Jack Brandão

A social activity that has existed since the dawn of humanity, communication has changed with the emergence of technologies that innovated the communicational process, initiating the emergence of the first communicational theories. These presented a more limited study on this process, mainly regarding the receiver's role in communication, which came to be considered a passive element, which reacts mechanically to what is presented to it. As new theories were being formulated, the perception of the receiver's role changed, improving how communication relations are processed. However, it was only later that communication was perceived as an interdisciplinary field, considering other areas' contributions and how such an aspect could hinder the delimitation of its object of study as an autonomous discipline. KEYWORDS-Communication; communicational theories; interdisciplinarity RESUMO-Ato social existente desde os primórdios da humanidade, a comunicação alterou-se com o surgimento das tecnologias que inovaram o processo comunicacional, dando início ao surgimento das primeiras teorias comunicacionais. Estas apresentavam um estudo mais limitado sobre tal processo, principalmente quanto ao papel do receptor na comunicação, que chegou a ser considerado um elemento passivo, que reage de forma mecanicista ao que lhe é apresentado. Conforme novas teorias foram sendo formuladas, mudou-se a percepção do papel do receptor, aprimorando a visão de como se processam as relações comunicacionais. Mas, foi somente mais tarde, que se percebeu a comunicação como campo interdisciplinar, considerando as contribuições de outras áreas e como tal aspecto poderia dificultar a delimitação de seu objeto de estudo, enquanto disciplina autônoma.

This article aims to discuss the combination between word and image in the composition of sequential narratives; therefore, its theme is related to the reading and interdisciplinary concepts applied to comics. Comics language, which is rich in meaning, requires the effort at reading, that complement each other; and such assumption converges with the interdisciplinary principle that seeks cooperation between different factors for the promotion of knowledge. Considering the importance of "interdisciplinarity" to the reading of comics, this paper analyses the conceptions of the term "reading" and identifies the necessary elements for understanding the verbal-imagetic language; it also discusses the theoretical assumptions of the interdisciplinary principle applied to education. The analysis corpus is a literary adaptation of Romeo and Juliet by Shakespeare. The qualitative method by use of bibliographical survey based on the discussion of this work.

Humanity uses images to represent and present the world to his own reality. However, is it possible, really, through them to know your referent? This article tries to demonstrate how they, especially the photographic, might never be considered a reliable representation of the real, due to a series of elements inherent to its process, that will interfere in its reality and the eternalization of something that, often, it did not occur as if it were portrayed. For this, we will use documentary photographs, in whose analysis, it was verified that, due to the interpretation, another reality can be constructed.

– The imagery avalanche to which we are exposed daily renders us
submissive to the power of the image, without the full awareness of such submission. The media takes advantage of this phenomenon to launch an infinity of information, photos and videos, which are
impossible to be absorbed critically by its public in its entirety. Resistance to such submission facilitates the loss of autonomy
and critical potential of the subjects receiving information. The work of
Reginald Rose, "Twelve Angry Men", provokes such reflections in narrating the story of a trial in which eleven jurors vote for the conviction of a defendant, accused of killing the father stabbed, against only a 
jury that votes for his innocence, not by believing in it, but by doubting the evidence presented. As he makes his statements, other jurors also come to question the innocence of the defendant. A reflection of
how individuals should resist already constructed truths, developing critical and analytical potential.

RESUMO O principal objetivo deste artigo é discutir as formas de representação de São Pedro ao longo da história imagética do cristianismo, para mostrar as diferenças entre Pedro, apóstolo de Cristo, e Pedro, Papa da Igreja Católica Romana. Dessa maneira, chegaremos à arte renascentista portuguesa, a fim de fazermos a leitura da pintura homônima, do pintor português Vasco Fernandes, conhecido por Grão Vasco. Inicialmente, serão levantados aspectos iconográficos relacionados à estrutura da composição figurativa. A seguir, será feita uma análise iconológica na tentativa de percepção dos significados políticos e ideológicos possíveis de serem atribuídos à própria composição figurativa. ABSTRACT The main purpose of this article is to discuss the forms of representation of St. Peter throughout the imagistic history of Christianity, to show the differences between Peter, the apostle of Christ, and Peter, Pope of the Roman Catholic Church. In this way, we will arrive at Portuguese Renaissance art, in order to read the homonymous painting by the Portuguese painter Vasco Fernandes, known as Grão Vasco. Initially, related iconographic aspects to the structure of the figurative composition will be presented. Next, an iconological analysis will be done in the attempt to perceive the possible political and ideological meanings to be attributed to the own figurative composition.

This article intends to analyze the Enlightenment concept of autonomy in education through the pedagogical thought of Kant, whose principle is based on the use of the universal reason for identification and overcoming the condition of minority of the individual. In Freire, we have an adaptation of the philosophical and pedagogical thought of the German philosopher, whose focus is the approach of autonomy in the social, political and pedagogical sense. Thus, we will focus on the conception of education and autonomy in Kant, emphasizing the categorical imperative of will, sensitivity and understanding to analyze the pedagogical concept of autonomy from Freire's reflections in order to seek a better autonomy application in our schools.

RESUMO – A interdisciplinaridade, inserida no contexto da educação infantil, tem sido vista como um princípio pedagógico capaz de reformular a prática educativa. Para este trabalho, temos três objetivos, a saber: a) compreender o termo interdisciplinaridade e como ele é utilizado na educação infantil; b) investigar como se estabelece a interdisciplinaridade na aquisição das linguagens verbais e não verbais em crianças de zero a três anos; c) identificar os benefícios e os entraves da implantação da interdisciplinaridade como prática pedagógica nas escolas de educação infantil. ABSTRACT– Interdisciplinarity, in the context of early childhood education, has been seen as a pedagogical principle capable of reformulating educational practice. For this study, we have three objectives: (i) to understand the term " interdisciplinarity " and how it is used in early childhood education; (ii) to investigate how the interdisciplinarity is established in the acquisition of verbal and non-verbal languages for 0-3-year-old children; (iii) to identify the benefits and obstacles of the implementation of interdisciplinarity as pedagogical practice in early childhood education.

RESUMO – O artigo pretende discutir o impacto provocado pelo grupo punk Pussy Riot, devido a sua intervenção na Catedral Ortodoxa de Cristo Salvador em Moscou. Para isso, analisar-se-á o conceito e a estética punk, bem como sua relação com a formação do grupo, além da repercussão causada por sua atuação em um espaço sagrado no interior daquela sociedade. ABSTRACT – The article intends to discuss the impact caused by the punk group Pussy Riot due to his intervention in the Orthodox Cathedral of Christ the Savior in Moscow. For this, will be analyzed the concept and the aesthetic punk, as well its relation with the formation of the group, besides the repercussion caused by its action in a sacred space inside that society.

– This article aims the analytical study of verbal and nonverbal language presents in comics, in intention to examine how the union of both languages in this gender is efficient as a facilitator way in transmitted message comprehension process. Emphasize the significance the author-reader relationship and other important essential elements to the (con)text reading happens, in focus on nonverbal text power. This research is based on theoretical assumption of textual linguistics and, in a special way, in the coherence concept, using Reading and analysis on some Mafalda character‖s comics as examples of creation of Argentinian cartoonist Quino, in sixties.

Este artigo visa a analisar, por meio da sociolinguística, o processo que levou à legendagem do filme brasileiro Cine Holliúdy (2013), do diretor Halder Gomes. Para tal, definiremos conceitos básicos para a compreensão do assunto, como por exemplo, língua, comunicação e variedades linguísticas, apresentaremos uma breve abordagem da história do cinema no mundo e no Brasil além do contexto do filme. Todo este levantamento culminará em uma reflexão sobre a unidade linguística brasileira e o marketing usado na legendagem da película em questão. Abstract – This article aims to analyze, through sociolinguistics, the process that led to the labeling of the Brazilian film Cine Holliúdy (2013), directed by Halder Gomes. For this, we will define basic concepts to the understanding of the subject, such as, for example, language, communication and language varieties, we will provide a brief approach of the history of cinema in the world and in Brazil beyond the context of the film. All this survey will culminate in a reflection on the language unit and Brazilian marketing used in labeling the film in question.

This article will try to address, through images, childhood development and its recovery throughout history, portraying not only its historical and social path from their anonymity and to the understanding of their skills and abilities, as well as several transformations in which children spent as a result of socio-cultural and economic changes that occurred over the centuries to reach the 20th century.

With this article, we pretend to analyse the intertextuality between Bertold Brecht's poetry and that of Carlos Drummond de Andrade, under the perspective of The Second World War. The German poetry of Bertold Brecht is still not yet translated fully to Potuguese. The author a vast work and countless poems that were put together in the book "Die Geschichte von Bertold Brecht", where he portrays the his pain, suffering and nonconformity towards the nazi regime in Germany between the the two great wars. All that from an open left political point of view. Drummond, on the other hand, has a vastly read and appreciated work in Brazil. The poems I chose for my analysis are from the book "A Rosa do Povo"-published in 1945-considered by the critics as one of the most poetic and political. I tried to base my research using Hannah Arendt, John Willet, Eric Hobsbawm, Alfredo Bosi e Affonso Romano de Sant'Anna, among others.

This article seeks to introduce briefly an imagery-mythological survey present in the poetry attributed to Gregório de Matos, author from the 17th Century Brazilian, whose rich material assigned to it permeates several themes in the lyrical genre: the religious, the
love poetry or the satirical (from which the nickname "Hell’s Mouth "). Despite being an apocryphal material, and no date set, the images employed by the poet, demonstrate not only
great knowledge of rhetorical precepts from the 17th Century, as well as his job and mastery of them. This is clear when he uses different sources, such as biblical, mythological,
medieval and humanist (which sought to amalgamate them), as well as contemporary authors, especially the Spanish. In this way, we will cover, in particular, poems dealing with
the pagan wonderful. We employ, by way of illustration, pictorial and iconological images from the 17th Century iconological images that address some of the deities employed by the poet, since such images permeated the Weltanschauung of the period.

RESUMO-Este artigo objetiva o estudo analítico das linguagens verbal e não verbal presentes nas histórias em quadrinhos (tiras), com o intuito de verificar como a união das duas linguagens presentes no gênero é eficiente enquanto mecanismo auxiliador no processo de compreensão da mensagem transmitida. Enfatiza-se ainda a importância da parceria autor-leitor e de outros elementos como essenciais para que a leitura do (con)texto aconteça, enfatizando-se a força do texto não verbal nesse processo. Esta investigação está alicerçada nos pressupostos teóricos da Linguística Textual e, em especial, do conceito de coerência, utilizando-se da leitura e análise de tiras elucidativas da personagem Mafalda, criação do cartunista argentino Quino, nos anos 60. PALAVRAS-CHAVE-coerência; linguística textual; linguagem verbal; linguagem não verbal; história em quadrinhos. ABSTRACT-This article aims the analytical study of verbal and nonverbal language presents in comics, in intention to examine how the union of both languages in this gender is efficient as a facilitator way in transmitted message comprehension process. Emphasize the significance the author-reader relationship and other important essential elements to the (con)text reading happens, in focus on nonverbal text power. This research is based on theoretical assumption of textual linguistics and, in a special way, in the coherence concept, using Reading and analysis on some Mafalda character‖s comics as examples of creation of Argentinian cartoonist Quino, in sixties.

Somos seres iconotrópicos, por isso temos a necessidade, quase incontrolável, por imagens: ansiamos por elas, buscamo-las intensamente, caçamos inclusive seus rastros, não importando sequer seu suporte: somos atraídos por seu poder de sedução. Evidentemente, tal fato foi potencializado na sociedade tecnicista em que estamos inseridos, devido a sua ubiquidade, proporcionada pelas diversas mídias existentes: não há, portanto, como fugir delas.
Tal fato, em si, não se constitui em um problema, mas o de negarmos seu jugo e seu poder sobre nós, sim. Ao agirmos dessa maneira, tornamo-nos presas fáceis de seus desmandos, levando-nos, por exemplo, a aceitar e a compactuar, de maneira passiva, com aberrações e atrocidades contra nossos semelhantes, muitas vezes sob os auspícios de se fazer o bem, como o que ocorreu na Alemanha nazista.
Por meio do emprego sistemático de imagens e de sua exploração metódica em propagandas, os nazistas reconfiguraram o conceito que os alemães possuíam não só dos portadores de deficiência, fossem físicas ou mentais, como também dos comunistas, dos judeus e dos ciganos, ao associar-lhes a figuras horrendas, caricatas, demoníacas.
Assim, isso se torna possível porque, ao não aceitar a lógica do poder iconotrópico da imagem sobre nós, aliado ao fato de a massa não ter costume de questionar aquilo que recebe, aqueles que a dominam valem-se disso para construir/desconstruir a verdade que quiserem.

Prof. Dr. Jack Brandão
Coordenador do GP CONDESIM-FOTÓS
DGP/CAPES – UNISA/SP