggs were brought to the table in their shells, and Mr Urquhart broke them one by one into a bowl, adding sugar from a sifter [...he then] cooked the omelette in a chafing dish, filled it with hot jam” (14). Prior to what Timothy Taylor has described as the “pre-foodie era” the crime fiction genre was “littered with corpses whose last breaths smelled oddly sweet, or bitter, or of almonds” (online). Of course not all murders are committed in such a subtle fashion. In Roald Dahl’s Lamb to the Slaughter (1953), Mary Maloney murders her policeman husband, clubbing him over the head with a frozen leg of lamb. The meat is roasting nicely when her husband’s colleagues arrive to investigate his death, the lamb is offered and consumed: the murder weapon now beyond the recovery of investigators. Recent years have also seen more and more crime fiction writers present a central protagonist working within the food industry, drawing connections between the skills required for food preparation and those needed to catch a murderer. Working with cooks or crooks, or both, requires planning and people skills in addition to creative thinking, dedication, reliability, stamina, and a willingness to take risks. Kent Carroll insists that “food and mysteries just go together” (Carroll in Calta), with crime fiction website Stop, You’re Killing Me! listing, at the time of writing, over 85 culinary-based crime fiction series, there is certainly sufficient evidence to support his claim. Of the numerous works available that focus on food there are many series that go beyond featuring food and beverages, to present recipes as well as the solving of crimes. These include: the Candy Holliday Murder Mysteries by B. B. Haywood; the Coffeehouse Mysteries by Cleo Coyle; the Hannah Swensen Mysteries by Joanne Fluke; the Hemlock Falls Mysteries by Claudia Bishop; the Memphis BBQ Mysteries by Riley Adams; the Piece of Cake Mysteries by Jacklyn Brady; the Tea Shop Mysteries by Laura Childs; and, the White House Chef Mysteries by Julie Hyzy. The vast majority of offerings within this female dominated sub-genre that has been labelled “Crime and Dine” (Collins online) are American, both in origin and setting. A significant contribution to this increasingly popular formula is, however, from an Australian author Kerry Greenwood. Food features within her famed Phryne Fisher Series with recipes included in A Question of Death (2007). Recipes also form part of Greenwood’s food-themed collection of short crime stories Recipes for Crime (1995), written with Jenny Pausacker. These nine stories, each one imitating the style of one of crime fiction’s greatest contributors (from Agatha Christie to Raymond Chandler), allow readers to simultaneously access mysteries and recipes. 2004 saw the first publication of Earthly Delights and the introduction of her character, Corinna Chapman. This series follows the adventures of a woman who gave up a career as an accountant to open her own bakery in Melbourne. Corinna also investigates the occasional murder. Recipes can be found at the end of each of these books with the Corinna Chapman Recipe Book (nd), filled with instructions for baking bread, muffins and tea cakes in addition to recipes for main courses such as risotto, goulash, and “Chicken with Pineapple 1971 Style”, available from the publisher’s website. Recipes: Integration and Segregation In Heartburn (1983), Rachel acknowledges that presenting a work of fiction and a collection of recipes within a single volume can present challenges, observing: “I see that I haven’t managed to work in any recipes for a while. It’s hard to work in recipes when you’re moving the plot forward” (99). How Rachel tells her story is, however, a reflection of how she undertakes her work, with her own cookbooks being, she admits, more narration than instruction: “The cookbooks I write do well. They’re very personal and chatty–they’re cookbooks in an almost incidental way. I write chapters about friends or relatives or trips or experiences, and work in the recipes peripherally” (17). Some authors integrate detailed recipes into their narratives through description and dialogue. An excellent example of this approach can be found in the Coffeehouse Mystery Series by Cleo Coyle, in the novel On What Grounds (2003). When the central protagonist is being questioned by police, Clare Cosi’s answers are interrupted by a flashback scene and instructions on how to make Greek coffee: Three ounces of water and one very heaped teaspoon of dark roast coffee per serving. (I used half Italian roast, and half Maracaibo––a lovely Venezuelan coffee, named after the country’s major port; rich in flavour, with delicate wine overtones.) / Water and finely ground beans both go into the ibrik together. The water is then brought to a boil over medium heat (37). This provides insight into Clare’s character; that, when under pressure, she focuses her mind on what she firmly believes to be true – not the information that she is doubtful of or a situation that she is struggling to understand. Yet breaking up the action within a novel in this way–particularly within crime fiction, a genre that is predominantly dependant upon generating tension and building the pacing of the plotting to the climax–is an unusual but ultimately successful style of writing. Inquiry and instruction are comfortable bedfellows; as the central protagonists within these works discover whodunit, the readers discover who committed murder as well as a little bit more about one of the world’s most popular beverages, thus highlighting how cookbooks and novels both serve to entertain and to educate. Many authors will save their recipes, serving them up at the end of a story. This can be seen in Julie Hyzy’s White House Chef Mystery novels, the cover of each volume in the series boasts that it “includes Recipes for a Complete Presidential Menu!” These menus, with detailed ingredients lists, instructions for cooking and options for serving, are segregated from the stories and appear at the end of each work. Yet other writers will deploy a hybrid approach such as the one seen in Like Water for Chocolate (1989), where the ingredients are listed at the commencement of each chapter and the preparation for the recipes form part of the narrative. This method of integration is also deployed in The Kitchen Daughter (2011), which sees most of the chapters introduced with a recipe card, those chapters then going on to deal with action in the kitchen. Using recipes as chapter breaks is a structure that has, very recently, been adopted by Australian celebrity chef, food writer, and, now fiction author, Ed Halmagyi, in his new work, which is both cookbook and novel, The Food Clock: A Year of Cooking Seasonally (2012). As people exchange recipes in reality, so too do fictional characters. The Recipe Club (2009), by Andrea Israel and Nancy Garfinkel, is the story of two friends, Lilly Stone and Valerie Rudman, which is structured as an epistolary novel. As they exchange feelings, ideas and news in their correspondence, they also exchange recipes: over eighty of them throughout the novel in e-mails and letters. In The Food of Love (2004), written messages between two of the main characters are also used to share recipes. In addition, readers are able to post their own recipes, inspired by this book and other works by Anthony Capella, on the author’s website. From Page to Plate Some readers are contributing to the burgeoning food tourism market by seeking out the meals from the pages of their favourite novels in bars, cafés, and restaurants around the world, expanding the idea of “map as menu” (Spang 79). In Shannon McKenna Schmidt’s and Joni Rendon’s guide to literary tourism, Novel Destinations (2009), there is an entire section, “Eat Your Words: Literary Places to Sip and Sup”, dedicated to beverages and food. The listings include details for John’s Grill, in San Francisco, which still has on the menu Sam Spade’s Lamb Chops, served with baked potato and sliced tomatoes: a meal enjoyed by author Dashiell Hammett and subsequently consumed by his well-known protagonist in The Maltese Falcon (193), and the Café de la Paix, in Paris, frequented by Ian Fleming’s James Bond because “the food was good enough and it amused him to watch the people” (197). Those wanting to follow in the footsteps of writers can go to Harry’s Bar, in Venice, where the likes of Marcel Proust, Sinclair Lewis, Somerset Maugham, Ernest Hemingway, and Truman Capote have all enjoyed a drink (195) or The Eagle and Child, in Oxford, which hosted the regular meetings of the Inklings––a group which included C.S. Lewis and J.R.R. Tolkien––in the wood-panelled Rabbit Room (203). A number of eateries have developed their own literary themes such as the Peacocks Tearooms, in Cambridgeshire, which blends their own teas. Readers who are also tea drinkers can indulge in the Sherlock Holmes (Earl Grey with Lapsang Souchong) and the Doctor Watson (Keemun and Darjeeling with Lapsang Souchong). Alternatively, readers may prefer to side with the criminal mind and indulge in the Moriarty (Black Chai with Star Anise, Pepper, Cinnamon, and Fennel) (Peacocks). The Moat Bar and Café, in Melbourne, situated in the basement of the State Library of Victoria, caters “to the whimsy and fantasy of the fiction housed above” and even runs a book exchange program (The Moat). For those readers who are unable, or unwilling, to travel the globe in search of such savoury and sweet treats there is a wide variety of locally-based literary lunches and other meals, that bring together popular authors and wonderful food, routinely organised by book sellers, literature societies, and publishing houses. There are also many cookbooks now easily obtainable that make it possible to re-create fictional food at home. One of the many examples available is The Book Lover’s Cookbook (2003) by Shaunda Kennedy Wenger and Janet Kay Jensen, a work containing over three hundred pages of: Breakfasts; Main & Side Dishes; Soups; Salads; Appetizers, Breads & Other Finger Foods; Desserts; and Cookies & Other Sweets based on the pages of children’s books, literary classics, popular fiction, plays, poetry, and proverbs. If crime fiction is your preferred genre then you can turn to Jean Evans’s The Crime Lover’s Cookbook (2007), which features short stories in between the pages of recipes. There is also Estérelle Payany’s Recipe for Murder (2010) a beautifully illustrated volume that presents detailed instructions for Pigs in a Blanket based on the Big Bad Wolf’s appearance in The Three Little Pigs (44–7), and Roast Beef with Truffled Mashed Potatoes, which acknowledges Patrick Bateman’s fondness for fine dining in Bret Easton Ellis’s American Psycho (124–7). Conclusion Cookbooks and many popular fiction novels are reflections of each other in terms of creativity, function, and structure. In some instances the two forms are so closely entwined that a single volume will concurrently share a narrative while providing information about, and instruction, on cookery. Indeed, cooking in books is becoming so popular that the line that traditionally separated cookbooks from other types of books, such as romance or crime novels, is becoming increasingly distorted. The separation between food and fiction is further blurred by food tourism and how people strive to experience some of the foods found within fictional works at bars, cafés, and restaurants around the world or, create such experiences in their own homes using fiction-themed recipe books. Food has always been acknowledged as essential for life; books have long been acknowledged as food for thought and food for the soul. 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