This article shows that the relationship between the Jesuits and the «republican idea» was rather peaceful for both parties, but was also very controversial within the Church itself. During the time of the Republic, in Portugal, and in the years leading up to it, the antijesuitism was a way to combat the power of the Jesuits. The republicans are fighting for solutions to the various political and social future of the country as opposed to constitutional monarchy. The use of ideological antijesuitism flag had been used very early in the propagandists manifests of the Republican Portuguese Party. However, some Jesuits were politically involved, partisand catholicism. Some members of the Company of Jesus had been in fact committed to the creation of the Nationalist Party in 1903 as the catholic party, believing that the agglutination of the catholic vote in one party to defend the values of the Church was the best solution to counter the anticlerical wave that was felt in political and cultural country. This work also aims to show that, during the Republic, was always concerned the problem of the involvement of clergy and catholics in general with partisan politics, showing the controversial relationship between the Jesuits and the «republican idea».
{"title":"Os Jesuítas e a «Ideia Republicana» em Portugal","authors":"F. D. Santos","doi":"10.53943/elcv.0118_14","DOIUrl":"https://doi.org/10.53943/elcv.0118_14","url":null,"abstract":"This article shows that the relationship between the Jesuits and the «republican idea» was rather peaceful for both parties, but was also very controversial within the Church itself. During the time of the Republic, in Portugal, and in the years leading up to it, the antijesuitism was a way to combat the power of the Jesuits. The republicans are fighting for solutions to the various political and social future of the country as opposed to constitutional monarchy. The use of ideological antijesuitism flag had been used very early in the propagandists manifests of the Republican Portuguese Party. However, some Jesuits were politically involved, partisand catholicism. Some members of the Company of Jesus had been in fact committed to the creation of the Nationalist Party in 1903 as the catholic party, believing that the agglutination of the catholic vote in one party to defend the values of the Church was the best solution to counter the anticlerical wave that was felt in political and cultural country. This work also aims to show that, during the Republic, was always concerned the problem of the involvement of clergy and catholics in general with partisan politics, showing the controversial relationship between the Jesuits and the «republican idea».","PeriodicalId":288631,"journal":{"name":"e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128179979","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Propomo-nos analisar, à luz das teorias de Género e «Queer», um texto inédito de Agustina Bessa-Luís, intitulado Três mulheres com máscara de ferro. A particularidade deste curto texto, sem indicação de género, reside no facto de a autora retomar três personagens femininas emblemáticas da sua obra, Quina, Ema e Fanny, transformadas em estátuas das três Graças da Antiguidade, e que, ao retirarem as máscaras e retomarem vida, instauram um diálogo a três. O nosso propósito será mostrar em que medida este texto marca a manifestação clara, por parte da autora, de um «feminismo subversivo» — problematizando os papéis de género para desenhar um continuum feminista — ultrapassando nisso o que Isabel Pires de Lima considera ser «cristalizações do feminino».
{"title":"Três mulheres com máscara de ferro, de Agustina Bessa-Luís: feminismo e subversão","authors":"Alda Maria Lentina","doi":"10.53943/elcv.0118_08","DOIUrl":"https://doi.org/10.53943/elcv.0118_08","url":null,"abstract":"Propomo-nos analisar, à luz das teorias de Género e «Queer», um texto inédito de Agustina Bessa-Luís, intitulado Três mulheres com máscara de ferro. A particularidade deste curto texto, sem indicação de género, reside no facto de a autora retomar três personagens femininas emblemáticas da sua obra, Quina, Ema e Fanny, transformadas em estátuas das três Graças da Antiguidade, e que, ao retirarem as máscaras e retomarem vida, instauram um diálogo a três. O nosso propósito será mostrar em que medida este texto marca a manifestação clara, por parte da autora, de um «feminismo subversivo» — problematizando os papéis de género para desenhar um continuum feminista — ultrapassando nisso o que Isabel Pires de Lima considera ser «cristalizações do feminino».","PeriodicalId":288631,"journal":{"name":"e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114659513","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay argues that the paths of translation intersect and form different configurations as one advances in it and in the study of it. It also proposes that translated literature belongs to the literary history of the language in which it appears and, therefore, should be part of the studies in that language and those literatures. It begins by comparing different translations of Horace’s Ars poetica, goes through the argumentation in philosophy of science about the preeminence of practice over theory, and states that translating poetry is writing poetry. It concludes by proposing that literary translation is a craft involving creation, criticism, and theory.
{"title":"Romper géneros","authors":"Pedro Serrano","doi":"10.53943/elcv.0221_04","DOIUrl":"https://doi.org/10.53943/elcv.0221_04","url":null,"abstract":"This essay argues that the paths of translation intersect and form different configurations as one advances in it and in the study of it. It also proposes that translated literature belongs to the literary history of the language in which it appears and, therefore, should be part of the studies in that language and those literatures. It begins by comparing different translations of Horace’s Ars poetica, goes through the argumentation in philosophy of science about the preeminence of practice over theory, and states that translating poetry is writing poetry. It concludes by proposing that literary translation is a craft involving creation, criticism, and theory.","PeriodicalId":288631,"journal":{"name":"e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126762005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The poem «A morte de Isolda» combines sonority and poetic and polyphonically articulates the genesis myth of knowledge, the medieval myth of love-passion, Wagner’s lyrical drama in order to evidence primary opposition: life and death, matter and spirit, obedience and transgression, heaven and earth. The last aria of the opera Tristan und Isolde presents a redundant libretto that serves as a substrate to the poem of Jorge de Sena, which is a product of the intelligent listening of its author, able to recreate the music in another language. Thus the tritone that initiates the opera, inaugurating the conductive theme to him, is reproduced in the first image of the poem, accompanying it from stanza to stanza. The poem is read as myths and music are read, in the melodic horizontality and verticality of the chords and arpeggios, in order to highlight the attractive process that makes the language erotic and the poem heretical.
这首诗“A morte de Isolda”结合了铿锵和诗意，并以复音的方式表达了知识的起源神话，中世纪的爱与激情神话，瓦格纳的抒情戏剧，以证明主要的对立:生与死，物质与精神，服从与违背，天堂与地球。歌剧《特里斯坦与伊索尔德》的最后咏叹调呈现了一个多余的歌词，作为豪尔赫·德·塞纳诗歌的基础，这是作者聪明的倾听的产物，能够用另一种语言重新创作音乐。因此，开始歌剧的三全音，开启了他的传导性主题，在诗的第一个形象中被复制，从一节到另一节。这首诗被解读为神话和音乐，在和弦和琶音的水平和垂直的旋律中，为了突出吸引人的过程，使语言变得色情，使诗歌变得异端。
{"title":"O desejo em várias claves: «A morte de Isolda»","authors":"Maria Theresa Abelha Alves","doi":"10.53943/elcv.0219_06","DOIUrl":"https://doi.org/10.53943/elcv.0219_06","url":null,"abstract":"The poem «A morte de Isolda» combines sonority and poetic and polyphonically articulates the genesis myth of knowledge, the medieval myth of love-passion, Wagner’s lyrical drama in order to evidence primary opposition: life and death, matter and spirit, obedience and transgression, heaven and earth. The last aria of the opera Tristan und Isolde presents a redundant libretto that serves as a substrate to the poem of Jorge de Sena, which is a product of the intelligent listening of its author, able to recreate the music in another language. Thus the tritone that initiates the opera, inaugurating the conductive theme to him, is reproduced in the first image of the poem, accompanying it from stanza to stanza. The poem is read as myths and music are read, in the melodic horizontality and verticality of the chords and arpeggios, in order to highlight the attractive process that makes the language erotic and the poem heretical.","PeriodicalId":288631,"journal":{"name":"e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122913495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Starting from the concept of exile, in this essay we explore Jorge de Sena as an hispanist. Critic and translator, he had a deep knowledge of Spanish authors and Spanish culture, maintaining regular contact with members of the Spanish intelligentsia in particular in the USA, both at personal level and via letter exchanges.
{"title":"Jorge de Sena e o exílio literário espanhol","authors":"Inês Espada Vieira","doi":"10.53943/elcv.0219_12","DOIUrl":"https://doi.org/10.53943/elcv.0219_12","url":null,"abstract":"Starting from the concept of exile, in this essay we explore Jorge de Sena as an hispanist. Critic and translator, he had a deep knowledge of Spanish authors and Spanish culture, maintaining regular contact with members of the Spanish intelligentsia in particular in the USA, both at personal level and via letter exchanges.","PeriodicalId":288631,"journal":{"name":"e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129645037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The present work aims to analyse the use of food and the main meals — lunches and dinners — in the historical novel O santo da montanha, published in 1866, by Camilo Castelo Branco, a prolific portuguese author belonging to the so-called second romantic generation, as a narrative tool to reveal the social paradigms of the old noble class of the 19th century, in phase of decay parallel to the ascendancy of the bourgeoisie.
本研究旨在分析葡萄牙作家卡米洛·卡斯特洛·布兰科(Camilo Castelo Branco)于1866年出版的历史小说《O santo da montanha》中食物和正餐(午餐和晚餐)的使用，作为一种叙事工具，揭示19世纪旧贵族阶级的社会范式，与资产阶级的统治地位平行的衰退阶段。
{"title":"À mesa com Camilo Castelo Branco: a gastronomia como instrumento de identificação social em O santo da montanha","authors":"Maria Antonietta Rossi","doi":"10.53943/elcv.0220_06","DOIUrl":"https://doi.org/10.53943/elcv.0220_06","url":null,"abstract":"The present work aims to analyse the use of food and the main meals — lunches and dinners — in the historical novel O santo da montanha, published in 1866, by Camilo Castelo Branco, a prolific portuguese author belonging to the so-called second romantic generation, as a narrative tool to reveal the social paradigms of the old noble class of the 19th century, in phase of decay parallel to the ascendancy of the bourgeoisie.","PeriodicalId":288631,"journal":{"name":"e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes","volume":"161 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127032033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article presents new data on the foundation of 16th century hospitals for the poor and pilgrims by the Magalhães family, lords of Ponte da Barca, based on the study of a family archive, the Almada and Lencastre Bastos fonds, held by the National Library of Portugal.
{"title":"Os Magalhães e a fundação de hospitais em Ponte da Barca (1560-1590)","authors":"Alice Borges Gago","doi":"10.53943/elcv.0121_04","DOIUrl":"https://doi.org/10.53943/elcv.0121_04","url":null,"abstract":"This article presents new data on the foundation of 16th century hospitals for the poor and pilgrims by the Magalhães family, lords of Ponte da Barca, based on the study of a family archive, the Almada and Lencastre Bastos fonds, held by the National Library of Portugal.","PeriodicalId":288631,"journal":{"name":"e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123658834","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The recurring theme of literary immortality runs through literature since Homer. If all culture proclaims the desire to overcome our natural condition, we find in Jorge de Sena, along with the vehement nonconformity in the face of the absurdity of being born to die, an affirmation of disbelief in any kind of immortality. Hence the urgency in recognizing the merits of his incomparable work, of which he is aware, as he wants to be recognized in this world because, as he writes, he does not believe in another. But if a work is essentially a gesture of survival, that of Sena certainly fulfils the prophecy of its verse: «One day we will be delivered from death without ceasing to die».
{"title":"A poesia, a arte, a imortalidade","authors":"Jorge Vaz de Carvalho","doi":"10.53943/elcv.0219_09","DOIUrl":"https://doi.org/10.53943/elcv.0219_09","url":null,"abstract":"The recurring theme of literary immortality runs through literature since Homer. If all culture proclaims the desire to overcome our natural condition, we find in Jorge de Sena, along with the vehement nonconformity in the face of the absurdity of being born to die, an affirmation of disbelief in any kind of immortality. Hence the urgency in recognizing the merits of his incomparable work, of which he is aware, as he wants to be recognized in this world because, as he writes, he does not believe in another. But if a work is essentially a gesture of survival, that of Sena certainly fulfils the prophecy of its verse: «One day we will be delivered from death without ceasing to die».","PeriodicalId":288631,"journal":{"name":"e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125710793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Rocio Luna Urdaibay, Claudia Fragoso Susunaga, Adriana Rovira Vázquez
FRACTALES is an artistic hypertext in constant development. It begins in 2020, based on an international collaboration between stage and digital media creators (Mexico-USA) interested in exploring their «womanhood». The project, of hybrid origin, is being configured from 10 major ideas: generate a horizontal process, cross disciplines transversally, as well as the competences of creation and research, favor a childlike aesthetic, summon play, work with memory and imagination, assuming unpredictability, allowing appropriation, venturing into the realm of intimacy and the feminine. During their creative process, the artists-researchers involved approach the study of transdisciplinarity, which allows them to theoretically systematize several of the precepts that support the proposal, in such a way that their theoretical-practical, artistic-investigative, private-public merges into a first product: FRACTALES - FIRST TERRITORY/PRIMER TERRITORIO. Once the first stage of the work is built, it is presented to groups of students, Art History students, researchers, national and international creators to be intervened. There are no fixed routes, it is not known how the FIRST TERRITORY/PRIMER TERRITORIO will be deconstructed, there is no censorship or guidelines for the loading or unloading of the materials generated on the slates that accumulate. In the year 2021, FRACTALES already constitutes a rhizome in constant expansion, open to your sight and periodic intervention, where open relationships of an affective-sensory-intellectual-sensitive-esthetic-public-social-personal order are established... In this article, the creative process experienced by the creators is systematized, contemplating expressive needs, poetic stakes and theoretical foundations through an analytical descriptive process.
FRACTALES是一个不断发展的艺术超文本。它将于2020年开始，基于舞台和数字媒体创作者(墨西哥-美国)之间的国际合作，对探索他们的“女性气质”感兴趣。这个混合起源的项目由10个主要想法组成:产生一个横向的过程，横向的跨学科，以及创造和研究的能力，喜欢孩子般的审美，召唤游戏，用记忆和想象力工作，假设不可预测性，允许挪用，冒险进入亲密和女性的领域。在他们的创作过程中，艺术家-研究人员参与了跨学科的研究，这使他们能够从理论上系统化支持该提案的几个规则，以这样一种方式，他们的理论-实践，艺术-调查，私人-公共融合为第一个产品:FRACTALES - first TERRITORY/PRIMER TERRITORIO。一旦作品的第一阶段完成，它将呈现给学生群体，艺术史学生，研究人员，国内和国际创作者进行干预。没有固定的路线，也不知道FIRST TERRITORY/PRIMER TERRITORIO将如何被解构，也没有审查制度或指导方针来装卸堆积在石板上的材料。在2021年，FRACTALES已经构成了一个不断扩展的根茎，向你的视线开放，并定期干预，在这里建立了情感-感官-智力-敏感-美学-公共-社会-个人秩序的开放关系……本文将创作者所经历的创作过程系统化，通过分析性的描述过程来思考表达需求、诗歌利害关系和理论基础。
{"title":"FRACTALES. Obra artística virtual transdisciplinaria","authors":"Rocio Luna Urdaibay, Claudia Fragoso Susunaga, Adriana Rovira Vázquez","doi":"10.53943/elcv.0221_05","DOIUrl":"https://doi.org/10.53943/elcv.0221_05","url":null,"abstract":"FRACTALES is an artistic hypertext in constant development. It begins in 2020, based on an international collaboration between stage and digital media creators (Mexico-USA) interested in exploring their «womanhood». The project, of hybrid origin, is being configured from 10 major ideas: generate a horizontal process, cross disciplines transversally, as well as the competences of creation and research, favor a childlike aesthetic, summon play, work with memory and imagination, assuming unpredictability, allowing appropriation, venturing into the realm of intimacy and the feminine. During their creative process, the artists-researchers involved approach the study of transdisciplinarity, which allows them to theoretically systematize several of the precepts that support the proposal, in such a way that their theoretical-practical, artistic-investigative, private-public merges into a first product: FRACTALES - FIRST TERRITORY/PRIMER TERRITORIO. Once the first stage of the work is built, it is presented to groups of students, Art History students, researchers, national and international creators to be intervened. There are no fixed routes, it is not known how the FIRST TERRITORY/PRIMER TERRITORIO will be deconstructed, there is no censorship or guidelines for the loading or unloading of the materials generated on the slates that accumulate. In the year 2021, FRACTALES already constitutes a rhizome in constant expansion, open to your sight and periodic intervention, where open relationships of an affective-sensory-intellectual-sensitive-esthetic-public-social-personal order are established... In this article, the creative process experienced by the creators is systematized, contemplating expressive needs, poetic stakes and theoretical foundations through an analytical descriptive process.","PeriodicalId":288631,"journal":{"name":"e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132474293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Among other strategies that the Real Casa dos Expostos, managed by Misericórdia of Lisbon, has adopted in an attempt to ensure the autonomy of the young people it has assisted, it has promoted training in various crafts through contracts with masters of differents trades, in which it has determined the obligations that they had to fulfil towards the institution and apprentices. The fundamental objective was to prepare them to work as journeymen, as stated by the tripartite hierarchy of crafts. Amongst contracts of apprenticeship signed between 1777 and 1812, I will highlight those relating to the building area. The aim is to characterize one of the strategies promoted by that institution to insert the young people it assisted, at a time in their lives when it was not constrained to maintain its assistance.
在里斯本Misericórdia管理的Real Casa dos Expostos采取的其他战略中，为了确保它所帮助的年轻人的自主权，它通过与不同行业的大师签订合同，促进了各种工艺的培训，在合同中，它确定了他们必须履行的义务。基本目标是让他们做好准备，像熟练工一样工作，正如手工艺的三方等级制度所述。在1777年至1812年间签订的学徒合同中，我将重点介绍与建筑面积有关的合同。其目的是描述该机构所提倡的一项战略的特点，即让它所援助的年轻人在其生活中没有必要继续提供援助的时候加入进来。
{"title":"A assistência aos expostos de Lisboa: a aprendizagem de ofícios da construção (1777-1812)","authors":"Milene Alves","doi":"10.53943/elcv.0121_06","DOIUrl":"https://doi.org/10.53943/elcv.0121_06","url":null,"abstract":"Among other strategies that the Real Casa dos Expostos, managed by Misericórdia of Lisbon, has adopted in an attempt to ensure the autonomy of the young people it has assisted, it has promoted training in various crafts through contracts with masters of differents trades, in which it has determined the obligations that they had to fulfil towards the institution and apprentices. The fundamental objective was to prepare them to work as journeymen, as stated by the tripartite hierarchy of crafts. Amongst contracts of apprenticeship signed between 1777 and 1812, I will highlight those relating to the building area. The aim is to characterize one of the strategies promoted by that institution to insert the young people it assisted, at a time in their lives when it was not constrained to maintain its assistance.","PeriodicalId":288631,"journal":{"name":"e-Letras com Vida: Revista de Estudos Globais — Humanidades, Ciências e Artes","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122003881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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