Resumo Neste artigo, analisam-se elementos que caracterizam aspectos da criação artística, mímesis, representação do imaginário e da cultura popular no gênero História em Quadrinhos (HQs) produzido por acadêmicos do Curso de Licenciatura em Educação do Campo: Códigos e Linguagens – Artes e Música da Universidade Federal do Tocantins. Metodologicamente, realizou-se uma pesquisa participante, de abordagem qualitativa. Os resultados mostram que é preciso compreender a estética do gênero HQs, sua relação com a literatura, bem como a mímesis na produção artístico-literária. E um dos caminhos para entender as representações do imaginário e da cultura popular nas HQs perpassa pela criação estética e pela literatura.

Abstract This paper analyzes elements that characterize aspects of artistic creation, mimesis, and representation of the imaginary, and popular culture in the Comic books genre produced by students of the Degree in Rural Education: Codes and Languages – Arts and Music at the Federal University of Tocantins. Methodologically, a participant research was carried out, with a qualitative approach. The results show that it is necessary to understand the aesthetics of the Comic books genre, its relationship with literature, as well as mimesis in artistic-literary production. And one of the ways to understand the representations of the imaginary and popular culture in comics is through aesthetic creation, and literature.

ABSTRACT: Opera presents a direct relationship between a written text (both literary and musical) and its declamation, that is, its “staging”. The body of the "singer-actor" is the visible support of the voice that works as a conjugator between text and music. This triple relationship (text - body - voice) necessarily gives rise to a series of aesthetic principles that are part of the codes of representation of the operatic genre since its inception. However, these aesthetic principles are not fixed and have changed along with the very idea of "representation" in art. Our interest is to observe how modernity has impacted (with its obsession with reality) in the aesthetic foundations of an artistic genre that seems to be healthy now in Chile.

RESUMEN: La ópera presenta una relación directa entre un texto escrito (“texto” en sentido literario y musical) y su declamación, es decir su “puesta en escena”. El cuerpo del “cantante-actor” es el soporte visible de la voz, que funciona a su vez como elemento conjugador entre texto y música. Esta triple relación (texto - cuerpo - voz) da necesariamente lugar a una serie de principios estéticos que forman parte de los códigos de representación del género operático desde sus inicios. Sin embargo, estos principios estéticos no son fijos y han cambiado a la par que la idea misma de la “representación” en el arte. Nuestro interés es observar de qué manera ha impactado la modernidad (con su obsesión por lo real) en los fundamentos estéticos de un género artístico que parece gozar de buena salud actualmente en Chile.

Resume Le vêtement est un élément de la culture matérielle au moyen duquel les corps deviennent sociaux, étant donné qu’il transmet et communique des schémas de comportement liés aux idéaux moraux, éthiques et esthétiques, ainsi que de distinction sociale déterminés par une société. Cet article analyse les significations construites autour du vêtement à partir des codes de conduite présents dans des manuels de morale, d’urbanité et des traités d'économie domestique publiés à Mérida ou qui circulèrent au Yucatán pendant la deuxième moitié du XIXe siècle et au début du XXe siècle. Ce type de textes transmettait les vertus sociales liées à l’idéal en matière de civilité, de morale et de progrès économique en modelant le sujet social des nations utopiques alors en formation. C’est pour cette raison que, dans les écoles primaires et préparatoires de l'État, les plus jeunes devaient connaître, apprendre et assimiler certaines pratiques et conduites liées au code vestimentaire afin de leur garantir un développement approprié aussi bien dans la sphère publique que privée. C’est au travers de l’étude des habits qu’est proposée ici une l’analyse des coutumes, comportements et mentalités dans le Yucatán du XIXe siècle et dans sa transition vers la modernité.

Abstract Clothes constitute a material cultural element in which bodies become social since it conveys staples of behavior linked to either moral, ethical, aesthetic ideals, or patterns of distinction socially sanctioned. This article analyzes the meanings built around clothing based on codes for behavior written in morality handbooks and economic treaties that were published and widely used in Yucatan during the second half of the 19th century, and the beginning of the 20th century. These types of texts helped to spread social virtues linked to the ideal of civility, morality and economic progress while shaping social subjects for the ideal nations in process of formation. This explains why in both State´s high schools and elementary schools, the youth had to learn and assimilate practices and behaviors entailed in clothing as a code that granted accurate performance in both public and private spheres. This research seeks to contribute to the study of costumes, behavior and mentalities behind in 19th century Yucatan and during its transition towards modernization.

Resumen El atavío es un elemento de la cultura material mediante el cual los cuerpos se vuelven sociales, pues trasmite y comunica pautas de comportamiento vinculadas a ideales morales, éticos, estéticos, así como de distinción social determinados por una sociedad. Este artículo analiza los significados construidos en torno a la indumentaria a partir de los códigos de conducta presentes en manuales de moral, urbanidad y tratados de economía doméstica publicados en Mérida o que circularon en Yucatán durante la segunda mitad del siglo xix y comienzos del xx. Este tipo de textos trasmitía las virtudes sociales afines a la civilidad, la moral y el progreso económico que modelarían al sujeto social de las utópicas naciones en formación, razón por la cual en las escuelas primarias y preparatorias del Estado los más jóvenes debían conocer, aprender y asimilar ciertas prácticas y conductas del lenguaje del vestido que, se consideraba, garantizarían su adecuado desenvolvimiento en el ámbito público y privado. Esta propuesta busca contribuir al estudio de las costumbres, comportamiento y mentalidades detrás de la indumentaria yucateca decimonónica y su transición hacia la modernidad.

Proponer la existencia de filosofía en América Latina se convierte para muchos en un problema. Más dificultades se generarán ahora al proponer la existencia de una estética latinoamericana, teniendo como representante a un pensador colombiano: Nicolás Gómez Dávila. En medio de la obra de este pensador logramos entresacar una serie de códigos estéticos que, si bien están heredados de las concepciones europeas de la estética, podrían darnos atisbos de una mirada distinta otorgada por la observación de objetos y hechos generados por el mestizaje sucedido en medio de tierras fértiles, agrestes y exuberantes como las de nuestra geografía. Realizar esta presentación implica repasar un legado existente, pero olvidado, por lo que actualizar una experiencia filosófica rica que, aunque presente, no se ha manifestado en nuestro medio de manera suficiente. Como objetivos principales de este ejercicio investigativo están: argumentar a favor del ejercicio filosófico realizado en Latinoamérica; proponer el ejercicio aforístico de Gómez Dávila como una aportación colombiana en torno a la estética filosófica; y repasar algunos tópicos estéticos que queremos entresacar en la obra de este autor para realizar un ejercicio hermenéutico de los mismos. Con este trabajo se espera alcanzar no solamente ecos en nuestro medio sino en las distintas latitudes donde ya el autor es reconocido, pero ahora desde la estética. La metodología empleada en esta investigación es realizada desde un ejercicio hermenéutico, en la perspectiva gadameriana. Esperamos proponer, como resultado principal, argumentos que corroboren las aportaciones de Gómez Dávila a la estética desde una perspectiva latinoamericana. Finalmente, concluimos que la estética de Gómez Dávila es de estilo clásico con vínculos metafísicos, asociada a un canon griego y con una clara perspectiva cristiana, pero que ha sido elaborada por una mente perteneciente a un contexto latinoamericano, del cual no debemos extraer de ningún modo.

To suggest the existence of philosophy in Latin America becomes a problem for many. Even more difficulties are generated by proposing the existence of a Latin American Aesthetics, having as its representative a Colombian thinker: Nicolás Gómez Dávila. In the midst of this thinker's work, we were able to identify a series of aesthetic codes which, although inherited from the European concepts of aesthetics, could give us glimpses of a different perspective given by the observation of objects and events generated by the miscegenation that took place in the midst of lush, rugged and fertile lands as those of our geography. To attempt his presentation involves reviewing an existing but forgotten legacy, and updating a rich philosophical experience that, although present, does not manifest in our environment sufficiently. The objectives of this research are: arguing for the philosophy made in Latin America; propose the aphoristic exercise of Gómez Dávila as a Colombian contribution to the field of aesthetics; and review some aesthetic issues that we want to conclude in the work of this author to conduct a hermeneutic exercise thereof. With this paper I expect to reach not only echoes in our philosophical community but in also in other latitudes where Gomez-Davila is already recognized, but now from the point of view of aesthetics. The methodology used in this research entailed a hermeneutic exercise, in the perspective of Gadamer. We propose some arguments supporting the contributions of Gómez-Dávila aesthetics from a Latin American perspective. Finally, we conclude that the aesthetics of Gómez-Dávila is of a classic style with metaphysical links, associated with a Greek canon and with a clear Christian perspective, but that it has been developed by a mind that belongs to a Latin American context, from which we cannot intend to separate it in any way.

It is usual nowadays to call Architecture as the set of buildings built to fulfill a specific function or activity. This point of view justifies the functional and constructive aspects of Architecture. What it is important to highlight in this paper is its active role in the creation of culture, where Architecture widely goes beyond this consideration. This is called the symbolic role of Architecture and it is related to the aesthetic current codes that are linked to patrimony, memory, history and social structure. To enlighten these arguments, cases from different periods and places are contrasted; highlighting, in a very special way, the demolition of the building known as “La Licuadora” -The Blender- in the city of Guayaquil. Architecture, from the theoretical point of view is considered the “web of meanings” whose reading depends on the cultural comprehension level.

Es cada vez más frecuente enmarcar la arquitectura como el conjunto de los edificios construidos para cumplir con una función, actividad específica. Este punto de vista justifica lo arquitectónico desde los aspectos funcional y constructivo. Lo que se intenta destacar aquí es que por el modo en que participa activamente en la construcción de la cultura, la arquitectura rebasa ampliamente estas consideraciones. Se llama a esto la función simbólica de la arquitectura y se la vincula con los códigos estéticos en vigencia relacionando estos con patrimonio, memoria, historia y estructura social. Para iluminar estos argumentos se contrastan casos de lugares y épocas variadas, y se resalta de manera especial la demolición del edificio conocido como “la licuadora” de la ciudad de Guayaquil. Para remitir el caso a una dimensión conceptual se recuerda que la arquitectura es considerada como “telaraña de significados” cuya lectura depende del nivel de comprensión de la cultura en que se inserta.

The intention of this piece of work is to show that: -The art category was built around different speeches to be able to characterize today from different points of view the state of this matter, -Finding clues to talk about certain concepts imposed by European imposition and be objective about the lack of theoretical actualization around the field of critical approaches that update the discriminatory use of hundreds of different terms coined by the illustration and that up to now hasn't been denoted in front of epistemological breakages of different theoretical approaches, anthropological, sociological, linguistic, semiotic, aesthetic, etc in a Latin American context, -Recognize the popular art as a theoretical-practical construction that show popular Latin American productions, -To put in evidence the absence of an artistic education that starts earlier (for children) that legitimate this distinction signs because only "a few" have access "to read" the artistic codes instead of encoding "art". The popular art codes are the ones that go round in the streets. For this reason, I tackle the concept of "Folklore" as a non social discourse from a semiotic frame to show the visibility-invisibility of certain popular artistic activities which are not considered as "Art". Apart from that this activities have a particular aesthetic production neither less nor more important that others.

La intención de este trabajo es dar cuenta de: - los discursos alrededor del cuál se construyo la categoría arte, y poder caracterizar hoy desde distintos enfoques el estado de cuestión de esta temática, - encontrar pistas que puedan dar cuenta de ciertos conceptos dados por la imposición cultural europea y objetivar la falta de actualización teórica alrededor del campo del arte de enfoques críticos que actualicen el uso discriminatorios de cientos términos acuñados por la ilustración y que hasta hoy no han sido resignificados a la luz de rupturas epistemológicas de distintos enfoques teóricos, antropológicos, sociológicos, lingüísticos, semióticos, estéticos etc. en un contexto Latinoamericano, - poner en evidencia la ausencia de educación artística desde temprana edad lo cuál legitima estos signos de distinción al tener acceso solo "algunos" a "leer" códigos artísticos en decir a decodificar "Arte". Son los códigos del Arte Popular los que circular en la calle, para lo cuál abordo el concepto de Folklore como discurso social no institucional desde un marco semiótico, para poder dar cuanta de la visibilidad-invisibilidad de ciertas prácticas artísticas populares no consideradas como "Arte" y que tienen una producción estética particular ni menor ni mayor que otra.

A interpretação de alguns contos de Veronica Stigger, a partir de componentes obsessivas e destemperadas, na constituição dos personagens e das tramas simples e minimalistas, conduz a presente reflexão a constatar, no estilo da autora, uma tentativa de conciliação entre uma estética de influência expressionista e o modo melodramático. Em seus códigos enfáticos e na compartilhada tendência à forma paradoxal do "extático paroxismo", em que maneiras de expressão excessiva desembocam no silêncio e no inexprimível, a crítica aos limites do realismo convencional, inerente ao absurdo neoexpressionista da dicção, convive com a poética do melodrama e dela se reapropria.

The interpretation of some short stories by Veronica Stigger in this paper focuses on her use of obsessive and excessive components in the construction of characters and minimalist plots to consider the author's style as an attempt of conciliation between the melodramatic and expressionist modes. In its emphatic codes and through the tendency to the "ecstatic paroxysm" inherent to the silent sublimity of the tableau, Stigger's work criticizes the limits of conventional realism and creates a neo-expressionist diction, as it recaptures the aesthetic of melodrama.

L'interprétation de quelques contes de Veronica Stigger à partir des composantes obsessionnelles et déraisonnables dans la constitution des personnages et des intrigues simples et minimalistes conduit cette réflexion à constater, dans le style de cet auteur, une tentative de concilier une esthétique d'influence expressionniste et le mode mélodramatique. Dans ses codes emphatiques et dans la tendance partagée à la forme paradoxale d'un "extatique paroxysme", où des manières d'expression excessives aboutissent au silence et à l'inexprimable, la critique aux limites du réalisme conventionnel, inhérente à l'absurdité néoexpressionniste de l'action, va de pair avec la poétique du mélodrame et s'en réapproprie.

In this article the relation between form and content, one of the classic issues of the theory of poetry, is examined. The point is made that concrete poetry can be regarded as an extreme form of iconic poetry, but iconicity in poetry can assume many other and more subtle forms. The issue of iconicity in language and literature is introduced by referring to the theories of Charles Sanders Peirce and Ferdinand de Saussure which form the basis of the arbitrary view of language. The opposing Platonic paradigm, however, still seems to elicit much interest as is proved by research on iconicity by linguists and literary theorists alike. Reference is made to the peripheral fields of phonosemantics or sound symbolism and the results presented by lexicographers on the almost uncanny regularities in the sound systems of words and their meanings. Antoly Liberman's view that language is motivated and/or iconic in its inception and origin but arbitrary in its history and development is then taken as a point of departure to examine iconic features of various poems by the Afrikaans poet, T T Cloete. A number of poems by T T Cloete are analysed to indicate how form and content are blended and merged to generate meaning and to prove the statement that Cloete is a poet who, par excellence, succeeds in superimposing various codes and modelling systems to create complex meaning in poems. He also succeeds in enhancing the density of meaning in seemingly simple poems by his versatility as a technician. After emphasising the importance of form in poetry the article then focusses on the importance of content. Some poets have both the ability and inclination of concerning themselves with noteworthy and profound content, taking up and extending the classic cultural and aesthetic issues of the tradition in which they work. In some of his poems T T Cloete manages to create a discourse between some of the classic texts of Western thought and his personal view of matters such as female beauty and beauty in general. The emphasis on form is always present in his poems, even when he interprets one of the red photographs of Marilyn Monroe and compares and contrasts her beauty to the role played by Beatrice in Dante's Vita Nuova. In the course of the argument issues such as the connection between the creative aspects of scientific and aesthetic thinking and the relation between intuition and intellectual activity in writing poetry are also addressed. Poetry is described as a form of philosophy on account of the fact that it entails the creative exploration of reality in an attempt to find something new, or even "non-existent", or a new perspective on well-known aspects of ordinary life. The "love of wisdom" which is etymologically implied in the word philosophy, inspires the writing of poetry for some poets but on account of the aesthetic and quicksilver qualities of poetry, poetry could, in my opinion, be identified as "liquified philosophy". The article concludes with the view that in its quest for insight in the human condition, poetry helps to keep alive the sense of wonder which is essential in enabling human beings to overcome the brutalizing conformity of the mass societies in which they live. Poetry can therefore be seen as a constructive force, which helps to connect societies to their past, their present and their future.

In hierdie artikel word die verhouding tussen vorm en inhoud in die poësie ondersoek en beredeneer as een van die kernvraagstukke van die poësieteorie. Daar word in besonder gelet op ikonisiteit as 'n eienskap van taal en van die poësie en aan enkele taalteorieë wat aan hierdie vraagstuk aandag gee. Aan die hand van die analise van gedigte hoofsaaklik uit die oeuvre van T T Cloete word verskeie ander sake ondersoek soos die medebepalende werking van vorm en inhoud in die poësie, die verband tussen die wetenskap en die kuns asook die versmelting van aanvoeling en kennis in gedigte wat as intellektuele poësie beskryf kan word. In die gevolgtrekking word gestel dat die poësie van T T Cloete tegnies kompleks, vindingryk en boeiend is, maar ook dat hierdie digter in sy werk in gesprek tree met die kulturele en estetiese tradisies waarbinne hy lewe en werk.