Este estudo versa sobre o poder das empresas transnacionais e a produção da elisão fiscal, com base no caso da Coca-Cola no mundo contemporâneo. A pesquisa é realizada adotando-se o método dedutivo e a técnica de pesquisa bibliográfica. O objetivo geral busca verificar o poder das empresas transnacionais e como elas podem produzir elisão fiscal. Considerada uma das marcas mais influentes do mundo, a Coca-Cola efetua manobras fiscais, como a elisão fiscal, consistente na redução do pagamento de tributos, procurando se (...) instalar em países em que os regimes fiscais sejam privilegiados, utilizando indevidamente os destinos fiscais em seu próprio benefício. (shrink)

A crítica feminista elaborou a questão da representação na arte de diferentes maneiras. Nessa perspectiva crítica, um dos problemas são as imagens das mulheres feitas por um olhar masculino ao longo das narrativas tradicionais da história da arte. Respondendo a esse problema, algumas artistas realizaram ações para as câmeras de vídeo e fotografia. Nestas imagens, elas utilizaram o próprio corpo para demonstrar as construções ficcionais dos gêneros. Nesse artigo, analiso esses trabalhos pelas seguintes leituras: a crítica aos rituais de feminilidade, (...) o feminino monstruoso e a identidade como categoria múltipla, tendo como marco teórico as contribuições de Janet Wolff e Jayne Wark. Também me apoio no discurso das artistas sobre seus métodos de trabalho, a partir de entrevistas inéditas. Palavras-chave: Representação. Corpo. Crítica feminista. Vídeo. Fotografia. AbstractFeminist criticism raised the issue of representation in art in different ways. In this critical perspective, one of the problems is the images of women made by the male gaze throughout the traditional narratives of art history. Responding to this problem, some artists performed actions for video and photography. In these images, they used their own bodies to demonstrate the fictional constructions of gender. In this article, I analyze these works through the following readings: the criticism of femininity rituals, the monstrous feminine and identity as a multiple category, having as a theoretical framework the contributions of Janet Wolff and Jayne Wark. I also rely on the artists' discourse about their work methods, based on unpublished interviews.Keywords: Representation. Body. Feminist criticism. Video. Photography. (shrink)

Trata-se de uma pesquisa sobre a Difusão Cultural enquanto ação promotora e oportuna para as manifestações culturais locais e de conhecimento informacional e histórico cultural, particularmente em Unidades de Informação (UI), cujo objetivo geral foi compreender o conceito de Difusão Cultural nas Unidades de Informação, a partir da produção científica brasileira. Para tanto, foi realizada uma pesquisa exploratória e bibliográfica com o uso do método de Revisão Sistemática de Literatura (RSL) por conta de seu caráter auditável, reprodutível, imparcial e que (...) reduz o número de vieses na pesquisa, sendo estruturada em 7 etapas: questão de pesquisa, estratégia de busca, critérios de inclusão e exclusão, busca da literatura, avaliação e seleção dos dados, extração dos dados e síntese. As bases de dados pesquisas foram SCIELO, Repositório do IBICT, BDTD, Web of Science e BRAPCI, no período de 2000 a 2021, sendo que o software utilizado para tratamento dos dados foi o StArt. Como conclusão, verificou-se que a Difusão Cultural é utilizada como ferramenta de disseminação da informação, estruturada, dialógica e assertiva que age sobre o usuário na construção do conhecimento, na apropriação da informação e da cultura além de abrir caminhos para divulgação das UI e reconhecimento de seu papel e importância na sociedade. (shrink)

Retrato de uma jovem em chamas, filme de Céline Sciamma, propõe a discussão sobre o “olhar feminino”, tanto na pintura quanto no cinema. O artigo parte da perspectiva dos Estudos Feministas e busca correlações entre o filme e o cânone da literatura, da pintura e do cinema e o sistema patriarcal que lhes dá suporte. Observa como esse cânone instrumentaliza um culto à passividade feminina e sua inscrição enquanto objeto na História, estetizando “a mulher morta” como índice dessa representação. Parte (...) da hipótese de que a imagem da mulher pode ser aprofundada pela narrativa de autoria feminina enquanto lugar de resistência política. Busca posicionar-se contra o apagamento das experiências lésbicas, ao torná-las visíveis e construir sentido sobre elas.Palavras-chave: Olhar Feminino. Cinema. Pintura. Cânone. Experiência Lésbica. AbstractPortrait of a lady on fire, film by Céline Sciamma, proposes a discussion on the “female gaze”, both in painting and in cinema. The article is based on the Feminist Studies perspective and seeks correlations between film and the canon of literature, painting, and cinema, and the patriarchal system that supports them. It observes how this canon instrumentalizes a cult of female passivity and its inscription as an object in history, aestheticizing “the dead woman” as an index of this representation. It is based on the hypothesis that the image of women can be deepened by the female authorship narrative as a site of political resistance. It seeks to position itself against the erasure of lesbian experiences, by making them visible and building meaning upon them.Keywords: Female Gaze. Cinema. Painting. Canon. Lesbian Experience. (shrink)

O objetivo deste artigo é descrever técnicas grupais desenvolvidas nas turmas do 3º e 6º ano do ensino fundamental de uma escola municipal situada em uma cidade do interior do estado do Rio Grande do Sul. As técnicas tiveram o intuito de intervir em demandas escolares associadas a relações interpessoais e comportamentos desafiadores e opositores tendo como base os pressupostos teóricos e práticos da abordagem cognitivo-comportamental. Os grupos foram homogêneos, com média de 10 estudantes, com objetivo de psicoeducação e de (...) orientação/ treinamento, visando a promoção de saúde na escola. A experiência relatada colabora com a práxis metodológica da área a qual pertence, oferecendo relatos de práticas singulares que podem ser adaptadas a outros contextos e demandas escolares similares. (shrink)

BackgroundProphylactic Bilateral Salpingo-Oophorectomy reduces the risk of developing ovarian cancer. However, the psychological mechanisms that may affect post-surgery Quality of Life among patients who underwent PBSO are still largely unknown. Thus, this study aimed at exploring the direct and indirect associations of satisfaction with medical communication and cancer anxiety on post-surgery QoL among women at high risk of developing ovarian cancer.MethodFifty-nine women who underwent PBSO took part in this cross-sectional study, filling out a sociodemographic and clinical questionnaire, a battery of (...) validated psychological measures and an ad hoc developed scale for the assessment of cancer anxiety. We first examined the correlations among all variables of interest, and then tested if cancer anxiety mediated the association between satisfaction with medical communication and post-surgery psychological QoL, controlling both for time from surgery and education.ResultsPost-surgery psychological QoL was unrelated from any sociodemographic or clinical variable. Cancer anxiety had a significant direct negative effect on psychological QoL, while satisfaction with medical communication had a significant positive direct effect on it. Finally, cancer anxiety significantly mediated the association between satisfaction with medical communication and post-surgery psychological QoL.DiscussionResults suggest that post-surgery psychological QoL of patients who underwent PBSO may be increased with interventions, delivered in a genetic counselling setting, targeting quality of medical communication and cancer anxiety. (shrink)

Esta derivación educativa concurrió en comprobar el impacto de un modelo metodológico desde la valoración del alumnado universitario. El estudio se realizó a 34 personas jóvenes y matriculadas en una asignatura de Economía Social (ES). Se observó a la muestra durante la formación y sus datos fueron tratados en estadística descriptiva. El estudio señaló que las personas estudiantes universitarias estiman los aprendizajes significativos y una participación activa en la construcción de conocimiento sobre ES. Se valora bien la formación universitaria en (...) ES, pero se demanda su mejora. Asimismo, se identificó la necesidad de retocar los contenidos y reformular el modelo metodológico. (shrink)

Cet article aborde le rôle de la nudité sur scène dans l’émergence des modernités en danse, en se penchant plus particulièrement sur le contexte peu étudié de la Russie après la révolution d’Octobre 1917. À travers l’étude des discours et de la réception de l’œuvre de deux protagonistes de la « nouvelle danse » russe des années 1920, Kassian Goleïzovski et Lev Loukine, cette contribution interroge le sens que ces chorégraphes cherchaient à construire autour du dénudement de couple et de (...) groupe sur scène. On montre que ce dénudement reflétait une rupture non seulement avec l’héritage impérial de la danse classique et ses relations genrées entre partenaires, mais aussi avec la « danse libre » introduite auparavant par Isadora Duncan lors de ses tournées dans le pays. (shrink)

Women, Modernism, and Performance is an interdisciplinary 2004 study that looks at a variety of texts and modes of performance in order to clarify the position of women within - and in relation to - modern theatre history. Considering drama, fiction and dance, as well as a range of performance events such as suffrage demonstrations, lectures, and legal trials, Penny Farfan expands on theatre historical narratives that note the centrality of female characters in male-authored modern plays but that do not (...) address the efforts of women artists to develop alternatives both to mainstream theatre practice and to the patriarchal avant garde. Focusing on Henrik Ibsen, Elizabeth Robins, Ellen Terry, Virginia Woolf, Djuna Barnes, Edith Craig, Radclyffe Hall and Isadora Duncan, Farfan identifies different objectives, strategies, possibilities and limitations of feminist-modernist performance practice and suggests how the artists in question transformed the representation of gender in art and life. (shrink)

This article identifies two different paths where the amnesia described by Hannah- Arendt and the fragmentation identified by Willie James Jennings of our historical past has distorted how people today view dan-cing. I set out how the Christian entanglement with colonial powers has impacted on people’s abilities to relate to their bodies, lands and other creatures of the world. I describe how the colonial wound of Western society forms the basis of the loneliness and alienation that totalitarianism inculcates. After this, (...) I examine how people who seek to find a solid tradition of dance within the Western traditions of Christianity often end up in a conundrum when they seek to legitimize the existence of the tradition in the wrong places. I show how seeking roots for Christian dance practices in Jewish customs is often entangled in supersessionist understandings. These arguments are constructed by means of both J. Kameron- Carter’s writings on race and theology and the black political theology outlined by Vincent W. Lloyd. The second-most-often chosen option for creating a dance tradition for Western forms of Christianity is to romanticize the non-Western ‘other’. Using Lindsey Drury’s work, I argue that dancers have perpetuated the interests that seek to possess the ‘other’ by bringing exotic dancers to the Western marketplace. Finally, I describe the third option – more commonly found amongst those critical of Christian tradition – to seek the roots of transformational dance practices in Hellenistic and more esoteric teachings flourishing in the early twentieth century. We run into the often forgotten or neglected stories of renowned dance teachers like Rudolf Laban and Isadora Duncan on this path. By combining esoteric bodily practices, Mother Earth ‘spirituality’ and superior views about race, they not only promoted but laid the foundation for how people were manipulated in the Third Reich. I end by sharing ethnographic stories of resistance towards how these past historical patterns have affected how dance is viewed today. Those exhibiting such resistance are not always consciously aware of the historical roots I have described. However, engagement in contemplative and healing dance practices seems to be forging new and better ways to create community and to live in a connected way with creation and our creatureliness. The central theme of these practices is to resist the illusion of perfection and control while helping people to listen to and discern the Holy Spirit leading them into a new way of living. (shrink)

Postnational, or after or more than national, is a world that connects the international with the local. Technollaboration, is how creative digital communities use technology to improve methods and environments for collaboration. Postbiotanical, after or more than biotanical, represents the future of human-centric collectives around farming and urban living and sustainability. Village, is ambiguous and raises the question how large is local, and how does a village-centric view impact the way we treat each other? Art traditionally functions as an environment (...) for philosophical and creative activity that works to secure its borders from intruding dictatorial ethics, ideology, politics or dogma that might sully its aim to maintain its open arduous exploration of the clash between image and meaning, icon and significance, or perception and identity in reference to culture and history. Integrating technology into this discourse introduces a milieu of associations, expectations and conclusions about how technological innovation, practices and products should be steered, which can also influence what we both make and teach. The web has since evolved into a pervasively instantaneous space for more involved forms of communication (Google hangout), content sharing (SVN), publishing (blogs), community building (messageboards, Facebook), creative performance (Isadora) and more. Now creative interactive initiatives are not limited to merely making a statement or triggering a semiotic synapse, but rather can have a social impact, enacting, mobilizing and serving as a resource for the public. Telematic Art that includes the activities surrounding Digital Communities and their behaviour, does not merely provide an environment to discuss social issues, but embodies social interaction in ways in which new forms of collective expression can be realized. The development of telematics tools is empowering for the public while serving as a medium that influences how individuals interact. Between DIY/DIWO models, open source hardware, software, and creation initiatives, practivist initiatives, creative hacking ideologies, immersion, and web-based communication tools to localize the international collaborative workshop, I believe our formats for education and exchange are becoming more collective and empowering, and with the inclusion of digital social collaboration initiatives seen in myriad examples of Telematic Art, there exists the potential to motivate a mindset desiring new shifts in perception and making with the goals of serving the global community in significant and direct ways. (shrink)

From Bauhaus to Dada, from Virginia Woolf to John Dos Passos, the Modernist movement revolutionized the way we perceive, portray, and participate in the world. This landmark anthology is a comprehensive documentary resource for the study of Modernism, bringing together more than 150 key essays, articles, manifestos, and other writings of the political and aesthetic avant-garde between 1840 and 1950. By favoring short extracts over lengthier originals, the editors cover a remarkable range and variety of modernist thinking. Included are not (...) just the familiar high modernist landmarks such as Gustave Flaubert, Ezra Pound, and James Joyce, but also a diverse representation from the sciences, politics, philosophy, and the arts, including Charles Darwin, Thorstein Veblen, W. E. B. Du Bois, Isadora Duncan, John Reed, Adolf Hitler, and Sergei Eisenstein. Another welcome feature is a substantial selection of hard-to-find manifestos from the many modernist movements, among them futurism, cubism, Dada, surrealism, and anarchism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:284 HISTORY OF PHILOSOPHY Although this is not the first time that Gentile has been translated into French (a major work of his, L'esprit, acte pur, was published in Paris in 1925), the fact remains nevertheless that his neo-Hegelian system of philosophy fell on deaf ears originally in France, due to the predominance then of Bergsonism and positivi.sm in different areas of French thought. However, as Michele F. Sciacca (...) (another commentator on Gentile) notes in the Preface, the Gentilian system of "actual idealism" should get a better hearing in France from now on, because the widespread interest in Hegel there since 1925 has prepared the ground for its proper reception. The Bibliography, for which Sciacca himself is responsible, includes a section on Gentile's own writings "concerning the national and political formation of Italy" (p. 14); but, significantly enough, those dealing directly with Fascism are all omitted. This omission seems a deliberate attempt to separate Gentile the philosopher from Gentile the Fascist. No matter how understandable psychologically and politically may be the motive here--to have French readers forget that Gentile was the philosopher of Fascism--the attempt itself at bibliographical expurgation, ironically, runs completely counter to the very accent of the Gentilian theory of "pure act" on the unity of thought and action in human experience and history. Rightly or wrongly, Gentile (in sharp contrast to Croce) saw in Fascism the political expression of that unity. As to the secondary sources, the Bibliography again is unnecessarily incomplete, citing as it does only one work in English on Gentile. The anthology closes with a critical note on Gentile's transcendental conception of immortality by the translator (Joseph Moreau), who argues that the "actualistic" philosophy, despite its "religious tone," defeats itself by ending up with an "Epicurean attitude" (p. 324) toward death and the afterlife. PATRICK ROMANELL University o/ Oklahoma Die Tragik in der Existenz des modernen Menschen bei G. Sirnmel. By Isadora Bauer. (Berlin: Duncker und Humblot, 1962. Pp. 94. DM 12.60.) Miss Isadora Bauer's book lends a salutory touch to contemporary philosophical literature, so much of which is abstract and removed from experience. Her treatise, on the other hand, has for its subject matter the human condition, its finitude, and its inescapable tragedy. Georg Simmel, an early twentieth-century philosopher, is less known in this country than he deserves to be. His "Lebensphilosophie," as Miss Bauer points out, although it was influenced by Schopenhauer and Nietzsche, found an original expression through him and foreshadowed in many ways the work of Husserl and the contemporary existential thinkers. Miss Bauer's presentation of Simmel's concept of the tragic is lucid and thorough and manages in a wonderful way to let us see through this one aspect the broad outlines of Simmel 's philosophy as a whole. In Simmel's formulation, life itself, unfolding in tragic antinomy of flux and form, of becoming and being, is the ultimate ground of all tragic conflict. The dynamic life process brings forth all forms and also endangers and destroys them over and over again. The human being encounters these opposites in all aspects of his experience: his existence is tragic at its core. "Moira," the ancient goddess who confronted the Greek hero as an alien power, is in Simmel's modern view of tragedy within man himself. She is the opposition between continuity and discontinuity, the mere stream of events and their form or meaning broken in tragic conflict. At this point, Simmel's dialectics leads to a "third realm," a "more BOOK REVIEWS 285 than" which is both immanent and transcendent, a kind of "coincidentia oppositorum" beyond logic and definition. It is the realm of the "person" within which, although the tragic conflict is not resolved, there arises the free self from whose non-dual perspective the unity and eternity of life are seen. Within this realm the individual gains an illumination the result of which is "amor fad," his free decision to affirm his being. In this act of decision lies the "meaning" and "value" of life. The substance and point of Miss Bauer's book is to show the connection between the metaphysical ground of Simmel... (shrink)

There has been a time in my teaching career that I used to cite in my introductory classes ‘Moral Philosophy’ from Erica Jong's Fear of Flying . The situation leading up to the quote is that the main character, Isadora, is asked a sexual favour by her brother in law, Pierre. Her answer and the subsequent dialogue read then as follows: ‘I can't’ , I said. ‘Come on,’ Pierre said, ‘I'll teach you.’ ‘I didn't mean that … I meant (...) that I can't; morally , I can…’. (shrink)

There has been a time in my teaching career that I used to cite in my introductory classes ‘Moral Philosophy’ from Erica Jong's Fear of Flying . The situation leading up to the quote is that the main character, Isadora, is asked a sexual favour by her brother in law, Pierre. Her answer and the subsequent dialogue read then as follows: ‘I can't’ , I said. ‘Come on,’ Pierre said, ‘I'll teach you.’ ‘I didn't mean that … I meant (...) that I can't; morally , I can…’. (shrink)

La « danse grecque antique » évoque en général des images de chœurs imposants et de festivités dionysiaques, ou encore d’Isadora Duncan dansant au milieu des ruines de l’Acropole. Dans cet article, j’étudie une figure peu connue de la danseuse de l’Antiquité : l’orchestris, ou danseuse de banquet. De ces femmes, marginalisées par leur genre et leur classe, il ne demeure que des traces éparses dans la littérature et les vestiges matériels. En réunissant ces traces, cet article met en (...) lumière la place de la danseuse de banquet dans l’imaginaire culturel grec. Il montre ensuite que l’exploration fictionnelle de la subjectivité des femmes dans le dialogue III des Dialogues des courtisanes de Lucien doit nous inciter à réfléchir à la façon dont le mouvement et l’incarnation ont pu constituer – à toutes les époques – des sources essentielles, bien qu’à jamais hors de notre portée, de la capacité d’agir des orchestrides. (shrink)