RESUMO: Na reflexão a seguir você encontrará de forma analítica as três representações da mulher em Lipovetsky, sendo vistas a partir da dualidade, da efemeridade e por fim da individualidade. Cada uma dessas percepções decompõe os elementos com os quais se constrói a identidade do feminino, portanto, espera-se sua análise numa visão crítica de sua imagem e costumes, ao longo de sua história. Do primeiro ao terceiro é possível apreciar os elementos sociológicos, filosóficos e antropológicos da forma simbólica feminina.

RESUMEN En la siguiente reflexión se encontrará de manera analítica, las tres representaciones de Lipovetsky sobre la mujer, siendo vistas desde la dualidad, lo efímero y por último la individualidad. Cada una de estas percepciones desglosa los elementos con los que se construye la identidad de lo femenino, por ello, su análisis se aguarda en una visión crítica de la imagen y costumbres de estas, a lo largo de su historia. Desde la primera hasta la tercera, se logra apreciar los elementos sociológicos, filosóficos y antropológicos de la forma simbólica femenina.

ABSTRACT In the following reflection, you will find in an analytical way, Lipovetsky's three representations of women, being seen from duality, ephemerality and finally individuality. Each of these perceptions breaks down the elements with which the identity of the feminine is built; therefore, its analysis is expected in a critical vision of their image and customs, throughout their history. From the first to the third, it is possible to appreciate the sociological, philosophical and anthropological elements of the feminine symbolic form.

Resumen El presente trabajo busca explorar una serie de elementos constitutivos del mito del rapto de Europa en las versiones de Mosco (Europa), Ovidio (Metamorfosis 2. 833-875 y 6. 103-107; Fastos 5. 603-620), Aquiles Tacio (Leucipa y Clitofonte 1), Luciano de Samósata (“Céfiro y Noto”, Diálogos marinos) y Nono de Panópolis (Dionisíacas 1). El objetivo es intentar determinar la(s) fuente(s) que pudo haber utilizado cada autor, a partir de la mención u omisión de algunos de estos componentes en las distintas reelaboraciones, así como también los cambios en la forma de emplearlos.

Abstract The present work aims to explore a series of constituent elements of the myth of the rape of Europa in the versions of Moshus (Europa), Ovid (Metamorphosis 2. 833-875 and 6. 103-107; Fasti 5. 603-620), Achilles Tatius (Leucippe and Clitophon 1), Lucian of Samosata (“Zephyrus and Notus”, Dialogues of the Sea Gods) and Nonus of Panopolis (Dionysiaca 1). The objective is to try to determine the source(s) that each author could have used, based on the mention or omission of some of these components in the different rewritings, as well as the changes in the way they are used.

ABSTRACT This article addresses the concept of landscape architecture to understand contemporary Latin American architectural thought through a transdisciplinary look at the case study of the Camino Viejo or Camino Milenario, Tanguá Benach. Located in southern Colombia, the trail corresponds to one of the axes of exchange in the Amazonian foothills, between the biomes and cultures of the Andes, and the myths and ethnobotanical knowledge of the Amazon jungle. On the trail, walking is building, it is both a material and symbolic experience, the relational expression of an architecture that is produced over time, that makes life possible and that can become life itself. Thus, landscape architecture invites a constant reflection regarding the symbolic dimension of space and landscape for our societies.

RESUMEN Este artículo aborda el concepto de la arquitectura del paisaje, para entender el pensamiento arquitectónico latinoamericano contemporáneo mediante una mirada transdisciplinar del caso del Camino Viejo o Camino Milenario, Tanguá Benach. Ubicado al sur de Colombia, el camino corresponde con uno de los ejes de intercambio del piedemonte amazónico, entre los biomas y culturas de la cordillera de los Andes, y los mitos y saberes etnobotánicos de la selva del Amazonas. En el camino, caminar es construir, es a la vez una experiencia material y simbólica, la expresión relacional de una arquitectura que es producida en el tiempo, que posibilita la vida y que puede llegar a ser la vida misma. Así, la arquitectura del paisaje invita a una reflexión constante respecto a la dimensión simbólica del espacio y el paisaje para nuestras sociedades.

Resumo Uma obra e um mito, cujo percurso começou no século X, nos meios da Chancelaria Califal de Córdova, durante o reinado de ‘Abd al-Raḥmān III, e cujos conteúdos e informações ainda hoje se mantêm válidos e suscitando vários e variados estudos. Obra a que está vinculado um nome, “al-Rāzī”, cuja versão latinizada, “Rasis”, acabou colada à primeira tradução para português, que desde o século XIII passou a transmitir aquela memória, e depois para a tradução da versão portuguesa para castelhano, onde se fixou. O texto que serviu de base àquela primeira tradução portuguesa, e a partir da qual surgiu a atribuição a “Rasis”, já era, de facto, a obra de Ibn Ġālib, uma refundição do século XII. O texto da primeira tradução passou por várias mãos, lugares e situações até desaparecer no Terramoto de 1755. A tradução castelhana e a Crónica Geral de Espanha de 1344, que teve aquela primeira como fonte, permitiram reconstituir o texto da tradução perdida. Ao longo dos séculos XIX e XX, edições e traduções de textos árabes suscitaram a ideia de uma possível recriação da matriz árabe perdida.

Abstract A work and a myth, whose journey began in the 10th century, in the Califal Chancellery of Córdoba, during the reign of ‘Abd al-Raḥmān III, and whose contents and information are still valid today and giving rise to several and varied studies. A work to which a name is linked, “al-Rāzī”, whose Latinized version, “Rasis”, ended up being glued to the first translation into Portuguese, which since the 13th century began to transmit that memory, and then to the translation of the Portuguese version into Castilian, where it settled. The text that served as the basis for that first Portuguese translation, and from which that attribution to “Rasis” arose, was already, in fact, the work of Ibn Ġālib, a 12th century recast. The text of the first translation passed through several hands, places and situations until it disappeared in the earthquake of 1755. The Castilian translation and the Crónica General de Espanha of 1344, which had the former as its source, allowed us to reconstruct the text of the lost translation. Throughout the 19th and 20th centuries, editions and translations of Arabic texts raised the idea of a possible recreation of the lost Arabic matrix.

Resumen Al oír el término “mujer andaluza”, automáticamente vamos a visualizar una serie de características (y no otras) que van a corresponder con un modelo de patrón ideal visual. En esta conformación, el arte tiene es un pilar fundamental. Desde distintas corrientes y esferas tales como la pintura, el cine, la música o la literatura, atendemos a la construcción de un personaje donde la esencia se reduce a un plano mítico, desechando la propia identidad de las mujeres representadas. En el siguiente artículo vamos a desgranar cómo la construcción de este ideal de mujer andaluza es esencialista, a partir del análisis de cuatro obras. Esto nos ayudará a entender cómo el impacto de esta mitificación no solo reside en la concepción estética, sino en la concepción cultural y por tanto su aceptación o rechazo en los diferentes planos de la vida socio política de las mujeres.

Abstract When we hear the term “Andalusian woman”, we are automatically going to visualize a series of characteristics (and not others) that are going to correspond with a visual ideal pattern model. In this conformation, art has a fundamental pillar. From different currents and spheres such as painting, cinema, music or literature, we attend to the construction of a character where the essence is reduced to a mythical plane, discarding the own identity of the represented women. In the following article we are going to explain how the construction of this ideal of the Andalusian woman is reductionist, and therefore rejects the identity of the women represented. This will help us to understand how the impact not only resides in the aesthetic conception, but in the cultural conception and therefore its acceptance or rejection in the different planes of socio-political life.

ABSTRACT Introduction: The myth to rejuvenate or to be eternally beautiful is a dream that the humanity has always shared in many legends. Objective: To evaluate the results of lipotransference by assisted decantation with stem cells of adipose tissue for the facial rejuvenation. Methods: A descriptive, prospective and longitudinal study was carried out with 35 patients selected by simple random sampling in the Plastic Surgery Service of Hermanos Ameijeiras Hospital in Havana city, from September, 2019 to the same month in 2022. Results: In the case material, the mean age was of 46,5 ± 11,5 years with minimum values of 34 and maximum 57 years; 48.6% was in the 50-59 age group. A prevalence of the II cutaneous phototype was verified (60.0%); in healthy patients, the highest percentage with aging degree was that of type III (57.1%). There was a prevalence of fine wrinkles in rest and deeper lines with facial expression (40.0%) in those who would receive assisted lipotransference. After the treatment improvement was verified in all the patients; none presented complication. The evaluation of this procedure was good (94.3%). Conclusions: Lipotransference is a minimumly invasive procedure with advantages as for histocompatibility, durability and smaller number of complications; it has a high rate of acceptance. The favorable final result, security and effectiveness are observed in the patient's satisfaction.

RESUMEN Introducción: El mito de rejuvenecer o ser bello eternamente es un sueño que la humanidad siempre ha compartido en muchas leyendas. Objetivo: Evaluar los resultados de la lipotransferencia por decantación asistida con células madre del tejido adiposo para el rejuvenecimiento facial. Métodos: Se realizó un estudio descriptivo, prospectivo y longitudinal de 35 pacientes seleccionados por muestreo aleatorio simple, en el Servicio de Cirugía Plástica del Hospital Hermanos Ameijeiras de La Habana, desde septiembre de 2019 hasta igual periodo de 2022. Resultados: En la casuística, la edad media fue de 46,5 ± 11,5 años con valores mínimo de 34 y máximo de 57 años; 48,6 % se encontraban en el grupo etario de 50-59 años. Se constató un predominio del fototipo cutáneo II (60,0 %); en pacientes sanos, el mayor porcentaje con grado de envejecimiento fue el de tipo III (57,1 %). Prevalecieron las arrugas finas en reposo y líneas más profundas con expresión facial (40,0 %) en quienes recibirían lipotransferencia asistida. Posterior al tratamiento se constató mejoría en todos los pacientes; ninguno presentó complicación. La evaluación de este procedimiento resultó ser buena (94,3 %). Conclusiones: La lipotransferencia es un procedimiento mínimamente invasivo con ventajas en cuanto a histocompatibilidad, durabilidad y menor número de complicaciones; tiene una elevada tasa de aceptación. El resultado final favorable, la seguridad y la efectividad se observan en la satisfacción del paciente.

Abstract This article aims to assess the limits of the debate on the crisis of hegemony in the United States in the 1970s. We raise the thesis that the crisis of this decade did not correspond to the supposed crisis of hegemony - despite the questions raised against it. We will argue that during the post-war period, the USA built the foundations of a global power that were consolidated during this and the following decade, through the foundation of the formatters parameters of the interstate system - security, currency/finance, production/technology. The crisis of the decade corresponds, therefore, not to a crisis of hegemony, but to the antagonism between the limits of the autonomy of National States and to the rise of a transnational economic order, whose vertex situated the American global power. 1970s s it postwar post war period security currencyfinance currency finance currency/finance productiontechnology production technology production/technology corresponds therefore order

Resumo Este artigo tem por objetivo avaliar os limites do debate acerca da crise de hegemonia dos Estados Unidos na década de 1970. Nossa hipótese é que a crise daquele período não correspondeu à crise de hegemonia - à revelia dos questionamentos a ela. Argumentaremos que, ao longo do pós-guerra, os EUA construíram as bases de um poder global que se consolidaram no decorrer daquela quadra e da seguinte, mediante o alicerçamento dos parâmetros formatadores do sistema interestatal - segurança, moeda/finanças, produção/tecnologia. A crise da década corresponde, por conseguinte, não à crise de hegemonia, mas ao antagonismo entre os limites da autonomia dos Estados Nacionais e a ascensão de uma ordem econômica transnacional, em cujo vértice se situa o poder global estadunidense. JEL: F40, F62, P16, N12. 1970 ela pósguerra, pósguerra pós guerra, guerra pós-guerra seguinte segurança moedafinanças moeda finanças moeda/finanças produçãotecnologia produção tecnologia produção/tecnologia corresponde conseguinte transnacional estadunidense JEL F40 F F62 P16 P N12 N 197 F4 F6 P1 N1 19 1

Abstract: Within the framework of his philosophy of money Locke develops a concept of it as something that belongs to the nature of things but whose value must be politically promulgated only once and forever. In his opinion the money is gold or silver, and its order is dictated by the order of natural reason which forces men to build their institution respecting this natural norm of things with the attitude of an unbreakable promise. Beyond the fixation that arrange the value of the money to the intrinsic nature of good social order, State intervention in the creation and management of money is instead judged as essentially pernicious. This article studies the function that this peculiar concept of money plays as an early antecedent of the liberal myth of economics as a supposed scientific discipline whose epistemic object would be the market understood analogously, under the influence of the deistic ideas of the 18th century, as a product of the spontaneous and virtuous order of society.

Resumen: En el marco de su filosofía de la moneda Locke desarrolla un concepto de ésta como algo que pertenece a la naturaleza de las cosas, pero cuyo valor debe promulgarse políticamente una sola vez y para siempre. A su juicio la moneda es el oro o la plata, y su ordenamiento está dictado por el orden de la razón natural, lo que obliga a los hombres a erigir su institución respetando esta norma natural de las cosas con la actitud de una promesa inquebrantable. Más allá de la fijación que ordena el valor de la moneda a la naturaleza intrínseca del buen orden social, la intervención estatal en la creación y gestión de la moneda es juzgada en cambio como esencialmente perniciosa. El presente artículo estudia la función que cumple este peculiar concepto de la moneda en cuanto antecedente temprano del mito liberal de la economía como una supuesta disciplina científica cuyo objeto epistémico sería el mercado, entendido éste análogamente, bajo el influjo de las ideas deístas del siglo XVIII, como un producto del orden espontáneo y virtuoso de la sociedad.

Abstract The fragmentation of natural ecosystems has become a serious global problem caused by the construction of conventional infrastructure. While this development has contributed to the economic growth of large cities, its installation and operation have socio-economic impacts on various rural populations, creating conditions and feelings of marginalization and poverty among them. Therefore, an evaluation has been conducted using landscape ecology and specialized software to assess whether the infrastructure built since 1975 in the highlands of the Tacna Department has had ecological effects on its ecosystems and high Andean societies. It has been determined that 267.3 km2 of conventional infrastructure (5.51% of the total surface) has caused a barrier effect on the Suri and an area effect on various wild plant species, reducing their abundance, diversity, and coverage. Additionally, there is evidence of the edge effect, as indicated by changes in relative humidity and soil and ambient temperatures. The interaction of rural people with their natural environment fulfills their human needs, and it has been observed that the partial or total replacement of ecosystems has limited essential development conditions, such as access to resources and exclusion from decision-making about them. This replacements have generated a climate of exclusion and injustice, leading to protests and opposition in past social conflicts that still linger. Therefore, implementing better mechanisms for environmental impact assessment, territorial management, restoration, and rural development based on the conservation of ecosystems and adequate compensation for ecosystem services will ensure the development and social peace in the high Andean societies of the Puna ecoregion.

Resumen La fragmentación de los ecosistemas naturales viene siendo un grave problema mundial, ocasionado por la construcción de infraestructura convencional, que, si bien ha contribuido al desarrollo económico de las grandes ciudades, su instalación y funcionamiento afecta socioeconómicamente a diferentes poblaciones rurales, creando en ellas condiciones y sensaciones de marginalidad y pobreza. Por ello, se ha evaluado mediante la ecología del paisaje y un software especializado, si aquella construida desde el año 1975 en la puna del Departamento de Tacna, ha provocado efectos ecológicos sobre sus ecosistemas y sociedades altoandinas, determinándose que 267,3 km2 de infraestructura convencional (5.51% de la superficie total) ha provocado el efecto barrera sobre el Suri y el efecto área en diversas especies de flora silvestre, reduciendo su abundancia, diversidad y cobertura, pero también del efecto borde, evidenciado por cambios en la humedad relativa y temperaturas del suelo y ambiente encontradas. La interacción del hombre rural con su entorno natural satisface sus necesidades humanas, comprobándose .- que el reemplazo parcial o total de los ecosistemas, ha limitado las condiciones básicas de desarrollo, como el acceso a recursos y la exclusión 110 en las decisiones sobre ellos, generando un clima de injusticia, provocando reclamos y oposiciones durante los conflictos sociales pasados que aún son latentes, por lo que la implementación de mejores mecanismos de evaluación del impacto ambiental, de gestión territorial, de restauración y desarrollo rural, basado en la conservación de sus ecosistemas y las compensaciones o retribuciones efectivas por servicios ecosistémicos, garantizaran el desarrollo y la paz social en las sociedades altoandinas de la ecorregión Puna.

This article endeavours to prove that there were creation myths of human beings or certain things, but there were seldom creation myths of ontological cosmology in ancient China. This will be warranted through the distinction between the concepts of 'to create' and 'to beget', the distinction between 'Cosmology I of creationism' and 'Cosmology II of begetting', and the relationship between the One and Many. The only exception is the myth of Nüwa äæ as the creator of human beings, but not the creator of the cosmos. Therefore, in ancient Chinese tradition, there were mainly myths of begetting rather than myths of complete creation in the sense similar to creatio ex nihilo. CONTRIBUTION: Previous research frequently underscores the profound differences between 'Cosmology I of creationism' and 'Cosmology II of begetting'. Based on the discussion of concepts of 'to create' [zao 造] and 'to beget' [sheng 生], this article argues that, there were mainly myths of begetting rather than myths of complete creation in the sense similar to creatio ex nihilo.

RESUMEN Desde la iconoclastia lectora de Sor Teresita y su pulsión iterativa disolvente del sentido textual a la combinación de lo invariante y lo fluido que Verde y Verdecito retoman del haikú japonés, Las nubes (1997) invierte el signo de la parodia aristofánica: si la comedia teatral griega se burla de las veleidades socráticas de los diletantes, Saer emprende una sutil exaltación de esos descartes del modelo civilizatorio occidental, expatriados de la República platónica. Esa caravana de autorretratos apócrifos vinculados a la vanguardia halla su mito de origen en esa curiosa mezcla de Juan L. Ortiz y Macedonio Fernández que encarna Washington Noriega en Glosa (1986), quintaesencia del escritor inorgánico y fragmentario, cuya inteligencia superior lo exime de los transitados caminos de la publicación y el reconocimiento. La narrativa de Juan José Saer se emplaza sobre esa paradoja: la del escritor al margen de las tendencias y el mercado que persigue, no obstante, la visibilidad.

ABSTRACT From the iconoclasm of Sor Teresita and the prevalence of her iterative drive to the combination of the invariant and the fluid that Verde and Verdecito take up from the Japanese haiku, The clouds (1997) reverses the sign of the aristofan parody: if the Greek theatrical comedy mocks the Socratic whims of the dilettantes, Saer undertakes a subtle exaltation of those discards by the western civilization model, expatriates of the Platonic Republic. This caravan of apocryphal self-portraits linked to the avant-garde finds its myth of origin in that curious mixture of Juan L. Ortiz and Macedonio Fernández that Washington Noriega plays in The sixty-five years of Washington (1986), quintessence of the inorganic and fragmentary writer whose superior intelligence exempts him from the transited roads of publishing and recognition. The narrative of Juan José Saer place itself on that paradox: that of the writer outside the tendencies and the market that seeks, nevertheless, to become visible.

RESUMEN En este trabajo se aborda la presencia del espacio (geográfico, ficcional y referencial) en la novela Caídos del cielo (1995) y en su posterior adaptación cinematográfica, La pistola de mi hermano (1997), ambas obras firmadas por Ray Loriga. El hecho de contar con la misma fuente creadora permite analizar de manera más precisa las especificidades de cada medio: literario y cinematográfico. En sendos casos se produce una "transposición espacial referencial" término que proponemos para definir el proceso por el cual el espacio se construye a través de las referencias culturales. De este modo, se analiza la transposición de la cultura mítica norteamericana difundida a través del cine, la televisión y la música, principalmente, a los paisajes donde transcurre la historia, situados en territorio español, en un recorrido desde la urbe madrileña hasta el mar. El estudio centra su atención en las referencias culturales y territoriales que aparecen tanto en el lenguaje literario como en el cinematográfico, deteniéndose en los tres niveles de atribución de sentido al espacio del género road movie propuestos por Giampiero Frasca: la dimensión denotativa, la arquetípica y la simbólica. Esto permite concluir que, en la novela, la transposición se produce, en mayor medida, al utilizar referencias concretas (musicales, cinematográficas, literarias), mientras que en la película el estilo visual definido por el género tiene más peso a la hora de conformar el espacio referencial.

ABSTRACT This article deals with the presence of space in the novel Caídos del cielo (1995) and in its subsequent film adaptation, La pistola de mi hermano (My Brother's Gun, 1997), both works signed by Ray Loriga, an author belonging to Generation X. It allows us to analyze the variation of different language elements that have the same creative source, showing more precisely the specificities of each medium. In this case, a "referential spatial transposition" is produced, a term that we propose to define the process by which space is constructed through cultural references, thus differentiating referential space from real or geographic and fictitious. In this way, we will analyze the transposition of the mythical North American culture to the landscapes where history takes place, all in Spanish territory, on a journey from Madrid to the sea. The study will stop at the cultural and territorial references that appear in both literary and cinematographic language, focusing on the three levels of attribution of meaning to the space of the road movie genre proposed by Giampiero Frasca: the denotative dimension, the archetypal dimension and the symbolic one. This allows us to conclude that in the novel the transposition occurs, above all, when using specific references (musical, cinematographic, literary), while in the film the visual style delimited by the genre influences to conforming the referential space.

ABSTRACT This article, about the Areruya religion of the Ingarikó people in the village of Manalai, located in the state of Roraima, Brazil, compares the discourse of two myths about the origin of the current Areruya. One of the myths was transcribed by Audrey Butt Colson (1960) in the 1950s, and the other by the anthropologist Maria Virgínia do Amaral (2019) between 2014 and 2017. The objective of comparing the two discourses was to present the articulations of each one for a new cosmological and social configuration, following the arrival of the colonizer. To achieve this, we used the idea of the “in-between” from the studies of Homi Bhabha (1994) in The Location of Culture because it allows for the use of text analysis as discourse without fixing any intrinsic meaning to them, creating a sliding space. article Manalai Roraima Brazil 1960 (1960 1950s s 2019 (2019 201 2017 configuration colonizer this inbetween “in-between 1994 (1994 them space 196 (196 (201 20 199 (199 19 (19 (20 2 1 (1 (2 (

RESUMO Este artigo sobre a religião Areruya dos Ingarikó da aldeia Manalai, localizada no estado de Roraima, compara o discurso de dois mitos sobre a origem do atual Areruya. Um dos mitos foi transcrito por Audrey Butt Colson (1960) na década de 1950 e o outro pela antropóloga Maria Virgínia do Amaral (2019) entre 2014 e 2017. O objetivo da comparação entre os dois discursos foi apresentar as articulações de cada um para uma nova configuração cosmológica e social, a partir da chegada do colonizador. Para tanto, fizemos uso da ideia de entre-lugar oriunda dos estudos de Homi Bhabha (2001) - em O local da cultura -, porque ela permite utilizar o método de análise de textos como discurso sem fixar algum sentido intrínseco a eles, criando um espaço deslizante. Manalai Roraima 1960 (1960 195 2019 (2019 201 2017 social colonizador tanto entrelugar lugar 2001 (2001 , eles deslizante 196 (196 19 (201 20 200 (200 (19 1 (20 2 (1 (2 (

RÉSUMÉ: Mulheres do Mar: pratiques performatives comme critique des mythes coloniaux patriarcaux brésiliens – Le texte analyse le projet Mulheres do Mar, méné avec des femmes âgées de la communauté Serviluz à Fortaleza (CE). Par le biais d’ateliers de pratiques performatives, le mythe colo-nial Iracema, de José de Alencar, a été remis en question. Des analyses féministes articulées avec l’approche des archives et des répertoires de Diana Taylor étayent la critique du roman. Ensuite, des aspects de l’approche méthodologique de la création sont partagés, en mettant l’accent sur les car-tographies de soi. La réflexion porte sur la manière dont l’élaboration collective d’un contre-récit à l’héritage patriarcal résumé dans Iracema contribue au débat sur les pratiques artistico-pédagogiques décoloniales. RÉSUMÉ Mar CE. CE . (CE) dateliers d ateliers colonial colo nial Alencar question lapproche l approche roman Ensuite partagés laccent accent cartographies car tographies soi lélaboration élaboration dun un contrerécit contre récit lhéritage héritage artisticopédagogiques artistico pédagogiques décoloniales (CE

ABSTRACT Women of the Sea: performative practices as a critique of Brazilian patriarchal co-lonial myths – The text analyses the Mulheres do Mar (Women of the Sea) project, conducted with elderly women from the Serviluz community in Fortaleza (CE). Through performance workshops, the colonial myth Iracema, by José de Alencar, was challenged. Feminist analyses in conjunction with Diana Taylor’s approach to archives and repertoires underpin the critique of the novel. Next, aspects of the methodological approach to creation are shared, with an emphasis on cartographies of the self. It reflects on how the collective development of a counter-narrative to the patriarchal heritage summarised in Iracema contributes to the debate on decolonial artistic-pedagogical practices. Sea co lonial project CE. CE . (CE) workshops Alencar challenged Taylors Taylor s novel Next shared self counternarrative counter narrative artisticpedagogical artistic pedagogical (CE

RESUMO Mulheres do Mar: práticas performativas como crítica aos mitos coloniais patriarcais brasileiros – O texto analisa o projeto Mulheres do Mar, realizado com idosas da comunidade Serviluz em Fortaleza (CE). Através de oficinas de práticas performativas, questionou-se o mito colonial Iracema, de José de Alencar. Análises feministas articuladas com a abordagem dos arquivos e repertórios de Diana Taylor fundamentam a crítica do romance. Em seguida, compartilham-se aspectos da abordagem me-todológica de criação, com ênfase nas cartografias de si. Reflete-se como a elaboração coletiva de uma contranarrativa à herança patriarcal sintetizada em Iracema contribui para o debate sobre práticas artísti-co-pedagógicas decoloniais. Mar CE. CE . (CE) questionouse questionou se Alencar romance seguida compartilhamse compartilham metodológica me todológica criação si Refletese Reflete artísticopedagógicas artísti co pedagógicas decoloniais (CE

Resumo: O mito de origem da matrilinearidade macua conecta relações sexuais e trocas econômicas entre mulheres e homens. O objetivo deste artigo é analisar as continuidades nas concepções de sexualidade e agência das mulheres macua por meio do mito. Este artigo é baseado na pesquisa etnográfica realizada pela primeira autora durante 12 meses (2018-2019). Os resultados mostram uma atualização do mito para a realidade macua, submersa na economia global e que serve como instrumento para redefinir e renegociar as relações de gênero. Resumo homens 1 20182019. 20182019 2018 2019 . (2018-2019) gênero 2018201 201 (2018-2019 201820 20 (2018-201 20182 2 (2018-20 (2018-2 (2018- (2018 (201 (20 (2 (

Abstract: The Macua myth of origin and matrilineality connects sexual relations and economic exchange between women and men. The aim of this article is to analyze continuities in conceptions of sexuality and agency by Macua women through the myth. This work is based on ethnographic research conducted by the first author over 12 months (2018-2019). The results show an update of this myth to the Macua reality, submerged in the global economy, which serves as an instrument to redefine and renegotiate gender relations. Abstract men 1 20182019. 20182019 2018 2019 . (2018-2019) reality economy 2018201 201 (2018-2019 201820 20 (2018-201 20182 2 (2018-20 (2018-2 (2018- (2018 (201 (20 (2 (

Resumen: El mito de origen de la matrilinealidad macua conecta las relaciones sexuales y el intercambio económico entre mujeres y hombres. El objetivo de este artículo es analizar las continuidades en las concepciones sobre sexualidad y agencia por parte de las mujeres macua a través del mito. Este artículo se basa en la investigación etnográfica realizada por la primera autora durante 12 meses (2018-2019). Los resultados muestran una actualización de este mito a la realidad macua, sumergida en la economía global, que sirve como instrumento para redefinir y renegociar las relaciones de género. Resumen hombres 1 20182019. 20182019 2018 2019 . (2018-2019) global género 2018201 201 (2018-2019 201820 20 (2018-201 20182 2 (2018-20 (2018-2 (2018- (2018 (201 (20 (2 (