OJS (Centro de Investigação em Artes e Comunicação)
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Charlie Mansfield and Jasna Potočnik Topler, Travel Writing for Tourism and City Branding. Urban Place-writing Methodologies
Full text linkFrom digital performance to cyberperformance: Transformation, transposition and innovation
Full text linkA performance digital e a ciberperformance têm em comum o uso das tecnologias digitais, todavia, diferem em seus processos de criação e transmissão. Neste artigo, buscamos relatar um pouco sobre a evolução da performance digital à ciberperformance, bem como a sua ascensão nos últimos dois anos. O cenário pandémico intensificou a experiência da comunicação online e trouxe maior visibilidade para as práticas performativas digitais que, no campo das artes performativas, pela prerrogativa da presença física, pouco aconteciam, ou aconteciam de modo ainda muito experimental. Nesse sentido, pandemias, guerras e catástrofes podem trazer destruição em diversos níveis, mas ao mesmo tempo ser o motor para a aceleração de processos de transição e inovação.
Esta revisão histórica e conceptual integra o projeto de investigação CyPeT, financiado pela FCT, que está em curso. Além de apresentar um breve enquadramento teórico sobre a performance/ ciberperformance, descreveremos alguns estudos de caso representativos das possibilidades artísticas e performativas destas manifestações digitais, de modo a dar luz a iniciativas criativas promovidas por grupos artísticos, artistas e comunidade académica no seguimento das artes performativas, tendo como eixo condutor os processos criativos, audiência, estratégias adoptadas e a perceção do potencial da internet para a performance ao vivo.Digital performance and cyberperformance have in common the use of digital technologies, however, they differ in their creation and transmission processes. In this article, we seek to report a little about the evolution of digital performance to cyberperformance, as well as its rise in the last two years. The pandemic scenario intensified the experience of online communication and brought greater visibility to digital performing practices that, in the field of performing arts, due to the prerogative of physical presence, rarely happened, or were still very experimental. In this sense, pandemics, wars and catastrophes can bring destruction on several levels, but at the same time be the engine for accelerating transition and innovation processes. After presenting a brief theoretical framework on performance/cyberperformance, we will describe some representative case studies of the artistic and performative possibilities of these digital manifestations.
This historical and conceptual review is part of the CyPeT research project, funded by the FCT, which is ongoing. In addition to presenting a brief theoretical framework on performance/cyberperformance, we will describe some representative case studies of the artistic and performative possibilities of these digital manifestations, to shed light on creative initiatives promoted by artistic groups, artists and the academic community following the performing arts, having as a guide the creative processes, audience, strategies adopted and the perception of the potential of the internet for live performance.Digital performance and cyberperformance have in common the use of digital technologies, however, they differ in their creation and transmission processes. In this article, we seek to report a little about the evolution of digital performance to cyberperformance, as well as its rise in the last two years. The pandemic scenario intensified the experience of online communication and brought greater visibility to digital performing practices that, in the field of performing arts, due to the prerogative of physical presence, rarely happened, or were still very experimental. In this sense, pandemics, wars and catastrophes can bring destruction on several levels, but at the same time be the engine for accelerating transition and innovation processes. After presenting a brief theoretical framework on performance/cyberperformance, we will describe some representative case studies of the artistic and performative possibilities of these digital manifestations.
This historical and conceptual review is part of the CyPeT research project, funded by the FCT, which is ongoing. In addition to presenting a brief theoretical framework on performance/cyberperformance, we will describe some representative case studies of the artistic and performative possibilities of these digital manifestations, to shed light on creative initiatives promoted by artistic groups, artists and the academic community following the performing arts, having as a guide the creative processes, audience, strategies adopted and the perception of the potential of the internet for live performance.Digital performance and cyberperformance have in common the use of digital technologies, however, they differ in their creation and transmission processes. In this article, we seek to report a little about the evolution of digital performance to cyberperformance, as well as its rise in the last two years. The pandemic scenario intensified the experience of online communication and brought greater visibility to digital performing practices that, in the field of performing arts, due to the prerogative of physical presence, rarely happened, or were still very experimental. In this sense, pandemics, wars and catastrophes can bring destruction on several levels, but at the same time be the engine for accelerating transition and innovation processes. After presenting a brief theoretical framework on performance/cyberperformance, we will describe some representative case studies of the artistic and performative possibilities of these digital manifestations.
This historical and conceptual review is part of the CyPeT research project, funded by the FCT, which is ongoing. In addition to presenting a brief theoretical framework on performance/cyberperformance, we will describe some representative case studies of the artistic and performative possibilities of these digital manifestations, to shed light on creative initiatives promoted by artistic groups, artists and the academic community following the performing arts, having as a guide the creative processes, audience, strategies adopted and the perception of the potential of the internet for live performance
Propagation of pseudo-events produced by Chega during the coverage of the electoral campaign for the Portuguese legislative elections of 2019
Full text linkA entrada do Chega na Assembleia da República, após as eleições legislativas de 2019, representou um ponto de viragem nos panoramas político e mediático portugueses. Intrinsecamente ligado à figura do seu líder, André Ventura, este partido surgia como o primeiro representante da direita radical populista a alcançar um assento parlamentar em Portugal. Ao longo de toda a campanha eleitoral, foi possível notar que a comunicação política do partido liderado por André Ventura demonstrava um profundo conhecimento das rotinas de produção noticiosa. Entre os atos comunicativos produzidos pelo Chega com vista a atrair as atenções mediáticas encontrava-se um conjunto de pseudoacontecimentos, criando uma interrogação relativa à cobertura noticiosa do partido referido: teriam os media noticiosos veiculado os pseudoacontecimentos produzidos pelo Chega? No caso de a resposta ser afirmativa, como teria sido feita essa veiculação?
A pretensão de responder a estas duas perguntas criou a necessidade de uma análise qualitativa das peças de cariz informativo sobre o partido liderado por André Ventura, publicadas durante o período eleitoral, de 1 de agosto a 6 de outubro de 2019.
A investigação feita no presente trabalho mostrou que apenas o jornal I e o Correio da Manhã veicularam os pseudoacontecimentos produzidos pelo Chega, com temáticas circunscritas às questões de género e à corrupção, e com a controvérsia, o conflito e a continuidade como valores-notícia dominantes.The accession of Chega to the Assembly of the Republic, after the legislative election of 2019, represented a turning point for Portuguese political and mediatic landscapes. Inherently linked to the figure of its leader, André Ventura, this party emerged as the first representative of the populist radical right who managed to get a seat in the parliament of Portugal. Throughout the electoral campaign, one could notice how much Chega’s political communication was influenced by a profound knowledge of news-making routines. Among the communicational acts created by Ventura’s political party, one could see the presence of pseudo-events, leading one to pose two questions regarding its coverage: did the news-media outlets propagate any pseudo-event produced by Chega? The answer to that question being affirmative, how was that propagation made?
The goal of answering those two questions led to the qualitative analysis of every news piece published during the electoral period, from August 1 to October 6 of 2019, whose subject was the party led by André Ventura.
As the results of this paper’s research show, I and Correio da Manhã were the only print-media outlets to propagate the pseudo-events produced by Chega, its subject being circumscribed to gender issues and corruption, and its dominating news-values being continuity, conflict and controversy.The accession of Chega to the Assembly of the Republic, after the legislative election of 2019, represented a turning point for Portuguese political and mediatic landscapes. Inherently linked to the figure of its leader, André Ventura, this party emerged as the first representative of the populist radical right who managed to get a seat in the parliament of Portugal. Throughout the electoral campaign, one could notice how much Chega’s political communication was influenced by a profound knowledge of news-making routines. Among the communicational acts created by Ventura’s political party, one could see the presence of pseudo-events, leading one to pose two questions regarding its coverage: did the news-media outlets propagate any pseudo-event produced by Chega? The answer to that question being affirmative, how was that propagation made?
The goal of answering those two questions led to the qualitative analysis of every news piece published during the electoral period, from August 1 to October 6 of 2019, whose subject was the party led by André Ventura.
As the results of this paper’s research show, I and Correio da Manhã were the only print-media outlets to propagate the pseudo-events produced by Chega, its subject being circumscribed to gender issues and corruption, and its dominating news-values being continuity, conflict and controversy.The accession of Chega to the Assembly of the Republic, after the legislative election of 2019, represented a turning point for Portuguese political and mediatic landscapes. Inherently linked to the figure of its leader, André Ventura, this party emerged as the first representative of the populist radical right who managed to get a seat in the parliament of Portugal. Throughout the electoral campaign, one could notice how much Chega’s political communication was influenced by a profound knowledge of news-making routines. Among the communicational acts created by Ventura’s political party, one could see the presence of pseudo-events, leading one to pose two questions regarding its coverage: did the news-media outlets propagate any pseudo-event produced by Chega? The answer to that question being affirmative, how was that propagation made?
The goal of answering those two questions led to the qualitative analysis of every news piece published during the electoral period, from August 1 to October 6 of 2019, whose subject was the party led by André Ventura.
As the results of this paper’s research show, I and Correio da Manhã were the only print-media outlets to propagate the pseudo-events produced by Chega, its subject being circumscribed to gender issues and corruption, and its dominating news-values being continuity, conflict and controversy
Controversial Transmedia Narratives: From streets to networks in (un)inhabitable places
Full text linkEste artigo tece considerações derivadas de uma pesquisa de doutorado intitulada Narrativas Transmídias Controversas: das ruas para as redes em Lugares (in)habitáveis, com o desenvolvimento simultâneo da tese escrita e de uma obra-instalação transmídia. A investigação é pautada nas controvérsias que permeiam a (in)visibilidade e a (hiper)visibilidade nas ruas e explora a relação entre o olhado e o não visto, entre o ouvido e o não escutado no contexto social. A obra-instalação em média-arte digital, intitulada Lugares (in)habitáveis, é um projeto transmídia elaborado a partir de questionamentos que emergem da situação de vulnerabilidade de pessoas em situação de rua, onde procura-se evidenciar o não-lugar como um lugar de passagem onde sobrevivem essas pessoas em processo de vulnerabilidade. Lugares (in)habitáveis é constituída por sons e imagens capturados nas ruas, em narrativas (auto) biográficas, que incorporam histórias de vida e de morte. A investigação busca respostas em rearranjos espaciais, estéticos e artísticos para a construção do conhecimento a partir do diálogo entre os diferentes saberes, baseado na exploração das potencialidades de transmídias e recorre a referenciais teóricos sobre as narrativas (Benjamin, 1987), contextualizadas no mundo líquido pós-moderno (Bauman, 2001), de populações que habitam não- lugares (Augé, 2001). Como base metodológica, apoia-se na A/r/cografia (Veiga, 2021), como ferramenta de registro e de análise do processo criativo, e na Cartografia das Controvérsias (Latour, 2012), para refletir sobre os espaços sociais. Com a perspectiva de (inter)ferir artística e socialmente por meio de narrativas estéticas (auto)biográficas corporalizadas de forma reflexiva, articulada e idiossincrática, a obra-instalação é arquitetada com recursos enquanto instrumentos de compreensão e análise dos processos de visibilidade das vidas em situação de rua e da ocupação espacial no mundo contemporâneo ubíquo.
This article weaves preambles accrued from a doctoral research entitled Controversial Transmedia Narratives: from streets to networks in (un)inhabitable places, with the simultaneous development of a written thesis and a transmedia work-installation. The inquery is lined on the controversies that permeate (in)visibility and (hyper)visibility in the streets and explores the relationship between the seen and the unseen, between the heard and the unheard in the social context. The digital media-art work- installation, entitled (Un)inhabitable Places, is a transmedia project laboured from questionings that emerge from the homeless people vulnerability situation, where the aim is to highlight the non-place as a passageway place where these people, in vulnerability process, survive. (Un)habitable Places is composed by sounds and images captured from the streets, in (auto) biographical narratives, which incorporate life and death histories. The investigation searches for answers in spatial, aesthetic and artistic reshuffles for the knowledge framing from dialogues between different types of knowledge, based on the transmedia potentiality exploitation and betakes to theoretical references about narratives (Benjamin, 1987), contextualized in the postmodern liquid world (Bauman, 2001), from populations that inhabit non-places (Augé, 2001). As a methodological basis, it relies on A/r/cography (Veiga, 2021), as a tool for recording and analyzing the creative process and on Cartography of Controversies (Latour, 2012) to reflect about social spaces. With the perspective of (inter)injuring artistically and socially through aesthetic (auto)biographical narratives embodied in a reflexive, articulated and idiosyncratic way, the work-installation is resourcefully architected as understanding and analysis instruments from the life visibility processes on street situation and spatial occupation in the ubiquitous contemporary world.This article weaves preambles accrued from a doctoral research entitled Controversial Transmedia Narratives: from streets to networks in (un)inhabitable places, with the simultaneous development of a written thesis and a transmedia work-installation. The inquery is lined on the controversies that permeate (in)visibility and (hyper)visibility in the streets and explores the relationship between the seen and the unseen, between the heard and the unheard in the social context. The digital media-art work- installation, entitled (Un)inhabitable Places, is a transmedia project laboured from questionings that emerge from the homeless people vulnerability situation, where the aim is to highlight the non-place as a passageway place where these people, in vulnerability process, survive. (Un)habitable Places is composed by sounds and images captured from the streets, in (auto) biographical narratives, which incorporate life and death histories. The investigation searches for answers in spatial, aesthetic and artistic reshuffles for the knowledge framing from dialogues between different types of knowledge, based on the transmedia potentiality exploitation and betakes to theoretical references about narratives (Benjamin, 1987), contextualized in the postmodern liquid world (Bauman, 2001), from populations that inhabit non-places (Augé, 2001). As a methodological basis, it relies on A/r/cography (Veiga, 2021), as a tool for recording and analyzing the creative process and on Cartography of Controversies (Latour, 2012) to reflect about social spaces. With the perspective of (inter)injuring artistically and socially through aesthetic (auto)biographical narratives embodied in a reflexive, articulated and idiosyncratic way, the work-installation is resourcefully architected as understanding and analysis instruments from the life visibility processes on street situation and spatial occupation in the ubiquitous contemporary world.This article weaves preambles accrued from a doctoral research entitled Controversial Transmedia Narratives: from streets to networks in (un)inhabitable places, with the simultaneous development of a written thesis and a transmedia work-installation. The inquery is lined on the controversies that permeate (in)visibility and (hyper)visibility in the streets and explores the relationship between the seen and the unseen, between the heard and the unheard in the social context. The digital media-art work- installation, entitled (Un)inhabitable Places, is a transmedia project laboured from questionings that emerge from the homeless people vulnerability situation, where the aim is to highlight the non-place as a passageway place where these people, in vulnerability process, survive. (Un)habitable Places is composed by sounds and images captured from the streets, in (auto) biographical narratives, which incorporate life and death histories. The investigation searches for answers in spatial, aesthetic and artistic reshuffles for the knowledge framing from dialogues between different types of knowledge, based on the transmedia potentiality exploitation and betakes to theoretical references about narratives (Benjamin, 1987), contextualized in the postmodern liquid world (Bauman, 2001), from populations that inhabit non-places (Augé, 2001). As a methodological basis, it relies on A/r/cography (Veiga, 2021), as a tool for recording and analyzing the creative process and on Cartography of Controversies (Latour, 2012) to reflect about social spaces. With the perspective of (inter)injuring artistically and socially through aesthetic (auto)biographical narratives embodied in a reflexive, articulated and idiosyncratic way, the work-installation is resourcefully architected as understanding and analysis instruments from the life visibility processes on street situation and spatial occupation in the ubiquitous contemporary world
Native Advertising: New Challenges for Online Consumers and the Role Of Media and Advertising Literacy
Full text linkThe following paper proposes a study of the concepts associated with native advertising, a new iteration of the advertorial. Native advertising is a growing form of digital communication used by corporations to market their products in an online setting. Because of the fact that consumers are becoming gradually less receptive to traditional forms of advertisement, marketers have been exponentially resorting to more subtle, less intrusive ways of presenting their products. These new advertising practices might create some challenges to consumers, specifically in their capacity to distinguish editorialized contents from commercial ones. It is for this reason that, in this exploration of the definition and characteristics of native advertising, we will also briefly discuss why Media Literacy – which includes advertising literacy – and media skills are important resources to identify and avert the deceptive nature of this online marketing practice. The adoption of some fundamental literacy competence could better prepare consumers to discern between commercial and noncommercial contents, thus empowering them in the digital landscape.O seguinte artigo propõe um estudo sobre os conceitos associados à publicidade nativa, uma nova iteração da publirreportagem (advertorial). A publicidade nativa é uma forma crescente de comunicação digital utilizada por empresas para promover os seus produtos online. Uma vez que os consumidores estão cada vez menos recetivos às formas tradicionais de publicidade, os profissionais de marketing têm recorrido exponencialmente a formas mais subtis e menos intrusivas de apresentar os seus produtos. Estas novas práticas publicitárias podem criar desafios para os consumidores, especialmente no que concerne à sua capacidade de distinguir conteúdos editoriais de conteúdos comerciais. Consequentemente, nesta exploração sobre a definição e as características da publicidade nativa, também discutiremos brevemente a literacia mediática – que inclui a literacia publicitária – e as competências mediáticas enquanto recursos importantes para identificar e evitar os elementos ilusórios desta prática de marketing online. A adoção de algumas competências fundamentais de literacia poderá preparar melhor os consumidores para discernir entre conteúdos comerciais e não comerciais, empoderando-os no cenário digital.The following paper proposes a study of the concepts associated with native advertising, a new iteration of the advertorial. Native advertising is a growing form of digital communication used by corporations to market their products in an online setting. Because of the fact that consumers are becoming gradually less receptive to traditional forms of advertisement, marketers have been exponentially resorting to more subtle, less intrusive ways of presenting their products. These new advertising practices might create some challenges to consumers, specifically in their capacity to distinguish editorialized contents from commercial ones. It is for this reason that, in this exploration of the definition and characteristics of native advertising, we will also briefly discuss why Media Literacy – which includes advertising literacy – and media skills are important resources to identify and avert the deceptive nature of this online marketing practice. The adoption of some fundamental literacy competence could better prepare consumers to discern between commercial and noncommercial contents, thus empowering them in the digital landscape.The following paper proposes a study of the concepts associated with native advertising, a new iteration of the advertorial. Native advertising is a growing form of digital communication used by corporations to market their products in an online setting. Because of the fact that consumers are becoming gradually less receptive to traditional forms of advertisement, marketers have been exponentially resorting to more subtle, less intrusive ways of presenting their products. These new advertising practices might create some challenges to consumers, specifically in their capacity to distinguish editorialized contents from commercial ones. It is for this reason that, in this exploration of the definition and characteristics of native advertising, we will also briefly discuss why Media Literacy – which includes advertising literacy – and media skills are important resources to identify and avert the deceptive nature of this online marketing practice. The adoption of some fundamental literacy competence could better prepare consumers to discern between commercial and noncommercial contents, thus empowering them in the digital landscape
The rhizome: Concept, definitions, and applications as an analysis methodology in communication and culture
Full text linkEste artigo tem como objetivo explicitar o conceito de rizoma proposto por Deleuze e Guattari. A partir da obra Mil platôs (1995), abordamos o conceito mencionado, suas propriedades e princípios. Para tanto, destacamos primeiramente a importância da elaboração de conceitos na filosofia, conforme esses autores, e em seguida, discutimos o conceito de rizoma e os seus desdobramentos. Termo extraído da botânica, o rizoma é um tipo de raiz sem um caule central, que se espalha e se ramifica, podendo gerar segmentos equivalentes, igualmente capazes de se conectarem a qualquer outro. Transposto para o contexto dos media contemporâneos, e dada a sua natureza múltipla e acêntrica, capaz de conectar as mais diversas esferas, como tecnologia, cultura e sociedade, este conceito pode ser aplicado como metodologia para análise de diversos processos e produtos culturais e comunicacionais, os quais apresentamos como exemplo: os mapas das mediações de Jesús Martín-Barbero, abordados por Lopes (2018); o rizoma como estratégia de leitura hipertextual, segundo Santis (2020); e o rizoma como metodologia de mapeamento mediático e social de acontecimentos, de acordo com Frigo (2019). O rizoma se revela particularmente importante na contemporaneidade digital por descrever conceitualmente formas de leitura não lineares, tradicionais de meios hipertextuais como a world wide web, assim como se mostra relevante para as pesquisas no campo da comunicação e cultura por apontar caminhos múltiplos para a produção de significados, em especial na complexidade das sociedades e dos media digitais atuais.This article aims to explain the concept of rhizome proposed by Deleuze and Guattari. We approach the mentioned concept, its properties and principles from the book Mil platôs (1995). To do so, we first highlight the importance of the elaboration of concepts in philosophy, according to these authors, and then we discuss the concept of rhizome and its developments. A term extracted from Botany, the rhizome is a type of root without a central stem, which spreads and branches out, being able to generate equivalent segments, equally capable of connecting to any other. Transposed to the context of contemporary media, and given its multiple and acentric nature, capable of connecting the most diverse spheres, such as technology, culture and society, this concept can be applied as a methodology for analyzing various cultural and communication processes and products, which we present as an example: the maps of mediations by Jesús Martín-Barbero, addressed by Lopes (2018); the rhizome as a hypertextual reading strategy, according to Santis (2020); and the rhizome as a methodology for media and social mapping of events, according to Frigo (2019). The rhizome proves to be particularly important in the digital contemporaneity for conceptually describing non-linear forms of reading, traditional in hypertext media such as the world wide web, as well as being relevant for research in the field of Communication and Culture for pointing out multiple paths to produce meanings, especially in the complexity of today’s societies and digital media.This article aims to explain the concept of rhizome proposed by Deleuze and Guattari. We approach the mentioned concept, its properties and principles from the book Mil platôs (1995). To do so, we first highlight the importance of the elaboration of concepts in philosophy, according to these authors, and then we discuss the concept of rhizome and its developments. A term extracted from Botany, the rhizome is a type of root without a central stem, which spreads and branches out, being able to generate equivalent segments, equally capable of connecting to any other. Transposed to the context of contemporary media, and given its multiple and acentric nature, capable of connecting the most diverse spheres, such as technology, culture and society, this concept can be applied as a methodology for analyzing various cultural and communication processes and products, which we present as an example: the maps of mediations by Jesús Martín-Barbero, addressed by Lopes (2018); the rhizome as a hypertextual reading strategy, according to Santis (2020); and the rhizome as a methodology for media and social mapping of events, according to Frigo (2019). The rhizome proves to be particularly important in the digital contemporaneity for conceptually describing non-linear forms of reading, traditional in hypertext media such as the world wide web, as well as being relevant for research in the field of Communication and Culture for pointing out multiple paths to produce meanings, especially in the complexity of today’s societies and digital media.This article aims to explain the concept of rhizome proposed by Deleuze and Guattari. We approach the mentioned concept, its properties and principles from the book Mil platôs (1995). To do so, we first highlight the importance of the elaboration of concepts in philosophy, according to these authors, and then we discuss the concept of rhizome and its developments. A term extracted from Botany, the rhizome is a type of root without a central stem, which spreads and branches out, being able to generate equivalent segments, equally capable of connecting to any other. Transposed to the context of contemporary media, and given its multiple and acentric nature, capable of connecting the most diverse spheres, such as technology, culture and society, this concept can be applied as a methodology for analyzing various cultural and communication processes and products, which we present as an example: the maps of mediations by Jesús Martín-Barbero, addressed by Lopes (2018); the rhizome as a hypertextual reading strategy, according to Santis (2020); and the rhizome as a methodology for media and social mapping of events, according to Frigo (2019). The rhizome proves to be particularly important in the digital contemporaneity for conceptually describing non-linear forms of reading, traditional in hypertext media such as the world wide web, as well as being relevant for research in the field of Communication and Culture for pointing out multiple paths to produce meanings, especially in the complexity of today’s societies and digital media
Peregrinação: Da fonte matricial ao filme de Botelho
Full text linkThe figure of Fernão Mendes Pinto and / or his work, Peregrinação, inspired creatives from different artistic areas: from painting to sculpture or tile making and from different graphic and illustrative arts to comics, from theatre to music and cinema. For the purpose of this text, and after a brief presentation of both the twenty-one years adventurous experience of this Portuguese traveller from the Discoveries era and the success and nature of the book of this 16th-century author, we chose the 2017 film adaptation-recreation by João Botelho, a place for questioning History based on the filmmaker’s present (and ours) and for experimenting with different ways of telling/filming a story (his own and that of others) and a meeting place for different arts, namely literature, photography/painting, theatre, and certainly music as an essential compositional and stylistic ingredient in which telling becomes singing. Two choirs of seven members each (singers/actors) reinterpret seven songs from the vinyl record album Por Este Rio Acima (1982) by singer/composer Fausto, an unavoidable name in contemporary Portuguese music and, simultaneously, another sui generis interpretative work around the book of the 16th century author. This expedient of the choirs (in an operatic way) stands out among the filmmaker’s various creative freedoms that contribute to the idea of cinema as construction and experimentation.The figure of Fernão Mendes Pinto and / or his work, Peregrinação, inspired creatives from different artistic areas: from painting to sculpture or tile making and from different graphic and illustrative arts to comics, from theatre to music and cinema. For the purpose of this text, and after a brief presentation of both the twenty-one years adventurous experience of this Portuguese traveller from the Discoveries era and the success and nature of the book of this 16th-century author, we chose the 2017 film adaptation-recreation by João Botelho, a place for questioning History based on the filmmaker’s present (and ours) and for experimenting with different ways of telling/filming a story (his own and that of others) and a meeting place for different arts, namely literature, photography/painting, theatre, and certainly music as an essential compositional and stylistic ingredient in which telling becomes singing. Two choirs of seven members each (singers/actors) reinterpret seven songs from the vinyl record album Por Este Rio Acima (1982) by singer/composer Fausto, an unavoidable name in contemporary Portuguese music and, simultaneously, another sui generis interpretative work around the book of the 16th century author. This expedient of the choirs (in an operatic way) stands out among the filmmaker’s various creative freedoms that contribute to the idea of cinema as construction and experimentation.The figure of Fernão Mendes Pinto and / or his work, Peregrinação, inspired creatives from different artistic areas: from painting to sculpture or tile making and from different graphic and illustrative arts to comics, from theatre to music and cinema. For the purpose of this text, and after a brief presentation of both the twenty-one years adventurous experience of this Portuguese traveller from the Discoveries era and the success and nature of the book of this 16th-century author, we chose the 2017 film adaptation-recreation by João Botelho, a place for questioning History based on the filmmaker’s present (and ours) and for experimenting with different ways of telling/filming a story (his own and that of others) and a meeting place for different arts, namely literature, photography/painting, theatre, and certainly music as an essential compositional and stylistic ingredient in which telling becomes singing. Two choirs of seven members each (singers/actors) reinterpret seven songs from the vinyl record album Por Este Rio Acima (1982) by singer/composer Fausto, an unavoidable name in contemporary Portuguese music and, simultaneously, another sui generis interpretative work around the book of the 16th century author. This expedient of the choirs (in an operatic way) stands out among the filmmaker’s various creative freedoms that contribute to the idea of cinema as construction and experimentation.A figura de Fernão Mendes Pinto e/ou a sua obra, Peregrinação, inspiraram criativos de diferentes áreas artísticas: da pintura à escultura ou da azulejaria e das diferentes artes gráficas e ilustrativas à banda desenhada, do teatro à música e ao cinema. Escolhemos, para objeto deste nosso texto, e depois de uma sumária apresentação quer da experiência aventureira de vinte e um anos deste viajante português da época dos Descobrimentos, quer do sucesso e da natureza da obra deste autor quinhentista, a adaptação-recriação cinematográfica de 2017 do realizador João Botelho, lugar de interrogação da História a partir do presente do cineasta (e nosso) e de experimentação de diversos modos de contar/filmar uma história (a sua e a de outros) e lugar de encontro entre as diferentes artes, nomeadamente a literatura, a fotografia/pintura, o teatro, e, certamente, a música como ingrediente compositivo e estilístico essencial em que o contar se torna cantar. Recorre-se a dois coros de sete elementos cada (cantores/atores) que reinterpretam sete músicas do álbum discográfico em vinil Por Este Rio Acima (1982) do cantor/compositor Fausto, um nome incontornável da música portuguesa contemporânea e, simultaneamente, um outro trabalho interpretativo sui generis em torno da obra do autor quinhentista. Este expediente dos coros (à maneira operática) destaca-se entre as várias liberdades criativas do cineasta que contribuem para a ideia de cinema como construção e experimentação
Literary waterscapes: Water representation in the Italian Journey, by Johann Wolfgang von Goethe
Full text linkcultural e tema artístico perpassa culturas e a própria trajetória de fixação e desenvolvimento da humanidade. Em tempos mais recentes, a água converteu-se em um dos recursos de maior valor recreativo, patrimonial e turístico, movimento este relacionado com uma interpretação sensível impulsionada pelo Grand Tour, iniciado no século XVII e praticado por grandes nomes das artes, a exemplo de Goethe. A intensa representação estética da água é parte do legado do Grand Tour e, embora disseminada nas artes, são reduzidos os estudos sob a perspectiva de waterscape cujo recorte de investigação aproxima literatura e turismo. A pesquisa explorou esta lacuna e indagou: como se apresentam as paisagens aquáticas nos relatos de Grand Tour de Johann Wolfgang von Goethe em sua obra Viagem à Itália? Objetivou analisar as paisagens aquáticas – waterscape – na obra Viagem à Itália, de Goethe. Aplicou o método topoanalítico, de análise do espaço a partir de oito tópicos, pertinentes de observação na literatura de prosa e verso. Constatou-se que a waterscape goethiana é conotativamente positiva e associa as águas da Itália à vivacidade, alegria, luminosidade, fluidez. As viagens lacustres e marítimas são momentos carregados de emoção. As gôndolas, a imensidão do mar azul e os reflexos esverdeados da água marítima, os rios, as lagunas, as praias e os canais articulam a paisagem aquática italiana narrada pelo poeta.The recognition of water as a vital attribute, a cultural asset, and an artistic theme permeates cultures and the very trajectory of humanity’s fixation and development. In recent years, water has become one of the resources with the greatest recreational, heritage, and tourist value, a movement that is related to a sensitive interpretation driven by the Grand Tour, which started in the 17th century and practiced by great names in the arts, such as Goethe. The intense aesthetic representation of water is part of the legacy of Grand Tour and, although widespread in the arts, studies are limited from the perspective of the waterscape, whose research focus approaches literature and tourism. The research explored this gap, and asked: how are the aquatic landscapes presented in Johann Wolfgang von Goethe’s Grand Tour literary work Italian Journey? It aimed to analyze the aquatic landscapes – waterscape – in the literary work Italian Journey, by Goethe. The topoanalytical method was applied, from the analysis of space through eight pertinent topics of observation in the literature of prose and verse. It was found that the Goethian waterscape is connotatively positive and associates the waters of Italy with vivacity, joy, luminosity, and fluidity. Lake and sea trips are moments full of emotion. The gondolas, the immensity of the blue sea, and the greenish reflections of the maritime water, the rivers, the lagoons, the beaches, and the canals articulate the Italian aquatic landscape narrated by the poet.The recognition of water as a vital attribute, a cultural asset, and an artistic theme permeates cultures and the very trajectory of humanity’s fixation and development. In recent years, water has become one of the resources with the greatest recreational, heritage, and tourist value, a movement that is related to a sensitive interpretation driven by the Grand Tour, which started in the 17th century and practiced by great names in the arts, such as Goethe. The intense aesthetic representation of water is part of the legacy of Grand Tour and, although widespread in the arts, studies are limited from the perspective of the waterscape, whose research focus approaches literature and tourism. The research explored this gap, and asked: how are the aquatic landscapes presented in Johann Wolfgang von Goethe’s Grand Tour literary work Italian Journey? It aimed to analyze the aquatic landscapes – waterscape – in the literary work Italian Journey, by Goethe. The topoanalytical method was applied, from the analysis of space through eight pertinent topics of observation in the literature of prose and verse. It was found that the Goethian waterscape is connotatively positive and associates the waters of Italy with vivacity, joy, luminosity, and fluidity. Lake and sea trips are moments full of emotion. The gondolas, the immensity of the blue sea, and the greenish reflections of the maritime water, the rivers, the lagoons, the beaches, and the canals articulate the Italian aquatic landscape narrated by the poet
Questions to tourists stopped by Walden pond: Waterscapes, words and literary tourism
Full text linkThe purpose of this paper is twofold: first, to analyze the meaning of Walden Pond, a real body of water between Concord and Lincoln, Massachusetts, as it appears in Henry David Thoreau’s Walden (1854). This pond is first and foremost a place on whose shores the writer decided to live between 1845 and 1847. Secondly, the literary representation of the lake functions as a symbol of simplicity, of observation and knowledge, and, in this sense, I seek to investigate how Thoreau’s words about the Walden pond have contributed to the (trans)formation of readers’ and tourists’ minds. Moreover, my interest is to draw from works about literary tourism and to see how literary words construct the tourist vision, as “in literary tourism, narratives act as the primary source of information about a place, stimulating motivation to travel” (Charapan & Mikulich, 2019). Thus, my proposal aims to show that because water is characterized as mirrorlike, windowlike, and with no definite shape it is a fertile metaphor for poetic imagery. Additionally, to evince that (literary) words, place, waterscapes and tourists interrelate in the forging of (new) consciousnesses, better suited to practice reverence for our common home
