CEAUL/ULICES - CQN - Volume 4 - 2011
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- O desassossego [Editorial]Publication . Silva, Ana Luisa Valdeira daCondenamos o gás pimenta, a ditadura e a mordaça. Queremos dizer e queremos que os outros digam. Mas queremos sobretudo que todos possam ter a escolha de dizer. Que o escrevam ou que o falem. Ou mesmo que o gritem. Mas nunca se calem! A Cine Qua Non resiste à opressão, às doutrinas castradoras e às vontades imperiosas. É essa resistência que, num impulso vigoroso, nos democratiza e liberta. A arte nasce obrigatoriamente da liberdade, instalando-se nos ímpetos mais independentes. Tem o poder do confronto, tem a força do manifesto.
- "Machines to generate desire": Avant-garde Manifestos and Guerrilla AdvertisingPublication . Hanna, JulianThe association between the avant-garde and advertising is longstanding and bidirectional. Advertising, after all, is one of the “shocks” of modernity described by Walter Benjamin in his writings on Baudelaire. Avant-garde art reproduces the primary urban shock effects of crowds, advertisements, and other stimuli. The manifesto has always functioned as an advertisement for artistic movements, as for political and social ones. In this study I examine the relationship between the historical avant-garde and contemporary non-traditional or “guerrilla” advertising and marketing strategies. The term “guerrilla” is used as shorthand for a variety of new strategies of consumer engagement, particularly those using social networks. Each section is inspired by a key term adopted (or co-opted) from the language of advertising and marketing.
- Wondering in humanities: the belligerence of the belletristicPublication . Gato, Margarida Vale de, 1973-To address the issue of publication formats for the humanities, an area increasingly under the management of organizations for the development of science, I borrow both authority and wisdom from a sensitive scholar who has penetrated the walls of a major science, Medicine, with the Trojan horse of Fiction. Rita Charon’s programme of “Narrative Medicine” in Columbia University invites healthcare professionals to spare some of their time, previously taken up wholly by clinical evidence, for the narratives patients tell with mouths, bodies, ink drawings or scribbles, using stories of pain to help healing, constructing shared tales of beauty to inspire life from beyond and into the suffering body. Her own writing style demonstrates the will to intervene in containers of representation, and can be transposed to the realm of academic norms for publishing, in support of a belletristic writing that generates alternative forms of research not only in literary studies but in the humanities in general.