Browsing by Author "Pinto, Isabel"
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- An electronic edition of eighteenth-century drama manuscripts: performing for editingPublication . Pinto, IsabelThis article addresses a project of electronic edition of eighteenth-century drama manuscripts, introducing performance art as an active methodology. This was meant to isolate the specific features of eighteenth-century drama manuscripts, in order to assess their improved electronic edition. So, to fully grasp the distinctive features of these historical testimonies, performance art was used as a mediation process, and different interrelated performance initiatives took place. Through performance it was possible to restitute the "take place" (Kobialka, 2002) i.e. the eventful nature contained in the manuscripts, instead of searching for metadata innovations, or an ideal critical apparatus. The focus was laid on drama as a particular type of happening and accomplishment, silenced amidst the archive. The happening quality of the manuscripts was then put to proof through different contexts and practices of performance. The resultant digital edition reflects the "remains" of taking drama manuscripts into performance practice, allowing for a new format of reading material.
- Children’s Plays and Illustrations: Embodiment Resources for Reading PracticesPublication . Pinto, Isabel; Carvalho, ArcângelaThis paper aims at enlightening the role played by illustrations in the reading of plays as means to an improved meaning assessment. Looking at the pictures, students are asked to perform, through improvisation, what is depicted in the image. This way, they engage in a mode of embodied reading that drives a new range of clues for constructing textual meaning. Students not only rely on internal processes to elaborate on the text’s meaning but attain to bodily experiences to achieve a personal understanding of the plot, thus arguing for the relevance of “embodied cognition” and “embodied pedagogy” as core concepts.
- Festas bravas: a anatomia do outro golpePublication . Pinto, IsabelO culto do touro em Portugal é de longa tradição, como um conjunto de documentos do século XVIII, tanto administrativos como memórias literárias, também atesta. A sua popularidade é abundantemente corroborada, com todos os sectores da sociedade a disputar lugar na assistência para usufruir de um programa completo, que se distribuía por vários dias, ligado frequentemente a uma ocasião notável. Desse programa constavam: música, danças, carros de triunfo, combate de touros e diversos divertimentos taurinos. Infere-se o fausto dos figurinos, a imponência dos carros, o colosso das máquinas. A isto adiciona-se a morte de mais de uma vintena de touros por tarde, à espada, ao rojão, à faca. Entre a facécia e o sangue, o público exulta, participando na representação de uma sociedade histriónica e saciada.
- Intermediality and cultural assessment: digital flows in the global age, a review of Digital humanities and the study of intermediality in comparative cultural studiesPublication . Pinto, IsabelA review of Digital Humanities and the Study of Intermediality in Comparative Cultural Studies, edited by Steven Tötösy de Zepetnek. Purdue Scholarly Publishing Services, 2013, 375 pp
- On hospitality in a plural philosophical perspectivePublication . Pinto, IsabelThe collection of essays The Conditions of Hospitality: Ethics, Politics, and Aesthetics on the Threshold of the Possible results of a conference held in Stavanger, Norway, in September 2008. The main aim of both the conference and the volume was to celebrate and further consider the influential work of Emmanuel Levinas and Jacques Derrida on the concept of hospitality. The theoretical proposals of the two authors are present all over the book, conveying, therefore, a sense of unity and thematic coherence.
- Ópera Intitulada Semiramis em BabilóniaPublication . Lima, Alexandre António de; Pinto, IsabelA cópia manuscrita de António José de Oliveira que agora editamos data do ano de 1784, e assume-se como um texto limpo, sem rasuras e apenas com pontuais emendas, discretamente assinaladas. Contudo, a digitalização não apresenta folha de rosto, com a respectiva listagem das personagens. Considerando a totalidade da colecção de teatro em que se insere, este manuscrito inscreve-se na década de apogeu do escriba, ao longo da qual persistentemente exibe maior domínio da técnica de escrita e dos procedimentos a ela inerentes. Em relação ao texto propriamente dito, procede de um filão firmado, ao que sabemos, por António José da Silva, que entre 1733 e 1738, animou o palco do Teatro do Bairro Alto com as suas óperas de bonecos. Alexandre António de Lima (1699-1760), seu autor, segundo o testemunho de Diogo Barbosa Machado, foi também ele, à época, admirado e reconhecido pelos seus méritos literários, os quais incidiam, sobretudo, sobre o teatro e a poesia. Semiramis em Babilónia foi, pois, representada em 1741, igualmente no Teatro do Bairro Alto, e publicada em 1746, numa colectânea intitulada Óperas Portuguesas. Em termos de intriga, retoma a narrativa histórica em torno da rainha da Assíria, Semiramis, bastante em voga no século dezoito, ponteando como referência o original de Pietro Metastasio, La Semiramide Riconosciuta e a tragédia de Voltaire. Todavia, os factos históricos relativos a Semiramis, de acordo com fontes primárias como a obra de Heródoto de Halicarnasso e a de Diodoro Sículo, são aqui amplamente subvertidos. A título de exemplo, Nino deixa de ser o falecido esposo para passar a ser o filho, e quanto a reinar, nesta versão, tal só acontece por um dia. Semiramis perde protagonismo na ópera de Alexandre António de Lima, e, assim, se diluí em muitas vertentes que o registo de um espectáculo popular deixa propositadamente no vago: ela é guerreira na capacidade bélica e no desejo de poder; feminina quanto ao, discutível, conhecimento que revela da alma das mulheres, e mãe extremosa no afecto constante que dedica ao filho, Nino. Entre o âmbito político da temática da legitimidade do poder e as implicações socioculturais de uma recorrente evocação da morte como escudo da honra e dignidade, esta peça alimenta a ilusão de um final feliz para uma sociedade que se revê no iluminismo do seu representante máximo.
- The body move: revising portuguese female poetry of the first quarter of the twentieth centuryPublication . Pinto, IsabelThe first quarter of the twentieth century in Portugal was characterised by a series of important historical and political events: the Regicide (1st February 1908), the fall of the Monarchy and establishment of the Republic (5th October 1910), and the First World War (1914-1918). By this time, women could not yet vote and they were systematically ignored in the debate of crucial social issues. Therefore, the main question here addressed is how poetry as free embodiment can take part in a gender revolution, promoting the feminist turn. The answer lies in the consequent breakout of female sentimental literature, which entitled women to reveal themselves, by enabling the poetic scrutiny of their intimacy through a particular focus on the body as prime referent. In this way, they dared to expose dreams, desires, fulfilments and despairs, firming an identity pact through poetry, and engendering a collective voice with social meaning. The published poems here analysed convey the idea that being a woman was something valuable and unique, and, at the same time, manage to inscribe female poets such as Virgínia Vitorino and Zulmira Falcarreira in the Portuguese intellectual mainstream.
- Theatre history and performance: the archive's unruliness as methodPublication . Pinto, IsabelBy reviewing the notion of archive (Derrida, 1995) that underlies Theatre History research, performance is here presented as a new methodological insight. As such, it allows for a cross disciplinary look into the historical sources, and, at the same time, a renewed embodiment of cultural heritage. This latter aspect, here illustrated by the description of three performances, relates to the international initiative performing the archive (Osthoff, 2009; Jackson; Kidd, 2011; Borggreen; Gade, 2013), which aims at both the public and social dimension and the transformative dynamics of artistic and cultural heritage.