CECC - Documentos de Conferências / Conference Objects
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- Activist public relations in digital public space during the pandemic: Ethnographic study of the Portuguese International Feminist Strike 2021Publication . Müller, NaídeActivists across the globe are employing digital media to cooperate on universal causes through hybrid dynamic processes—local–global, offline–online and personal–social— taking advantage of the potential of an unparalleled growing network environment in which new communication tolls are being used and created by activist groups and public relations practitioners worldwide. From a public relations critical perspective, this article investigates how the Portuguese organization of the “Online Demonstration of the International Feminist Strike 2021,” which took place on March 8 (International Women’s Day), fits the description of activist public relations toward social change, including both protest and dissent activities. The strike was planned by a collective platform of activists concerned with maintaining civic participation and mobilization in a context of social crisis and prophylactic isolation due to the COVID-19 pandemic. Through an ethnographic study conducted with UMAR (a Portuguese feminist organization founded in 1976), the article explores how activists function as intercultural intermediaries. Inspired by the initiatives of international activist groups, the campaign to promote the International Feminist Strike—#IfWeStopTheWorldStops—sought to apply creative methods for the active engagement of new publics. These activists were producers of social meanings, interfering in the power relations that are generated in the public space. They used instruments such as the creation of specific online events, the endorsement of public figures, a specific website, a demonstration kit that invited people to carry out various offline activities to be shared later on digital platforms, media relations techniques, language adaptations and other social mobilization efforts.
- Adas Raumkonstellationen: futurity in Sharon Dodua Otoo’s posthuman archivePublication . Lino, Verena LindemannIn this paper, I explore the relation between archive and futurity in Sharon Dodua Otoo’s Ada’s Raum [Ada’s Realm] (2021). Spanning centuries and continents, the novel entwines the lives of four women, each called Ada, and their experiences faced with different articulations of injustice, violence and exclusion. Ada’s Raum cross-cuts in loops between these Adas and their particular time-space settings: between the village women in 15th-century pre-colonial Ghana, the British countess in 19th-cetury Victorian England, the Polish inmate of Dora-Mittelbau concentration camp in 1945 and the pregnant black student in present-day Berlin. However, the shifts do not only occur between the stories of these Adas, but also between several first-person narrators, including the four women and a fluid consciousness that incarnates various inanimate objects as well as an unembodied being in conversation with God. Ada’s Raum assembles stories, voices and perspectives that exceed what one commonly encounters in historical archives and discourses, attesting to the (political) importance of fiction in caring for the untold layers of past injustice and violence that keep hunting the present. However, while Otoo’s novel can be read as a repository of disruptive ways of telling and seeing, I argue that one of the important aspects of Ada’s Raum is precisely that it does not yield to a recuperative “historical desire” (Arondekar 2015) and the evidentiary models that it enables. On the contrary, I argue that Otoo’s novel suspends dominant discursive frames of addressing past injustice and violence, insisting instead on a radical infinitude of the archive and the futurity it holds. Drawing on Walter Benjamin’s writing on history, I propose to read Ada’s Raum as a “constellation” that entangles past, present and future in connective loops rather than a progression of linear time. Without lending itself to any untroubled narrative of hope and progress, this narrative constellation actually acknowledges the brokenness and vulnerability of our world and thereby enables a sense of futurity for those whose future continues to be exposed to constant threat.
- Adoptando y adaptando la web 2.0 al alumno. El papel del profesor en la explotación de la redPublication . Mora, António ChenollEn esta comunicación se adopta como axioma de trabajo la adaptación del estilo de enseñanza del profesor a los estilos de aprendizaje de los alumnos mediante la tecnología web. En este sentido, repasaremos las principales versiones de las 2.0 (wikis, blogs, podcast, webquest…) otorgando la importancia que se merece a la aplicación de estos medios desde una perspectiva práctica, comunicativa e incentivando el aprendizaje autónomo y responsable del alumno. Bajo esta perspectiva, las 2.0 o web sociales ofrecen innumerables posibilidades sólo limitadas por nuestra imaginación y por las posibilidades prácticas de los alumnos. Además, podemos de una forma sencilla hacer que éstos se impliquen con la tarea que queremos desarrollar debido a que están diseñadas especialmente para ellos. En definitiva, tanto el uso de las TICs como su versión 2.0 y web semánticas, se amoldan perfectamente a la filosofía comunicativa y de autoaprendizaje de la metodología actual.
- Agency in (re)translating the Bible: the ‘hows’ and ‘whys’ of taking the ‘liberty’ of (re)creating the ‘untouchable’ sacred textsPublication . Sousa, Márcia DiasThe basis of this project is the re-appropriation of texts from the Catholic Bible in processes of both personal and institutional writing. The endeavor is to examine how two different authors (a literary and an institutional one) integrated specific biblical excerpts into their own discourses. The first is Colleen Carroll Campbell and her autobiographical work My Sisters the Saints: a Spiritual Memoir; the second is the Vatican and its official English version of Pope Paul VI’s speech as delivered before the United Nations General Assembly, in October 1965. Considering re-appropriation as a form of translation, and since the Bible is the most translated book in the world, both authors and their texts are considered (re)translators and (re)translations, respectively. The research will strive to understand how and why these authors took the “liberty” to change the biblical versions they admitted to have used as sources. Rhetorical criticism will be the methodological procedure followed, since there are several implied meanings involved in both works, deeply related to the contexts upon which each author’s narratives rely: Colleen Carroll Campbell’s personal life story and the historical, political context during the pontiff’s address to the UN. The study will be guided by the following research questions: (i) How did the authors re-appropriate excerpts from the Catholic Bible: what changes have they done when compared to the sources they indicated? (ii) Why did they pursue such re-appropriation: to facilitate the understanding of the biblical messages themselves by integrating them in a fluent, clear discourse, or to sustain their own specific messages with textual, ideological references? (iii) Would the authors promote a different interpretation of the excerpts had they abided by “official”, authenticated versions of the Bible instead? The concept of agency within Translation Studies will thus be the basis of this study.
- Uma alma para a Europa : a tradução e a cultura europeiaPublication . Hanenberg, Peter
- An encounter by another name: O último dia de leão as a ‘beyond’ and ‘before’ experiencePublication . Iyer, AishwaryaThe experience of an encounter populates Tim Ingold’s 2011 book Being Alive: Essays on Movement, Knowledge, and Description. Although Ingold decisively critiques premediated colonial encounters of the human mind and proposes a grounded approach for postcolonial encounters, his insights fall short of addressing the experience within the technological condition. Through a posthuman critique, the articulation of the experience from being purely in the physiologically here and now has seen a marked shift towards the transversal capacity of it trespassing linear temporal-spaces but also political, ecological, and social intersections (Ingold 2011; Haraway 2016; Braidotti 2018). However, while work in the field of postcolonial and posthuman studies has aimed to highlight the very aggression that has manifested in the mechanisms of the Modernity/ Coloniality project – delineating the encounter as a strategy primarily as acts of violence, a theoretical transgression through Sara Ahmed allows me to elaborate the experience as mediations that demonstrate the partial perception of encounters. With a reading of O Último Dia de Leão (Leo’s Last Day), a performance by Nany Dayanne, set within the condition of linguistic incommunicability, I present the mediated gesture of the experience, one aided with Ahmed’s understanding of it as an ethical ‘before’ and ‘beyond’, and present a proposition for an encounter by another name.
- Ana França’s journey across Ukraine’s war: refugees, soldiers and the fight for identityPublication . Coutinho, Manuel Carvalho
- Ana Hatherly: traduzir e ser traduzidaPublication . Cacchioli, Serena
- Ao serviço do Império : a nobilitação de estrangeiros na corte joanina e manuelinaPublication . Lopes, Marília dos Santos
- Apropriação intelectual no cinema portuguêsPublication . Coelho, Inês Beatriz RebandaDevido à evolução tecnológica vivida nas últimas décadas, tem-se tornado cada vez mais difícil separar apropriação intelectual, de uso livre, inspiração ou homenagem, incluindo no mundo do cinema. Apesar de existirem várias teorias sobre autoria de uma obra cinematográfica, há uma abordagem à mesma que se sobrepõe a todas as outras, a legal. Nos últimos anos, houve três filmes portugueses e com coprodução portuguesa que suscitaram o interesse público ao serem acusados de apropriação intelectual ligada a questões de autoria das obras em causa (direitos morais e/ou patrimoniais). Essas obras foram os filmes “Campo de Sangue”, 2022, adaptação da obra literária com o mesmo nome escrita por Dulce Maria Cardoso (2002); “A Peregrinação”, 2017, baseado na obra literária “Corsário dos sete mares - Fernão Mendes Pinto” (2012) escrita por Deana Barroqueiro e “O Homem que Matou D. Quixote”, 2018, uma coprodução portuguesa acusada de apropriação de direitos patrimoniais. Para este estudo pretendeu-se analisar as acusações legais feitas às obras em questão e o seu desfecho, tendo em conta os procedimentos de proteção nacional (e por parte dos restantes países envolvidos) de obras cinematográficas. Esta investigação teve como objetivo clarificar questões relacionadas a autoria e propriedade de direitos e alertar para a prática de um crime que, frequentemente, continua a não ser punido devido ao tempo e custos associados.