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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Quaresma, José Carlos;

    The present paper discusses the stratigraphy of a sector of Tarraco, one of the most important port cities of the western Mediterranean. As the result of intense archaeological and ceramological work, this city, capital of Tarraconensis, already presents an appreciable empirical framework, from a stratigraphic and statistical point of view, for its foodstuff and ceramic trade, concerning the Imperial Period and Late Antiquity, Roman and post-Roman. The 4th century AD, because of the contraction of the Provincia of Tarraconensis (with the creation of Gallaecia and Carthaginensis) and the creation of the Diocesis Hispaniarum (with its capital in Augusta Emerita, in Lusitania), represents a contraction of Tarraco’s urban density, which is archaeologically reflected in a recurrent absence of stratigraphy. This urbanistic panorama has led to a distortion of the under-represented empirical 4th century ceramological base. This article thus presents a contribution to the general lines of the foodstuff import networks that the city had in practice at this time. O presente artigo discute a estratigrafia de um sector de Tarraco, uma das mais importantes cidades portuárias do Mediterrâneo ocidental. Fruto de um intenso labor arqueológico e ceramológico, esta cidade, capital da Tarraconensis, apresenta já um quadro empírico apreciável, do ponto de vista estratigráfico e estatístico, para o seu comércio alimentar e cerâmico, respeitante ao Período Imperial e Antiguidade Tardia, romana e pós-romana. O século IV d.C., fruto da contracção da Provincia da Tarraconensis (com a criação da Gallaecia e da Carthaginensis) e da criação da Diocesis Hispaniarum (com capital em Augusta Emerita, na Lusitania), representa uma contracção da densidade urbana de Tarraco, que se reflecte arqueologicamente numa recorrente ausência de estratigrafias. Este panorama urbanístico tem levado a uma distorção da base empírica ceramológica do século IV, subrepresentada. Este artigo apresenta assim um contributo para as linhas gerais das redes de importação alimentar que a cidade tinha em práctica nesta época. Fundación para la Ciencia y Tecnología UIDB/04666/2020

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    Authors: Castro Teixeira, Joana;

    Apresenta-se neste texto o projecto de investigação para doutoramento intitulado «A arte rupestre da Serra de Passos/Santa Comba -Garraia no contexto da Península Ibérica. Modos de partilha de grafismos no âmbito da integração social e ideológica das comunidades da Pré-história Recente» que tem sido desenvolvido pela signatária, desde Setembro de 2020, no âmbito do doutoramento em Estudos do Património, variante Arqueologia, na Faculdade de Letras da Universidade do Porto. Na Serra de Passos/Santa Comba - Garraia (concelhos de Mirandela, Valpaços e Murça, norte de Portugal) destaca-se o maior conjunto de Arte esquemática pintada em Portugal, cujo valor único transcende o território português, sendo também o maior conjunto do Noroeste peninsular e da zona sul da fachada atlântica europeia. O seu estudo global nunca foi, porém, realizado. Num contexto de investigação regional, já profícuo em dados arqueológicos, a não integração do potencial de informação que a Serra fornecerá é uma lacuna incontornável no entendimento da Pré-história regional e peninsular, lacuna essa que visamos colmatar. Realizaremos a prospecção da Serra e o estudo científico dos seus grafismos.Num discurso atualizado, assumindo os grafismos como elementos ativos da cultura material, discutiremos os modos de ocupação e de interação social, ideológica e identitária das comunidades que ocuparam a região do VI ao II milénioAC,facultando assim um incontestável contributo ao entendimento das relações intercomunitárias peninsulares na Pré-história recente. This text aims to present the PHD project «The rock art of Passos/Santa Comba-Garraia Mountain, in the context of the Iberian Peninsula. Ways of sharing graphisms in Late prehistoric communities’ social and ideological sphere». This PHD project has been developed by the author, since September 22, in the 3rd Cycle of Studies in Heritage Studies - Archaeology, in the Faculty of Arts and Humanities of University of Porto. In Passos/Santa Comba-Garraia Mountain (located in the counties of Mirandela, Valpaços and Murça, north of Portugal) we highlight presence of the major group of painted schematic rock art in Portugal, which value exceeds the Portuguese territory as it is also the major set of the northwest Iberia or of the south of the European Atlantic façade. However its study, as a whole, as never been done. In the context of a vast regional research, the absence of a con-substantiated interpretation of Passos/Santa Comba-Garraia data representes a gap in the knowledge of regional and Iberian Late prehistory. That’s the gap we aim to fill within this project. According to updated methodologies we are doing the Mountain survey and the scientific record and study of the rock art. In our approach we assume graphisms as material cultural active elements and, according to that perspective we will discuss the prehistoric occupation, social and ideological interaction and identity among communities that occupied the region from the 6th to the 2nd millennium BC.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Albuquerque, Pedro; García Fernández, Francisco José;

    O presente trabalho analisa questões relativas à aplicação das recentes metodologias do estudo da História Global aos territórios fronteiriços, valorizando a sua apetência para o desenvolvimento de relações sociais singulares e de interconexões. Este estudo centra-se, sobretudo, no Baixo Guadiana, que separa parcialmente dois países (Portugal e Espanha), assinalando-se a sua permeabilidade e o modo como, ao longo do tempo e do espaço, se desenvolveram processos locais que fazem com que as fronteiras possam ser um objecto de estudo idóneo para a História Global. In this paper we examine the use of recent methodologies from Global Studies in the study of borderlands. Borders or boundaries are critical for the development of unique social relations and interconnections. This study is mostly focused on the Lower Guadiana Valley, which separates partially two countries (Portugal and Spain). Permeability and the development of local processes in time and space are also examined, which leads to the assumption that borderlands are idoneous case-studies for Global History.

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    Authors: Castro Seixas, Paulo;

    This article aims to present a thesis proposed in an exploratory way in two exhibitions and expressed in their catalogues. The exhibitions in question were hosted by the Museu de Olaria de Barcelos, in Portugal: “Figurado - Uma Visão do Mundo” (“Figurative - A View of the World") —from 2002 to 2005— and “Uma Timor, Uma Malae - Tradução de Tradições. Olaria e Figurado em Timor-Leste” ("One Timor, One Malae - Translation of Traditions. Pottery and Figurative in Timor-Leste') —from 2008 to 2009—. In both cases the anthropological curator was the author of this paper. The intention was to consider pottery figurines as to address a fundamental anthropological discussion emphasized since the anthropological 'postmodernism' of the 1980s and renewed by the “ontological turn” of the first two decades of the 21st Century's: an epistemological pluralism that allows us to conceive different ways of ethnographic representation of the world - that is, the hypothesis of “indigenous ethnographies”. O objetivo deste artigo é a apresentação de uma tese proposta de forma exploratória em duas exposições e expressa nos seus catálogos. As exposições em causa foram apresentadas no Museu de Olaria de Barcelos, em Portugal: "Figurado- Uma Visão do Mundo" (de 2002 a 2005) e "Uma Timor, Uma Malae – Tradução de Tradições. Olaria e Figurado em Timor-Leste" (de 2008 a 2009). Em ambos os casos a curadoria antropológica foi do autor do presente texto e pretendeu-se partir do Figurado para uma discussão de sempre da Antropologia mas que tem tido mais atenção desde o questionamento representacional dos anos 80 do século passado com a "pós-modernidade" em Antropologia e agora, com a "viragem ontológica" das duas primeiras décadas do século XXI: um pluralismo epistemológico que possibilite conceber diferentes formas de representar etnograficamente o mundo, ou seja, a hipótese de "etnografias indigenas". Grupo de investigación Antropología y Filosofía (SEJ-126). Universidad de Granada. Departamento de Antropología, Geografía e Historia. Universidad de Jaén. Departamento de Filosofía II. Universidad de Granada.

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  • Authors: Finatto, Maria José Bocorny;

    El objetivo de este artículo es informar sobre aspectos de una investigación lingüístico-terminológica diacrónica, aún en su fase inicial, alineada con el campo de las humanidades digitales, con la que estamos organizando un corpus histórico del lenguaje de la medicina en portugués. Se tratará de una colección en línea de textos impresos en el siglo xviii sobre el macrotema «enfermedades y sus tratamientos». This article reports on aspects of a diachronic linguistic and terminological study in the Digital Humanities, which is still in its initial phase. Part of the study is to compile a historical corpus of medical language in Portuguese. The online collection comprises printed texts from the 18th century on the broad theme of diseases and their treatment.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Carneiro, André; Rolo, Mónica;

    O mundo funerário romano e tardo romano na província da Lusitânia, e no Alto Alentejo em particular, apresenta significativos desequilíbrios, na maioria originadas pela falta de investigação específica sobre o tema. No entanto, conseguimos entrever um panorama de significativas continuidades, embora também com rupturas, na escolha dos locais e formas de tumulação, bem como na construção de uma geografia tumular na região Roman and Late Roman funerary world in Lusitania, and particularly in Alto Alentejo, presents major variations, due specially to the absence of a specific research in the subject. However, we can perceive an important stability, with major shifts in some cases, in the places and funerary practices chosen, and also in the regional funerary geography

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    Authors: Iriarte Sanroman, Álvaro; Gamallo Otero, Pablo; Simões, Alberto;

    Neste artigo propomo-nos a definir e desenvolver uma estratégia automática para procurar especificidades lexicais dentro de conjuntos de textos utilizando unidades lexicais simples e expressões com várias palavras, ou termos multipalavra (MWE, a sua sigla em inglês). Propomos uma metodologia para o cálculo da divergência de distribuições de lemas e de MWE que permitirá encontrar, automaticamente, diferenças e semelhanças entre textos não anotados. Esta metodologia poderá ser utilizada para posteriormente identificar grupos de textos sobre os quais se procederá a análises quantitativas e qualitativas semiautomáticas e/ou com intervenção humana. Num primeiro teste, utilizamos dois textos de especialidade (da área da pediatria) e um texto literário, presumindo que os textos de especialidade deveriam apresentar maiores divergências relativamente ao texto literário do que entre eles próprios. Como os testes feitos mostraram a tendência esperada, decidimos aplicar a mesma metodologia a um segundo grupo de textos (três conjuntos de entrevistas a visitantes da cidade de Santiago de Compostela). Este trabalho ́e apoiado pelo projeto Narrativas, usos e consumos de visitantes como aliados ou amena ̧cas para o bem-estar da comunidade lo- cal: o caso de Santiago de Compostela. Ref: FFI2017-88196-R, parcialmente subsidiado pelo Ministerio de Industria, Econom ́ıa y Competiti- vidad espanhol no quadro do Programa Estatal de I+D+i Orientada a los Retos de la Sociedad (2018-2021).

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      Article . 2018
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    Authors: Pires, Edmundo B.;

    This paper articulates theses on the aesthetical form of contemporary Art. It supports the idea that Art develops its own environment in which take place forms of perception and forms of communication linked together through the experimentation on meaning by a public of observers. Moving away from the Aesthetic of Taste, “Contemporary Art” doesn’t rely on typified reactions in their observers but on the openness of the meaning. O presente trabalho articula as teses sobre a forma estética da “Arte contemporânea”. Sustenta a ideia de que a Arte desenvolve um meio próprio em que tomam lugar formas da perceção e formas da comunicação ligadas entre si pela experimentação sobre o sentido de um público de observadores. Afastando-se da Estética do Gosto, a “Arte contemporânea” não supõe reações tipificadas nos seus observadores mas a abertura do sentido. Universidad de Granada. Grupo de Investigación "Desarrollo, Educación, Diversidad y Cultura: análisis interdisciplinar" (HUM742).

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    Authors: Funes, Eurípides; Ferreira Sobrinho, Hilario;

    En la historia escrita del Ceará (Brasil), durante mucho tiempo se ocultó el papel jugado por los negros en su formación sociocultural. En este artículo planteamos una nueva mirada de esa historicidad, buscando comprender el lugar social de los afrodescendientes en el proceso histórico cearense. For a long time, texts on the history of the Ceará (Brazi) ignored afro-descendents as a socio-cultural formation. The present article presents a new outlook on this historicity, seeking to understand the social place of afro-descendents in the historical process of this region. - Grupo de investigación Antropología y Filosofía (SEJ-126). Universidad de Granada. - Área de Antropología Social. Universidad de Jaén. - Laborarorio de Antropología Social y Cultural (HUM-472). Universidad de Almería. - Departamento de Filosofía II. Universidad de Granada.

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    Authors: Costa, Ricardo da; Neves, Tainah Moreira;

    "A nobre obra brilha, mas como é nobremente brilhante, deve iluminar as mentes para conduzi-las através das verdadeiras luzes, para a verdadeira luz, onde Cristo é a verdadeira porta". Essa frase, inscrita por ordem do abade Suger (c. 1081-1151) em uma das portas de bronze da abadia de Saint-Denis, enfatiza o caráter anagógico proporcionado pelo abade à Arte, na reconstrução da basílica. Nesse processo artístico, filosófico e religioso, já descrito pelo Pseudo-Dionísio, o Areopagita, no século V, os medievais ascenderiam da luz física para a luz espiritual, do material ao imaterial, guiados pela Arte e, assim, alcançariam a elevação. É um movimento contínuo, cíclico, produzido pela árdua procura dos entes em direção ao Ser. Para realizarmos tal investigação estética, propusemo-nos analisar três extratos do escrito Liber de Rebus in Administratione Sua Gestis, de Suger, no qual o abade descreve os motivos da reedificação por ele idealizada e dirigida em Saint-Denis - especificamente a primeira adição à basílica e às portas do santuário (I, XXV - De ecclesiæ primo augmento, XXVII - De portis fusilibus et deauratis). Com base neles, pretendemos defender a hipótese que, ao reformar a abadia com uma nova Estética (que viria mais tarde a ser conhecida como Gótica), Suger utilizou a Arte para transmitir sua interpretação da Teologia cristã, e assim materializar, artisticamente, os meios tangíveis pelos quais se poderia ascender do material ao imaterial. Ao criar essa atmosfera anagógica em que, pela contemplação das formas materiais ocorreria a contemplação do invisível, do imutável, Suger conseguiu expressar artisticamente, na abadia, a hierarquia celeste do Pseudo-Dionísio Areopagita. "Bright is the noble work; but, being nobly bright, the work should brighten the minds, so that they may travel, through the true lights, to the True Light where Christ is the true door". This phrase was inscribe by orders of Abbot Suger (c. 1081-1151) in one of Saint-Denis Abbey's bronze doors. It emphasizes the anagogical character, provided by Suger to art, at the basilica's reconstruction. In this philosophical and religious process, described by Pseudo-Dionysius the Areopagite, in the fifth century, the medievals ascend from the physical light, the material, to the spiritual light, immaterial, guided by Art, and then reach elevation. It is a continuous, cyclical movement, produced by the arduous search of entitys towards the Being. In order to accomplish such aesthetic investigation, we propose to analyze three extracts from the Liber de Rebus in Administratione Sua Gestis, by Suger, in which the Abbot describes the reasons of his idealized and directed reedification at Saint-Denis. More specifically, the first addition to the church and the santuary's doors (I, XXV - De ecclesiæ primo augmento, XXVII - De portis fusilibus et deauratis). Based on them, we intend to defend the hypothesis that, to reform the Abbey with a new aesthetic (later to be known as gothic), Suger used art to convey his interpretation of Christian theology, and so materialize, artistically, tangible means by which one could ascend from the material to the immaterial. By creating this anagogical atmosphere that, by the contemplation of the materials forms occurs the contemplation of the immaterial, of the immutable, Suger managed to express artistically, at the abbey, the celestial hierarchy.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Quaresma, José Carlos;

    The present paper discusses the stratigraphy of a sector of Tarraco, one of the most important port cities of the western Mediterranean. As the result of intense archaeological and ceramological work, this city, capital of Tarraconensis, already presents an appreciable empirical framework, from a stratigraphic and statistical point of view, for its foodstuff and ceramic trade, concerning the Imperial Period and Late Antiquity, Roman and post-Roman. The 4th century AD, because of the contraction of the Provincia of Tarraconensis (with the creation of Gallaecia and Carthaginensis) and the creation of the Diocesis Hispaniarum (with its capital in Augusta Emerita, in Lusitania), represents a contraction of Tarraco’s urban density, which is archaeologically reflected in a recurrent absence of stratigraphy. This urbanistic panorama has led to a distortion of the under-represented empirical 4th century ceramological base. This article thus presents a contribution to the general lines of the foodstuff import networks that the city had in practice at this time. O presente artigo discute a estratigrafia de um sector de Tarraco, uma das mais importantes cidades portuárias do Mediterrâneo ocidental. Fruto de um intenso labor arqueológico e ceramológico, esta cidade, capital da Tarraconensis, apresenta já um quadro empírico apreciável, do ponto de vista estratigráfico e estatístico, para o seu comércio alimentar e cerâmico, respeitante ao Período Imperial e Antiguidade Tardia, romana e pós-romana. O século IV d.C., fruto da contracção da Provincia da Tarraconensis (com a criação da Gallaecia e da Carthaginensis) e da criação da Diocesis Hispaniarum (com capital em Augusta Emerita, na Lusitania), representa uma contracção da densidade urbana de Tarraco, que se reflecte arqueologicamente numa recorrente ausência de estratigrafias. Este panorama urbanístico tem levado a uma distorção da base empírica ceramológica do século IV, subrepresentada. Este artigo apresenta assim um contributo para as linhas gerais das redes de importação alimentar que a cidade tinha em práctica nesta época. Fundación para la Ciencia y Tecnología UIDB/04666/2020

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    Authors: Castro Teixeira, Joana;

    Apresenta-se neste texto o projecto de investigação para doutoramento intitulado «A arte rupestre da Serra de Passos/Santa Comba -Garraia no contexto da Península Ibérica. Modos de partilha de grafismos no âmbito da integração social e ideológica das comunidades da Pré-história Recente» que tem sido desenvolvido pela signatária, desde Setembro de 2020, no âmbito do doutoramento em Estudos do Património, variante Arqueologia, na Faculdade de Letras da Universidade do Porto. Na Serra de Passos/Santa Comba - Garraia (concelhos de Mirandela, Valpaços e Murça, norte de Portugal) destaca-se o maior conjunto de Arte esquemática pintada em Portugal, cujo valor único transcende o território português, sendo também o maior conjunto do Noroeste peninsular e da zona sul da fachada atlântica europeia. O seu estudo global nunca foi, porém, realizado. Num contexto de investigação regional, já profícuo em dados arqueológicos, a não integração do potencial de informação que a Serra fornecerá é uma lacuna incontornável no entendimento da Pré-história regional e peninsular, lacuna essa que visamos colmatar. Realizaremos a prospecção da Serra e o estudo científico dos seus grafismos.Num discurso atualizado, assumindo os grafismos como elementos ativos da cultura material, discutiremos os modos de ocupação e de interação social, ideológica e identitária das comunidades que ocuparam a região do VI ao II milénioAC,facultando assim um incontestável contributo ao entendimento das relações intercomunitárias peninsulares na Pré-história recente. This text aims to present the PHD project «The rock art of Passos/Santa Comba-Garraia Mountain, in the context of the Iberian Peninsula. Ways of sharing graphisms in Late prehistoric communities’ social and ideological sphere». This PHD project has been developed by the author, since September 22, in the 3rd Cycle of Studies in Heritage Studies - Archaeology, in the Faculty of Arts and Humanities of University of Porto. In Passos/Santa Comba-Garraia Mountain (located in the counties of Mirandela, Valpaços and Murça, north of Portugal) we highlight presence of the major group of painted schematic rock art in Portugal, which value exceeds the Portuguese territory as it is also the major set of the northwest Iberia or of the south of the European Atlantic façade. However its study, as a whole, as never been done. In the context of a vast regional research, the absence of a con-substantiated interpretation of Passos/Santa Comba-Garraia data representes a gap in the knowledge of regional and Iberian Late prehistory. That’s the gap we aim to fill within this project. According to updated methodologies we are doing the Mountain survey and the scientific record and study of the rock art. In our approach we assume graphisms as material cultural active elements and, according to that perspective we will discuss the prehistoric occupation, social and ideological interaction and identity among communities that occupied the region from the 6th to the 2nd millennium BC.

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    Authors: Albuquerque, Pedro; García Fernández, Francisco José;

    O presente trabalho analisa questões relativas à aplicação das recentes metodologias do estudo da História Global aos territórios fronteiriços, valorizando a sua apetência para o desenvolvimento de relações sociais singulares e de interconexões. Este estudo centra-se, sobretudo, no Baixo Guadiana, que separa parcialmente dois países (Portugal e Espanha), assinalando-se a sua permeabilidade e o modo como, ao longo do tempo e do espaço, se desenvolveram processos locais que fazem com que as fronteiras possam ser um objecto de estudo idóneo para a História Global. In this paper we examine the use of recent methodologies from Global Studies in the study of borderlands. Borders or boundaries are critical for the development of unique social relations and interconnections. This study is mostly focused on the Lower Guadiana Valley, which separates partially two countries (Portugal and Spain). Permeability and the development of local processes in time and space are also examined, which leads to the assumption that borderlands are idoneous case-studies for Global History.

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    Authors: Castro Seixas, Paulo;

    This article aims to present a thesis proposed in an exploratory way in two exhibitions and expressed in their catalogues. The exhibitions in question were hosted by the Museu de Olaria de Barcelos, in Portugal: “Figurado - Uma Visão do Mundo” (“Figurative - A View of the World") —from 2002 to 2005— and “Uma Timor, Uma Malae - Tradução de Tradições. Olaria e Figurado em Timor-Leste” ("One Timor, One Malae - Translation of Traditions. Pottery and Figurative in Timor-Leste') —from 2008 to 2009—. In both cases the anthropological curator was the author of this paper. The intention was to consider pottery figurines as to address a fundamental anthropological discussion emphasized since the anthropological 'postmodernism' of the 1980s and renewed by the “ontological turn” of the first two decades of the 21st Century's: an epistemological pluralism that allows us to conceive different ways of ethnographic representation of the world - that is, the hypothesis of “indigenous ethnographies”. O objetivo deste artigo é a apresentação de uma tese proposta de forma exploratória em duas exposições e expressa nos seus catálogos. As exposições em causa foram apresentadas no Museu de Olaria de Barcelos, em Portugal: "Figurado- Uma Visão do Mundo" (de 2002 a 2005) e "Uma Timor, Uma Malae – Tradução de Tradições. Olaria e Figurado em Timor-Leste" (de 2008 a 2009). Em ambos os casos a curadoria antropológica foi do autor do presente texto e pretendeu-se partir do Figurado para uma discussão de sempre da Antropologia mas que tem tido mais atenção desde o questionamento representacional dos anos 80 do século passado com a "pós-modernidade" em Antropologia e agora, com a "viragem ontológica" das duas primeiras décadas do século XXI: um pluralismo epistemológico que possibilite conceber diferentes formas de representar etnograficamente o mundo, ou seja, a hipótese de "etnografias indigenas". Grupo de investigación Antropología y Filosofía (SEJ-126). Universidad de Granada. Departamento de Antropología, Geografía e Historia. Universidad de Jaén. Departamento de Filosofía II. Universidad de Granada.

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  • Authors: Finatto, Maria José Bocorny;

    El objetivo de este artículo es informar sobre aspectos de una investigación lingüístico-terminológica diacrónica, aún en su fase inicial, alineada con el campo de las humanidades digitales, con la que estamos organizando un corpus histórico del lenguaje de la medicina en portugués. Se tratará de una colección en línea de textos impresos en el siglo xviii sobre el macrotema «enfermedades y sus tratamientos». This article reports on aspects of a diachronic linguistic and terminological study in the Digital Humanities, which is still in its initial phase. Part of the study is to compile a historical corpus of medical language in Portuguese. The online collection comprises printed texts from the 18th century on the broad theme of diseases and their treatment.

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    Authors: Carneiro, André; Rolo, Mónica;

    O mundo funerário romano e tardo romano na província da Lusitânia, e no Alto Alentejo em particular, apresenta significativos desequilíbrios, na maioria originadas pela falta de investigação específica sobre o tema. No entanto, conseguimos entrever um panorama de significativas continuidades, embora também com rupturas, na escolha dos locais e formas de tumulação, bem como na construção de uma geografia tumular na região Roman and Late Roman funerary world in Lusitania, and particularly in Alto Alentejo, presents major variations, due specially to the absence of a specific research in the subject. However, we can perceive an important stability, with major shifts in some cases, in the places and funerary practices chosen, and also in the regional funerary geography

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    Authors: Iriarte Sanroman, Álvaro; Gamallo Otero, Pablo; Simões, Alberto;

    Neste artigo propomo-nos a definir e desenvolver uma estratégia automática para procurar especificidades lexicais dentro de conjuntos de textos utilizando unidades lexicais simples e expressões com várias palavras, ou termos multipalavra (MWE, a sua sigla em inglês). Propomos uma metodologia para o cálculo da divergência de distribuições de lemas e de MWE que permitirá encontrar, automaticamente, diferenças e semelhanças entre textos não anotados. Esta metodologia poderá ser utilizada para posteriormente identificar grupos de textos sobre os quais se procederá a análises quantitativas e qualitativas semiautomáticas e/ou com intervenção humana. Num primeiro teste, utilizamos dois textos de especialidade (da área da pediatria) e um texto literário, presumindo que os textos de especialidade deveriam apresentar maiores divergências relativamente ao texto literário do que entre eles próprios. Como os testes feitos mostraram a tendência esperada, decidimos aplicar a mesma metodologia a um segundo grupo de textos (três conjuntos de entrevistas a visitantes da cidade de Santiago de Compostela). Este trabalho ́e apoiado pelo projeto Narrativas, usos e consumos de visitantes como aliados ou amena ̧cas para o bem-estar da comunidade lo- cal: o caso de Santiago de Compostela. Ref: FFI2017-88196-R, parcialmente subsidiado pelo Ministerio de Industria, Econom ́ıa y Competiti- vidad espanhol no quadro do Programa Estatal de I+D+i Orientada a los Retos de la Sociedad (2018-2021).

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    Authors: Pires, Edmundo B.;

    This paper articulates theses on the aesthetical form of contemporary Art. It supports the idea that Art develops its own environment in which take place forms of perception and forms of communication linked together through the experimentation on meaning by a public of observers. Moving away from the Aesthetic of Taste, “Contemporary Art” doesn’t rely on typified reactions in their observers but on the openness of the meaning. O presente trabalho articula as teses sobre a forma estética da “Arte contemporânea”. Sustenta a ideia de que a Arte desenvolve um meio próprio em que tomam lugar formas da perceção e formas da comunicação ligadas entre si pela experimentação sobre o sentido de um público de observadores. Afastando-se da Estética do Gosto, a “Arte contemporânea” não supõe reações tipificadas nos seus observadores mas a abertura do sentido. Universidad de Granada. Grupo de Investigación "Desarrollo, Educación, Diversidad y Cultura: análisis interdisciplinar" (HUM742).

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    Authors: Funes, Eurípides; Ferreira Sobrinho, Hilario;

    En la historia escrita del Ceará (Brasil), durante mucho tiempo se ocultó el papel jugado por los negros en su formación sociocultural. En este artículo planteamos una nueva mirada de esa historicidad, buscando comprender el lugar social de los afrodescendientes en el proceso histórico cearense. For a long time, texts on the history of the Ceará (Brazi) ignored afro-descendents as a socio-cultural formation. The present article presents a new outlook on this historicity, seeking to understand the social place of afro-descendents in the historical process of this region. - Grupo de investigación Antropología y Filosofía (SEJ-126). Universidad de Granada. - Área de Antropología Social. Universidad de Jaén. - Laborarorio de Antropología Social y Cultural (HUM-472). Universidad de Almería. - Departamento de Filosofía II. Universidad de Granada.

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    Authors: Costa, Ricardo da; Neves, Tainah Moreira;

    "A nobre obra brilha, mas como é nobremente brilhante, deve iluminar as mentes para conduzi-las através das verdadeiras luzes, para a verdadeira luz, onde Cristo é a verdadeira porta". Essa frase, inscrita por ordem do abade Suger (c. 1081-1151) em uma das portas de bronze da abadia de Saint-Denis, enfatiza o caráter anagógico proporcionado pelo abade à Arte, na reconstrução da basílica. Nesse processo artístico, filosófico e religioso, já descrito pelo Pseudo-Dionísio, o Areopagita, no século V, os medievais ascenderiam da luz física para a luz espiritual, do material ao imaterial, guiados pela Arte e, assim, alcançariam a elevação. É um movimento contínuo, cíclico, produzido pela árdua procura dos entes em direção ao Ser. Para realizarmos tal investigação estética, propusemo-nos analisar três extratos do escrito Liber de Rebus in Administratione Sua Gestis, de Suger, no qual o abade descreve os motivos da reedificação por ele idealizada e dirigida em Saint-Denis - especificamente a primeira adição à basílica e às portas do santuário (I, XXV - De ecclesiæ primo augmento, XXVII - De portis fusilibus et deauratis). Com base neles, pretendemos defender a hipótese que, ao reformar a abadia com uma nova Estética (que viria mais tarde a ser conhecida como Gótica), Suger utilizou a Arte para transmitir sua interpretação da Teologia cristã, e assim materializar, artisticamente, os meios tangíveis pelos quais se poderia ascender do material ao imaterial. Ao criar essa atmosfera anagógica em que, pela contemplação das formas materiais ocorreria a contemplação do invisível, do imutável, Suger conseguiu expressar artisticamente, na abadia, a hierarquia celeste do Pseudo-Dionísio Areopagita. "Bright is the noble work; but, being nobly bright, the work should brighten the minds, so that they may travel, through the true lights, to the True Light where Christ is the true door". This phrase was inscribe by orders of Abbot Suger (c. 1081-1151) in one of Saint-Denis Abbey's bronze doors. It emphasizes the anagogical character, provided by Suger to art, at the basilica's reconstruction. In this philosophical and religious process, described by Pseudo-Dionysius the Areopagite, in the fifth century, the medievals ascend from the physical light, the material, to the spiritual light, immaterial, guided by Art, and then reach elevation. It is a continuous, cyclical movement, produced by the arduous search of entitys towards the Being. In order to accomplish such aesthetic investigation, we propose to analyze three extracts from the Liber de Rebus in Administratione Sua Gestis, by Suger, in which the Abbot describes the reasons of his idealized and directed reedification at Saint-Denis. More specifically, the first addition to the church and the santuary's doors (I, XXV - De ecclesiæ primo augmento, XXVII - De portis fusilibus et deauratis). Based on them, we intend to defend the hypothesis that, to reform the Abbey with a new aesthetic (later to be known as gothic), Suger used art to convey his interpretation of Christian theology, and so materialize, artistically, tangible means by which one could ascend from the material to the immaterial. By creating this anagogical atmosphere that, by the contemplation of the materials forms occurs the contemplation of the immaterial, of the immutable, Suger managed to express artistically, at the abbey, the celestial hierarchy.

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