The Concept of Europe

Saberemos o que é a Europa? Talvez cada um de nós tenha a sua própria concepção que também guia as nossas actividades práticas. Mas estamos um pouco no escuro quando se trata de nos orientarmos no que é, apesar de tudo, um campo complexo. Poderíamos mesmo dizer que há muitas concepções de Europa - Irei discutir algumas e estas diferem bastante umas das outras. Para muitos de nós, teremos que admiti-lo, a Europa e a União Europeia são realidades cujos contornos estão longe de ser claros. A nossa confusão acerca da União Europeia é, em parte, alimentada por uma falta de clareza acerca do próprio conceito de Europa . Como e quando emergiu este conceito? É claro que este não é um conceito ou uma ideia única e que não existe uma resposta adequada e satisfatória para tal pergunta.

Must the concept of the State be divided? : political and ethical challenges

Este artigo analisa a medida em que algumas discussões recentes na teoria política e social têm sido bem sucedidas em fornecer discursos que legitimam a ruptura de fronteiras nacionais/estatais (internas e externas). Isto está claramente evidente na Europa de hoje, uma Europa mista de estados grandes e pequenos. Duas das mais publicamente disseminadas discussões incluem por um lado o debate tão familiar sobre a globalização e por outro a própria teoria política, onde os temas são ou controvérsias sobre o nacionalismo e autodeterminação, ou o multiculturalismo, os direitos de grupos, a chamada política da diferença e a noção emergente da sociedade civil e associações civis.

On the concept of the public: the local museums’ case

Globally, the public is understood as the whole of a service’s users. In the specific case of the museums, the users are all those who make use of the service offered by the museum institution. Thus, the museum’s public corresponds not only to the visitors (people who enter or have entered the museum), but also to the part of those who, in some way, with no relationship of presence within the museum, have enjoyed the services or property made available by it (for instance the ordering of books or other material by catalogue, visit to travelling exhibitions, end users of pedagogical actions carried out in schools…) On the other hand, when we refer to the public, it is necessary to make another distinction: between the real or effective public and the potential public. The former is the group of individuals who have visited or have used the museum, while in the second case are included all the people who, due to their specific characteristics, are susceptible to become the real or effective public.

Museums and quality, from the concept of the museum that carries out functions to the museum that provides services

Quality management Self-evaluation of the organisation Citizens/customers satisfaction Impact on society evaluation Key performance evaluation Good practices comparison (Benchmarking) Continuous improvement In professional environments, when quality assessment of museums is discussed, one immediately thinks of the honourableness of the directors and curators, the erudition and specialisation of knowledge, the diversity of the gathered material and study of the collections, the collections conservation methods and environmental control, the regularity and notoriety of the exhibitions and artists, the building’s architecture and site, the recreation of environments, the museographic equipment design. We admit that the roles and attributes listed above can contribute to the definition of a specificity of museological good practice within a hierarchised functional perspective (the museum functions) and for the classification of museums according to a scale, validated between peers, based on “installed” appreciation criteria, enforced from above downwards, according to the “prestige” of the products and of those who conceive them, but that say nothing about the effective satisfaction of the citizen/customers and the real impact on society. There is a lack of evaluation instruments that would give us a return of all that the museum is and represents in contemporary society, focused on being and on the relation with the other, in detriment of the ostentatious possession and of the doing in order to meet one’s duties. But it is only possible to evaluate something by measurement and comparison, on the basis of well defined criteria, from a common grid, implicating all of the actors in the self-evaluation, in the definition of the aims to fulfil and in the obtaining of results.

The Experience of the Religious through Silent Moving Image and the Silence of Bill Viola's Passions

With the creationof the moving image at the end of the 19th century a new way of representing and expressing the Religious was born. The cinema industry rapidly understood that film has a powerful way to attract new audiences and transformed the explicit religious message into an implicit theological discourse of the fictional film. Today, the concept of "cinema" needs to be rethought and expanded, as well as the notion of "tTranscendental" since the strong reality effect of the film can allow a true religious experience for the spectator.