Pub Date : 2019-12-29DOI: 10.7559/citarj.v11i2.664
V. Todorović, Dejan Grba
The development of automatic narrative systems has been largely driven by the engineering tendency to anthropomorphize the machine logic so they can ‘tell stories’ similar to how humans do. From the artists’ perspective, however, the experimentation with their media is often more important than the (plausibility of) storytelling, and it often unfolds in non-verbal events that have a potential to generate diverse narratives through experience of the audience. We discuss the emergence of the creative practices that enrich the poetic repertoire of new media art by playfully utilizing the machine flaws, irregularities, errors and systemic technical imperfections thus revealing the human biases and fallacies entangled with technology. One of the implications of these practices is that if the AI research opens up a broader space in which a machine could achieve its own authorial voice, our concept and understanding of the narrative would need to be reconsidered.
{"title":"Wandering Machines","authors":"V. Todorović, Dejan Grba","doi":"10.7559/citarj.v11i2.664","DOIUrl":"https://doi.org/10.7559/citarj.v11i2.664","url":null,"abstract":"The development of automatic narrative systems has been largely driven by the engineering tendency to anthropomorphize the machine logic so they can ‘tell stories’ similar to how humans do. From the artists’ perspective, however, the experimentation with their media is often more important than the (plausibility of) storytelling, and it often unfolds in non-verbal events that have a potential to generate diverse narratives through experience of the audience. We discuss the emergence of the creative practices that enrich the poetic repertoire of new media art by playfully utilizing the machine flaws, irregularities, errors and systemic technical imperfections thus revealing the human biases and fallacies entangled with technology. One of the implications of these practices is that if the AI research opens up a broader space in which a machine could achieve its own authorial voice, our concept and understanding of the narrative would need to be reconsidered.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49302369","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}
Pub Date : 2019-12-29DOI: 10.7559/citarj.v11i2.666
Catherine Griffiths
This paper looks back at historical precedents for how computational systems and ideas have been visualized as a means of access to and engagement with a broader audience, and to develop a new more tangible language to address abstraction. These precedents share a subversive ground in using a visual language to provoke new ways of engaging with about complex ideas. Two new approaches to visualizing algorithmic systems are proposed for the emerging context of algorithmic ethics in society, looking at prototypical algorithms in computer vision and machine learning systems, to think through the meaning created by algorithmic structure and process. The aim is to use visual design to provoke new kinds of thinking and criticality that can offer opportunities to address algorithms in their increasingly more politicized role today. These new approaches are developed from an arts research perspective to support critical thinking and arts knowledge through creative coding and interactive design.
{"title":"Computational Visualization for Critical Thinking","authors":"Catherine Griffiths","doi":"10.7559/citarj.v11i2.666","DOIUrl":"https://doi.org/10.7559/citarj.v11i2.666","url":null,"abstract":"This paper looks back at historical precedents for how computational systems and ideas have been visualized as a means of access to and engagement with a broader audience, and to develop a new more tangible language to address abstraction. These precedents share a subversive ground in using a visual language to provoke new ways of engaging with about complex ideas. Two new approaches to visualizing algorithmic systems are proposed for the emerging context of algorithmic ethics in society, looking at prototypical algorithms in computer vision and machine learning systems, to think through the meaning created by algorithmic structure and process. The aim is to use visual design to provoke new kinds of thinking and criticality that can offer opportunities to address algorithms in their increasingly more politicized role today. These new approaches are developed from an arts research perspective to support critical thinking and arts knowledge through creative coding and interactive design.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"11 1","pages":"9-17"},"PeriodicalIF":0.2,"publicationDate":"2019-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48800315","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}
Pub Date : 2019-12-29DOI: 10.7559/citarj.v11i2.662
Gaia Tedone
Under conditions of so-called “Platform Capitalism”, software and algorithms undertake the important task of designing the interaction amongst online users and establishing criteria of relevance for content. As such, they operate as curatorial agents of platforms’ content, establishing what is there to see, know and consume. This state of affairs calls for a revision of the traditional role of the (human) curator who is confronted with an online environment characterised by the unprecedented collision of commercial, aesthetic, cultural and political interests. The question of what kind of relationship the curator shall create with the algorithm then becomes crucial: is this a relationship of antagonism, resistance or alliance? How do these two curatorial agents influence each other? In this article, I analyse a cluster of hybrid artistic and curatorial experiments (including my own curatorial work) that foregrounds online platforms as discrete modes of socio-technical assemblages that curate particular forms of connectivity amongst networks of users, data layers and technical infrastructures. By doing so, I argue for the forging of strategic alliances between human and machinic curators as a strategy to channel new forms of creativity and cooperation under conditions of “Platform Capitalism” and to operationalise human-algorithmic curation as a political and aesthetic practice within the networked culture.
{"title":"Forging Strategic Alliances","authors":"Gaia Tedone","doi":"10.7559/citarj.v11i2.662","DOIUrl":"https://doi.org/10.7559/citarj.v11i2.662","url":null,"abstract":"Under conditions of so-called “Platform Capitalism”, software and algorithms undertake the important task of designing the interaction amongst online users and establishing criteria of relevance for content. As such, they operate as curatorial agents of platforms’ content, establishing what is there to see, know and consume. This state of affairs calls for a revision of the traditional role of the (human) curator who is confronted with an online environment characterised by the unprecedented collision of commercial, aesthetic, cultural and political interests. The question of what kind of relationship the curator shall create with the algorithm then becomes crucial: is this a relationship of antagonism, resistance or alliance? How do these two curatorial agents influence each other? In this article, I analyse a cluster of hybrid artistic and curatorial experiments (including my own curatorial work) that foregrounds online platforms as discrete modes of socio-technical assemblages that curate particular forms of connectivity amongst networks of users, data layers and technical infrastructures. By doing so, I argue for the forging of strategic alliances between human and machinic curators as a strategy to channel new forms of creativity and cooperation under conditions of “Platform Capitalism” and to operationalise human-algorithmic curation as a political and aesthetic practice within the networked culture.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"11 1","pages":"41-49"},"PeriodicalIF":0.2,"publicationDate":"2019-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44772300","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}
Pub Date : 2019-12-29DOI: 10.7559/citarj.v11i2.663
Tsila Hassine, Z. Neeman
In the past few years deep-learning AI neural networks have achieved major milestones in artistic image analysis and generation, producing what some refer to as ‘art.’ We reflect critically on some of the artistic shortcomings of a few projects that occupied the spotlight in recent years. We introduce the term ‘Zombie Art’ to describe the generation of new images of dead masters, as well as ‘The AI Reproducibility Test.’ We designate the problems inherent in AI and in its application to art history. In conclusion, we propose new directions for both AI-generated art and art history, in the light of these new powerful AI technologies of artistic image analysis and generation.
{"title":"The Zombification of Art History","authors":"Tsila Hassine, Z. Neeman","doi":"10.7559/citarj.v11i2.663","DOIUrl":"https://doi.org/10.7559/citarj.v11i2.663","url":null,"abstract":"In the past few years deep-learning AI neural networks have achieved major milestones in artistic image analysis and generation, producing what some refer to as ‘art.’ We reflect critically on some of the artistic shortcomings of a few projects that occupied the spotlight in recent years. We introduce the term ‘Zombie Art’ to describe the generation of new images of dead masters, as well as ‘The AI Reproducibility Test.’ We designate the problems inherent in AI and in its application to art history. In conclusion, we propose new directions for both AI-generated art and art history, in the light of these new powerful AI technologies of artistic image analysis and generation.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"11 1","pages":"28-35"},"PeriodicalIF":0.2,"publicationDate":"2019-12-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46454685","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}
Pub Date : 2019-09-10DOI: 10.7559/citarj.v11i1.587
Jusciele Oliveira
The feature films by Flora Gomes: Mortu nega (1988), Udju azul di Yonta (1992), Po di sangui (1996), Nha fala (2002) and Republica di mininus (2012) narrate stories that speak of transits, music, woman, children, war, (neo)colonialism, cosmogony, life, death, love, birth, migration, of tradition, modernity, collectivity; using as scenario, the countryside, outdoors, with ironic, critical and metaphorical speeches. In this sense, the present abstract "I make films to be seen": an analysis of the film narrative of Flora Gomes" proposes emphasizing the elements of narrative cinematography of the fiction films of Flora Gomes present in the discourse, in themes, in the soundtrack, in orality, in time, in duration, in space, in camera movements, in the preparation of actors, in the work of illumination of the black body, in the scenery, not the visual metaphors of this director.
Flora Gomes的故事片：Mortu nega（1988年）、Udju azul di Yonta（1992年）、Po di sangui（1996年）、Nha fala（2002年）和Republica di mininus（2012年）讲述了过渡、音乐、妇女、儿童、战争、（新）殖民主义、世界主义、生、死、爱、出生、移民、传统、现代、集体的故事；以乡村、户外为场景，配以讽刺、批判和隐喻的演讲。在这个意义上，当代摘要“我拍电影是为了被人看到”——弗洛拉·戈梅斯电影叙事分析”建议强调弗洛拉·戈梅斯小说电影的叙事摄影元素，这些元素存在于话语、主题、配乐、口头、时间、持续时间、空间、镜头动作、演员准备、黑体照明工作、场景中，而不是这位导演的视觉隐喻中。
{"title":"\"I make films to be seen\": the narrative issue of Flora Gomes","authors":"Jusciele Oliveira","doi":"10.7559/citarj.v11i1.587","DOIUrl":"https://doi.org/10.7559/citarj.v11i1.587","url":null,"abstract":"The feature films by Flora Gomes: Mortu nega (1988), Udju azul di Yonta (1992), Po di sangui (1996), Nha fala (2002) and Republica di mininus (2012) narrate stories that speak of transits, music, woman, children, war, (neo)colonialism, cosmogony, life, death, love, birth, migration, of tradition, modernity, collectivity; using as scenario, the countryside, outdoors, with ironic, critical and metaphorical speeches. In this sense, the present abstract \"I make films to be seen\": an analysis of the film narrative of Flora Gomes\" proposes emphasizing the elements of narrative cinematography of the fiction films of Flora Gomes present in the discourse, in themes, in the soundtrack, in orality, in time, in duration, in space, in camera movements, in the preparation of actors, in the work of illumination of the black body, in the scenery, not the visual metaphors of this director.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44843876","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}
Pub Date : 2019-09-10DOI: 10.7559/citarj.v11i1.589
João Ricardo Mateus
Developed for the context of the V Narrative, Media, and Cognition Colloquium, this article focuses on the narratives generated by the works of Juliana Huxtable and DeForrest Brown Jr. With the intention of focusing on marginal productions, and using “Outwardly Coiling Context Collapse” by DeForrest Brown Jr. and “THERE ARE CERTAIN FACTS THAT CAN NOT BE DISPUTED” by Juliana Huxtable as case studies, this paper tries to understand what narratives try to be asserted, and how are they put in practice by these works. With the help of the contributions made by Patricia Castello Branco and Levinas, the article concludes that the works of the artist’s move towards the creation of collective narratives with a clear social impact that simultaneously tries to steer away from a dominant historical narrative.
本文以“V叙事、媒体与认知”研讨会为背景，聚焦于朱莉安娜·赫克斯特布尔和小德福雷斯特·布朗的作品所产生的叙事。以关注边际生产为目的，以小德福雷斯特·布朗的《向外卷绕语境崩溃》和朱莉安娜·赫斯特布尔的《THERE ARE CERTAIN FACTS THAT CAN NOT BE DISPUTED》为案例，试图理解叙事试图被主张的是什么。他们怎样借着这些行为得以实行呢。在Patricia Castello Branco和Levinas的贡献的帮助下，文章得出结论，艺术家的作品走向创造具有明显社会影响的集体叙事，同时试图摆脱主导的历史叙事。
{"title":"Considerations About The Marginalized Narratives of Juliana Huxtable and DeForrest Brown Jr.","authors":"João Ricardo Mateus","doi":"10.7559/citarj.v11i1.589","DOIUrl":"https://doi.org/10.7559/citarj.v11i1.589","url":null,"abstract":"Developed for the context of the V Narrative, Media, and Cognition Colloquium, this article focuses on the narratives generated by the works of Juliana Huxtable and DeForrest Brown Jr. With the intention of focusing on marginal productions, and using “Outwardly Coiling Context Collapse” by DeForrest Brown Jr. and “THERE ARE CERTAIN FACTS THAT CAN NOT BE DISPUTED” by Juliana Huxtable as case studies, this paper tries to understand what narratives try to be asserted, and how are they put in practice by these works. With the help of the contributions made by Patricia Castello Branco and Levinas, the article concludes that the works of the artist’s move towards the creation of collective narratives with a clear social impact that simultaneously tries to steer away from a dominant historical narrative.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"2 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138531790","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}
Pub Date : 2019-09-10DOI: 10.7559/citarj.v11i1.588
Gustavo Rocha e Silva Santos, Camila Peres Mancio, E. Maranho
In audiovisual's history, minorities as LGBTQ+ people had been excluded or stereotyped, thus, this study has as a guiding question understanding “Him”, character of the classic cartoon series “The Powerpuff Girls”, produced between 1998 and 2005 by Cartoon Network - by the bias of the Queer Theory, which address the questions about non-heteronormative bodies that belong to marginalized groups whose rights are denied and their lives taken. For this, a documentary and exploratory methodology was used, based on the authors researches like: Guacira Louro, Judith Butler, Edgar Morin, besides the analysis of two episodes: Octil Evil and Bash Birthday. Thus, the problematizations arised here refer to: a) How the Queer is related to Him and its possible problems and b) The dialectic between the bodies discourses accepted and excluded from the heteronormative society. The argumentation of this research is sustained by homophobia and transphobia brazilian datas, which reveals the urge to approach matters about gender and sexuality representations.
{"title":"Queer Representation Incorporated at “Him”, Character of “The Powerpuff Girls”","authors":"Gustavo Rocha e Silva Santos, Camila Peres Mancio, E. Maranho","doi":"10.7559/citarj.v11i1.588","DOIUrl":"https://doi.org/10.7559/citarj.v11i1.588","url":null,"abstract":"In audiovisual's history, minorities as LGBTQ+ people had been excluded or stereotyped, thus, this study has as a guiding question understanding “Him”, character of the classic cartoon series “The Powerpuff Girls”, produced between 1998 and 2005 by Cartoon Network - by the bias of the Queer Theory, which address the questions about non-heteronormative bodies that belong to marginalized groups whose rights are denied and their lives taken. For this, a documentary and exploratory methodology was used, based on the authors researches like: Guacira Louro, Judith Butler, Edgar Morin, besides the analysis of two episodes: Octil Evil and Bash Birthday. Thus, the problematizations arised here refer to: a) How the Queer is related to Him and its possible problems and b) The dialectic between the bodies discourses accepted and excluded from the heteronormative society. The argumentation of this research is sustained by homophobia and transphobia brazilian datas, which reveals the urge to approach matters about gender and sexuality representations.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45568439","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}
Pub Date : 2019-09-10DOI: 10.7559/citarj.v11i1.590
Célia Vieira, Ana Carvalho
In this paper, we intend to reflect on how audiovisual performance forces us to rethink the concept of narrativity. After a brief review on the fundamentals of narrative theory and audiovisual performance, we will analyse three cases that illustrate different manifestations of narrativity in audiovisual performance.
{"title":"Narrativity and Audiovisual Performance","authors":"Célia Vieira, Ana Carvalho","doi":"10.7559/citarj.v11i1.590","DOIUrl":"https://doi.org/10.7559/citarj.v11i1.590","url":null,"abstract":" In this paper, we intend to reflect on how audiovisual performance forces us to rethink the concept of narrativity. After a brief review on the fundamentals of narrative theory and audiovisual performance, we will analyse three cases that illustrate different manifestations of narrativity in audiovisual performance.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41588675","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}
Pub Date : 2019-09-10DOI: 10.7559/citarj.v11i1.591
Raquel Pacheco, M. Juliana
This article stands for innovative learning opportunities to social inclusion by film education. The theoretical model is a combined structure coming from approaches and projects of social inclusion by film education. The aim is to describe and analyze the film education process in a project outside school. This research is based on a participant observation research conducted on children in a Brazilian slum. Cinema, as other art forms, is a political and ideological tool that can be used with different purposes. Film education is a strong mediator to facilitate transformative learning, changing one’s dysfunctional views and beliefs about oneself and the world by revising their frames of reference (Mezirow & Taylor, 2009). Films have a unique ability to promote empathy towards a role model, and promote resilience in situations similar to those the role model goes through. Furthermore, media, such as films, is capable of reaching people that might otherwise be uninterested (Buckingham, 2007; Gonnet, 2007; Silverstone, 2005; UNESCO, 2013).
{"title":"Making Films in a Brazilian Slum with Children: a Participant Observation Research","authors":"Raquel Pacheco, M. Juliana","doi":"10.7559/citarj.v11i1.591","DOIUrl":"https://doi.org/10.7559/citarj.v11i1.591","url":null,"abstract":"This article stands for innovative learning opportunities to social inclusion by film education. The theoretical model is a combined structure coming from approaches and projects of social inclusion by film education. The aim is to describe and analyze the film education process in a project outside school. This research is based on a participant observation research conducted on children in a Brazilian slum. Cinema, as other art forms, is a political and ideological tool that can be used with different purposes. Film education is a strong mediator to facilitate transformative learning, changing one’s dysfunctional views and beliefs about oneself and the world by revising their frames of reference (Mezirow & Taylor, 2009). Films have a unique ability to promote empathy towards a role model, and promote resilience in situations similar to those the role model goes through. Furthermore, media, such as films, is capable of reaching people that might otherwise be uninterested (Buckingham, 2007; Gonnet, 2007; Silverstone, 2005; UNESCO, 2013). \u0000 ","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49363674","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}
Pub Date : 2019-09-10DOI: 10.7559/citarj.v11i1.594
O. Ribeiro, F. Moreira, S. Pimenta
The figure of Queen Nzinga Mbandi continues to be appreciated in fictional and/or historical narratives as a myth of postcolonial Angolan identity, allowing a continuous approach as to what concerns the modes of cultural representation. In this article, the works of Manuel Pedro Pacavira, Nzinga Mbandi (1975), Pepetela, A gloriosa família: o tempo dos flamengos (1997) and José Eduardo Agualusa, A Rainha Ginga e de como os africanos inventaram o mundo (2014) will be analyzed, as these authors, in different moments of the recent Angolan history, look at this emblematic figure, drawing on historical information produced by Cavazzi, Cadornega or Jean Louis Castilhon, among others. The works now in analysis reiterate the mythical figure of resistance to the European invaders, which was Nzinga Mbandi, or a strong orientation towards the nationalist exaltation supported by it, an evident strategy which, by the rescue of figures and cultural practices, is defined as a means to affirm negritude.
在小说和/或历史叙事中，恩津加·姆班迪王后的形象继续被视为后殖民时期安哥拉身份的神话，这使得人们可以持续探讨文化表现模式。本文将分析Manuel Pedro Pacavira, Nzinga Mbandi (1975)， Pepetela, A gloriosa família: o tempo dos flamengos(1997)和josseduardo Agualusa, A Rainha Ginga e de como os africanos inventaram o mundo(2014)的作品，因为这些作者在安哥拉近代史的不同时刻，根据Cavazzi, Cadornega或Jean Louis Castilhon等人制作的历史信息，看待这个具有象征意义的人物。现在正在分析的作品重申了抵抗欧洲侵略者的神话人物，那就是恩津加·姆班迪，或者是一种强烈的民族主义取向，这是一种明显的策略，通过对人物和文化习俗的拯救，被定义为一种肯定黑人的手段。
{"title":"Nzinga Mbandi: From Story to Myth","authors":"O. Ribeiro, F. Moreira, S. Pimenta","doi":"10.7559/citarj.v11i1.594","DOIUrl":"https://doi.org/10.7559/citarj.v11i1.594","url":null,"abstract":"The figure of Queen Nzinga Mbandi continues to be appreciated in fictional and/or historical narratives as a myth of postcolonial Angolan identity, allowing a continuous approach as to what concerns the modes of cultural representation. In this article, the works of Manuel Pedro Pacavira, Nzinga Mbandi (1975), Pepetela, A gloriosa família: o tempo dos flamengos (1997) and José Eduardo Agualusa, A Rainha Ginga e de como os africanos inventaram o mundo (2014) will be analyzed, as these authors, in different moments of the recent Angolan history, look at this emblematic figure, drawing on historical information produced by Cavazzi, Cadornega or Jean Louis Castilhon, among others. The works now in analysis reiterate the mythical figure of resistance to the European invaders, which was Nzinga Mbandi, or a strong orientation towards the nationalist exaltation supported by it, an evident strategy which, by the rescue of figures and cultural practices, is defined as a means to affirm negritude.","PeriodicalId":41151,"journal":{"name":"Journal of Science and Technology of the Arts","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2019-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47315905","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：