Disparos: ensaios sobre fotografia de guerra

Once the choices set involved in the selection of compositional techniques of a photography is mediated by ideological universes, this final project aims to analyze the photographic coverage of the World War II presented in the brazilian publication Revista da Semana during the period in which Brazil was part of the conflict (1942 to 1945). We study the different composition techniques used and the different effects of meaning articulated by these techniques. Thus, our goal is to see how the repetitions are articulated and the translations of meaning in photojournalistic composition from its narrative structure, that is, their way of coded organization. For this, we used the analysis methodology proposed by Umberto Eco on the rhetoric of the image, involving the five levels of photography decomposition (ie iconic levels, iconographic, tropological, topic and enthymematic). We will analyze these images from the perspective of the effects of meaning that the composition techniques to engender glimpse which were woven meanings to this event in that specific space, and which were mediated discourses of Brazilian participation in the conflict

De direito social a dispositivo de saúde: o trabalho na legislação de saúde vigente

Starting from the theoretical contributions of Michel Foucault and from a critical appraisal of the Declaration of Universal Human Rights and the 1988 Brazilian Constitution, this article maps the constitution of labor as a dimension that goes from social right to health device. In our analysis we find that labor as a social right and health device has a subjective protagonism and has social and economic aspects contemplated by documents. However in defining and orienting ways of being of individuals that work delivered speeches that fall in and control, hindering the openness of workers for movements of creation expansion of life and work in its positivity of experimentations. We conclude that is not enough to recognize labor as a social right, indicate its role as a health strategy or direct political efforts without problematizing not “what kind of work” can be supportive in a more creative construction of its own work and health.

A fotografia compromissada na espanha: a experiência de Josep Renau nas revistas Orto e Octubre

The aim of this paper is to investigate the environment in which a proposal for photographs and photo montages created in Spain in the 1930s was developed. To achieve this, the experiences of the Spanish artist Josep Renau and his work in the illustrated magazines Orto and Octubre is examined. There is an attempt to explore how the European experience of proletarian culture and photography was circulated and appropriated by the Spanish cultural universe. I believe that during these years Spain became a production hub and disseminator of political iconography which later spread to Mexico and Latin America.

Homem e natureza no sertão norte paranaense: a fotografia de Amedeo Boggio

The hinterland of northern Paraná recorded in photographs held by Amedeo Boggio (1901-1967) is the motto to reflect on the technical ideologies for geographical mapping in the first decades of the twentieth century, the use of photography as documentary evidence and reading a group of photographs depicting the daily life of an exploratory and pioneering mission.

O único luxo de um santo laico: fotografias em biografias de Clóvis Beviláqua

The jurist Clovis Bevilaqua (1859-1944) was a privileged member of a political and intellectual elite in the context of the transition from the nineteenth to the early decades of the twentieth century in this country, having been a professor at the Faculdade de Direito de Recife, author of the Civil Code of 1917, consultant for the Ministério das Relações Exteriores and jurist of international prestige, and literary critic and author of law, philosophy and history.Their biographies emphasize the breadth of his legal knowledge, the merits of civil codification which was author and lifestyle humble and generous earning him the nickname "secular saint". However, the lawyer had the habit of collecting photos of himself and of his family and this behavior is characterized as a single vanity for his biographers. From four biographies of Clovis Bevilaqua, written by Lauro Romero (1956), Raimundo de Menezes and Ubaldino de Azevedo (1959), Noemia Paes Barreto Brandão (1989) and Silvio Meira (1990), we intend to discuss how these images are used to illustrate the trajectory of the jurist and corroborate the distinct narratives models.

Tempo, finitude, velhice e fotografia

This article analyzes and discusses the experience of time in old age through the relations of the elderly with photography. We did photography workshops with a group of elders exploring with them the sense of the photographic act death, as an act of freezing and stopping time and also the sense of exploring the future to create, through the photographic act, an image that can symbolize moving on in life.

A criminologia crítica e o direito penal mínimo: avanços e retrocessos

This paper presents the emergence of knowledge-criminals criminal character of oppositional discourses to biologists and to the ideals of social defense, denouncing the criminal policies of discriminatory bias that still permeate the administrative practices of conflict. To this end, we examine the precepts of Critical Criminology revolutionary scenario that emerged in the 60s. His propositions denounced emphatically that social control was exercised by class interests and that the criminal policies were a reflection of capitalist domination extended to the criminal area. Accordingly, the present knowledge of such criminology, whose critical analysis culminated in the drafting of an alternative program for the management of the crisis of contemporary legalcriminal: the minimum criminal law and its proposed alternative sentences.

Pelo direito de ser um monstro

O ensaio se propõe a refletir sobre o crescente processo de normatização da contemporaneidade, tomando como objeto de estudo os “anormais” e o olhar sobredeterminado da rotulação como dessubjetivação. Buscaremos retirar a carga pejorativa do adjetivo “monstro” e positivá-lo naquilo que sua estética tem de resistência, pela sua singularidade. Por conta de carregar contornos, trejeitos, nuances diferentes do que o olhar está treinado a codificar, muitos sujeitos são discriminados em diagnósticos psiquiátricos, os “bio-diagnósticos”, que certamente produzem efeitos subjetivantes, políticos, sociais e culturais. Esse fenômeno de transformação das diferenças em diagnósticos psiquiátricos é compreendido como medicalização, que é o processo de práticas discursivas de agenciamento de questões políticas, culturais, sociais, etc, em objetos de estudo do campo da medicina. Logo, propomos uma reflexão sobre esse fenômeno em seus aspectos éticos, no sentido de questionar alguns dos efeitos desses procedimentos.