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[Recensão a] SEBASTIANI, Breno & Leão, Delfim F. (Eds.), Crises (Staseis) and Changes (Metabolai): Athenian Democracy in the Making, Firenze, Firenze University Press, 2022, 134 pp. ISBN: 978-88-5518-611-7
No full text[Recensão a] PINHEIRO, Cristina S.; Pinheiro, Joaquim & Fonseca, Rui C., Galeno. A dissecção do útero. A formação dos fetos. Tradução e Estudos (Introdução, tradução e coordenação), Vila Nova de Famalicão, Húmus, 2022. ISBN: 978-989-755-857-3
No full textOpinião Pública e Confiança Institucional na Europa: o papel contraditório dos media na era digital
No full textThe aim of this article is to analyze the relationship between trust in the media - traditional and digital - and trust in institutions. Using data from the 2016 Eurobarometer, and through statistical models such as ACM, ACP and multilevel regression, the impacts of media use on institutional trust were examined, controlling for sociodemographic variables. The results confirm the hypothesis that trust in traditional media (print, radio and television) is positively associated with higher levels of trust in institutions. On the other hand, trust in digital media (social networks and online platforms) shows a significantly weaker correlation, and in some cases a negative one. This effect is amplified by the spread of disinformation and the creation of “information bubbles” in digital media, which contributes to the erosion of institutional trust. The study highlights the need to promote media literacy and strengthen the regulation of digital platforms to mitigate the negative impacts on institutional trust.El objetivo de este artículo es analizar la relación entre la confianza en los medios de comunicación -tradicionales y digitales- y la confianza en las instituciones. A partir de datos del Eurobarómetro de 2016, y mediante modelos estadísticos como ACM, ACP y regresión multinivel, se examinaron los impactos del uso de los medios de comunicación en la confianza institucional, controlando por variables sociodemográficas. Los resultados confirman la hipótesis de que la confianza en los medios tradicionales (prensa, radio y televisión) se asocia positivamente con mayores niveles de confianza en las instituciones. En cambio, la confianza en los medios digitales (redes sociales y plataformas en línea) muestra una correlación significativamente más débil, y en algunos casos negativa. Este efecto se ve amplificado por la propagación de la desinformación y la creación de «burbujas informativas» en los medios digitales, lo que contribuye a la erosión de la confianza institucional. El estudio destaca la necesidad de promover la alfabetización mediática y reforzar la regulación de las plataformas digitales para mitigar los efectos negativos sobre la confianza institucional.O presente artigo tem como finalidade analisar a relação entre a confiança nos media – tradicionais e digitais – e a confiança nas instituições. Utilizando dados do Eurobarómetro de 2016, e através de modelos estatísticos como ACM, ACP e regressão multinível, foram examinados os impactos do uso de media na confiança institucional, controlando variáveis sociodemográficas. Os resultados confirmam a hipótese de que a confiança nos media tradicionais (imprensa escrita, rádio e televisão) está positivamente associada a níveis mais elevados de confiança nas instituições. Por outro lado, a confiança nos media digitais (redes sociais e plataformas online) apresenta uma correlação significativamente mais fraca, e em alguns casos, negativa. Este efeito é amplificado pela disseminação de desinformação e pela criação de "bolhas de informação" nos meios digitais, o que contribui para a erosão da confiança institucional. O estudo destaca a necessidade de promover a literacia mediática e de fortalecer a regulação das plataformas digitais para mitigar os impactos negativos na confiança institucional
Escenografía de la muerte: los funerales de Pedro de Portugal en la ciudad de Barcelona (1466)
No full textThe royal funeral held at Barcelona in June 1466 for Peter of Portugal boasted all the ceremonial trappings with which the Catalan capital city marked a King’s passing. It was staged in accordance with the traditional late medieval pattern: lying in state at the Palau Reial Major, funeral cortege through the streets of Barcelona and solemn obsequies and burial at the Church of Santa Maria del Mar. These ceremonies must be read as political propaganda couched in symbolic language. Against the backdrop of the ongoing civil war, the Principality’s institutions, that is, the Diputació del General and the Consell de Cent, strove to publicise Peter’s legitimacy as well as their own, highlighting their political agenda at loggerheads with that of King John II of Aragon.Los funerales de Pedro de Portugal, celebrados en Barcelona en junio de 1466, siguen perfectamente el código ceremonial que acostumbraba a ofrecer la ciudad ante la muerte del rey y cumplen con la escenografía propia de los funerales bajomedievales compuesta por la capilla ardiente en el palacio real, la procesión por las calles de la ciudad y el solemne oficio y entierro en Santa María del Mar. Al mismo tiempo, deben ser interpretados como un discurso político y propagandístico articulado, mediante un lenguaje simbólico, por las instituciones del Principado, la Diputació del General y el Consell de la ciudad, dentro del contexto de guerra civil, como escenificación de la legitimidad del rey y especialmente de las instituciones y de sus intereses políticos contrarios a Juan II de Aragón
[Recensão a] António Manuel Hespanha, Uma monarquia tradicional. Imagens e mecanismos da política no Portugal seiscentista, Lisboa, Imprensa de Ciências Sociais, 2023, 519 p., ISBN: 9789726716792.
No full text[Recensão a] Francisco de Paula Cañas Gálvez, Un prelado y sus curiales. Gobierno, corte y promoción eclesial en la domus pontifical de Pablo de Santa María, Obispo de Burgos (1415-1435), Madrid, Dykinson, 2024, 256p., ISBN 978-84-1070-542-5.
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Homology, Collective and Cultural Memory: Augustus’ Portraiture and Augustan Poetry
No full textThis paper aims to establish a homology between two forms of art: the portraits of Octavian Augustus and Augustan poetry, particularly the works of Horace, Ovid, Propertius, and Virgil. The theoretical frameworks of Nora (1989), Assmann (1995 and 2011), Halbwachs (1968), and Galinsky (2014-2016) are mobilized to support the argument that both artistic expressions can be interpreted as vehicles of collective memory and cultural memory, serving the perpetuation of power and art.This paper aims to establish a homology between two forms of art: the portraits of Octavian Augustus and Augustan poetry, particularly the works of Horace, Ovid, Propertius, and Virgil. The theoretical frameworks of Nora (1989), Assmann (1995 and 2011), Halbwachs (1968), and Galinsky (2014-2016) are mobilized to support the argument that both artistic expressions can be interpreted as vehicles of collective memory and cultural memory, serving the perpetuation of power and art.This paper aims to establish a homology between two forms of art: the portraits of Octavian Augustus and Augustan poetry, particularly the works of Horace, Ovid, Propertius, and Virgil. The theoretical frameworks of Nora (1989), Assmann (1995 and 2011), Halbwachs (1968), and Galinsky (2014-2016) are mobilized to support the argument that both artistic expressions can be interpreted as vehicles of collective memory and cultural memory, serving the perpetuation of power and art.This paper aims to establish a homology between two forms of art: the portraits of Octavian Augustus and Augustan poetry, particularly the works of Horace, Ovid, Propertius, and Virgil. The theoretical frameworks of Nora (1989), Assmann (1995 and 2011), Halbwachs (1968), and Galinsky (2014-2016) are mobilized to support the argument that both artistic expressions can be interpreted as vehicles of collective memory and cultural memory, serving the perpetuation of power and art.This paper aims to establish a homology between two forms of art: the portraits of Octavian Augustus and Augustan poetry, particularly the works of Horace, Ovid, Propertius, and Virgil. The theoretical frameworks of Nora (1989), Assmann (1995 and 2011), Halbwachs (1968), and Galinsky (2014-2016) are mobilized to support the argument that both artistic expressions can be interpreted as vehicles of collective memory and cultural memory, serving the perpetuation of power and art.This paper aims to establish a homology between two forms of art: the portraits of Octavian Augustus and Augustan poetry, particularly the works of Horace, Ovid, Propertius, and Virgil. The theoretical frameworks of Nora (1989), Assmann (1995 and 2011), Halbwachs (1968), and Galinsky (2014-2016) are mobilized to support the argument that both artistic expressions can be interpreted as vehicles of collective memory and cultural memory, serving the perpetuation of power and art
