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The body. As in Bong Joon-ho's film Parasite, poverty has a smell. The same smell. And those bodies stink. Houses too. Social inequality crosses these places. An inequality that is also transmissible. Palaces and islands. People's homes. Some are rich and others poor. Bodies of work, survival bodies, divided into production modes, sometimes transformed into modes of repression. The social worker is everywhere, from the factory to the university. A work without pleasure in a pleasureless body. As in the world of Kasper Hauser, in Herzog's film, there are bodies that do not know what a house is. They can only grasp a few words and still don’t understand poetry but they aspire to play the piano in the rhythm of breathing. Necessity and desire stand as common ground of what is building up in time, revealing obstinate ways of being. Resisting the trap of fear, noble flavours and smells of pleasure are called upon. They cause the vibration of another disorienting and subverting body. Appealing to the poetic function that disturbs hierarchical divisions, the alimentary body combines all delusions. It is the violent language of life that speaks through the organism (Nietzsche and Artaud), the orgy (Sade), the force field (Deleuze), through what is the product of social organization (Marx). In this body which we affirm as a chain without beginning or end, it is libertinage, the order of libertine life, desire’s lawless law, and not sexuality’s law, as Foucault so lucidly considered concerning Sade, which we must name here. All sounds of desire, all detachments of thought. Endless freedom. There are those who choose the realm of submissive and boring shadow zones. As in Parasite, we may continue to pretend that we are not relatives. We prefer, however, brighter pictures. This book was funded by national funds through FCT - Fundação para a Ciência e a Tecnologia, I.P., within the projects UIDB/04041/2020 and UIDP/04041/2020 (Arnaldo Araújo Research Centre) info:eu-repo/semantics/publishedVersion

There is a high prevalence of rib fractures in human remains from archeological contexts, but these are seldom the focus in paleopathological studies pertaining skeletal trauma. This study aims to document rib fracture patterns in the Coimbra Identified Skeletal Collection, Department of Life Sciences, University of Coimbra. Specific aims of this study included the estimation of rib fracture prevalence in 252 individuals, from both sexes (females: 128; males: 124), with age-at-death varying from 20 to 96 years; and the analysis of the relationship between rib fractures and age-at-death, biological sex, and bone mineral density measured at the proximal femur. The crude prevalence of rib fractures is 6.3% (16 cases in a total of 252 individuals observed); while the true prevalence rate is 0.7% (38 fractured ribs in relation to 5656 ribs studied). Males have been more affected than females (males: 10.5%, 13/124; females: 2.3%, 3/128). Individuals with one or more rib fractures were significantly older (mean=66.19 years old; standard deviation [SD]=14.08) than those who have not experienced any rib fracture (mean=50.41 years old; SD=19.45). Bone mineral density was also associated with the presence of rib fractures but only in females. These results expand the scientific awareness about the prevalence of rib fractures in human skeletal collections. info:eu-repo/semantics/publishedVersion

This work was funded by national funds through FCT - Fundação para a Ciência e a Tecnologia, I.P., within the project UIDB/04041/2020 (Centro de Estudos Arnaldo Araújo). info:eu-repo/semantics/publishedVersion

It is a fact that the history of art has sought new theoretical foundations and new methodologies, driven by the desire to become more "global". In Peter Sloterdijk's thinking, art is more potent and therefore would reject any categorization (2014, 479), going beyond the sayable and the intelligible; Gilles Deleuze (2001: 88) says: "Art thinks only of philosophy, but thinks of objects and percepts". In the heated debate provoked by this desire for a more critical Art History, a question can be raised: Who holds the power in the field today and where do the theories that govern the interpretations emanate, for the restructuring of a more democratic and inclusive Art History? This communication aims to question the artistic representation produced after World War II and the multiple connections that help to sediment what we can call "the end of art", in the sense of Hans Belting - like the artist's liberation -, at the same time that debates the end of utopias of the vanguards. In a fragmented world, where according to Theodor Adorno it was impossible to produce poetry after Auschwitz, let us analyze the works of Gerhard Richter (1932-), whose works can be understood as mirrors to reflect a world in which reality and image are equally present in contemporary life, in search, according to the artist "of the truth of the image. info:eu-repo/semantics/publishedVersion

With the number 57-58 of 1957, the magazine “Arquitectura” declares the beginning of a new phase. In a country at the edge of Europe, far from the debate on modern architecture and marked by a dictatorship that has limited its contact with the outside world, this magazine (founded in 1927 and led by the ICAT group until 1957) represented the main diffusion medium of ideas and international contributions to the debate on modern architecture in Portugal. At the same time, the magazine represented a selection and filter of what was spread from the outside within the country. On this basis, the proposal for the "REVISITING THE POST-CIAM GENERATION" symposium intends to investigate the influence that the Italian modern architecture, conveyed by the italian magazines (for ex. “Casabella”) through “Arquitectura”, has had on the Portuguese post CIAM debate. “Casabella”, which together with the contemporary “Domus” represented the main Italian magazine leading international debate of these years, was well known by the editorial group of the magazine “Arquitectura” and offered an interesting source for the development of articles concerning Italian architecture. Indeed, the diffusion of the Italian projects and critical articles dates back already from the 40s with the publications of the articles by Ernesto Nathan Rogers and the projects of Giuseppe Terragni. On the other hand, it will be necessary to wait until 1972 for Vittorio Gregotti to publish the works of Álvaro Siza Vieira for the first time, beginning a season of renewed interest in Portuguese architecture coinciding with the end of the dictatorship (see V. Gregotti, Architetture recenti di Álvaro Siza, in "Controspazio", 9, Sept. 1972, 22-39). info:eu-repo/semantics/publishedVersion

This master thesis is based on the soil micromorphological study of the sedimentary samples from Anta 1 de Vale da Laje site, located in Tomar, Portugal. The site of Anta 1 de Vale da Laje is one of the sites currently under study within the research framework of the projects Landscape occupation strategies during the Holocene in the Middle Tagus (Es.Ter.Tejo) and Moving tasks across shapes: the agro-pastoralists spread from and into the Alto Ribatejo (MTAS). Asides the stratigraphic problems of the site, it remained unclear the modification successions in time, of the monument and the processes that can be attributed to their sequencing, which were scopes of the abovementioned projects. Micromorphological study of human impact and natural processes on the environment has been reliant on the interpretation from the study of the undisturbed palaeosols. This study applied the methodological approach of soil micromorphological analyses to understand both the stratigraphic sequence and the evolution of the megalithic tomb of Anta 1 de Vale da Laje site where stratigraphic continuity and discontinuity were observed. The result of the analyses recognized six (6) periods of activities and three (3) phases of site evolution, as well as identification of human activities relating to agricultural practices, constructions and natural processes such as weathering, leaching, and erosion resulting from impact of rainfall.

info:eu-repo/semantics/publishedVersion

info:eu-repo/semantics/publishedVersion

Criatório - C.M. Porto info:eu-repo/semantics/publishedVersion