Resumo Este ensaio apresenta uma leitura do romance A mais longa duração da juventude (2017), do escritor e jornalista Urariano Mota, com foco nas complexas relações entre a tessitura ficcional do presente e a memória da ditadura civil e militar pós-64. Com base em teorias críticas envolvendo as relações entre a memória, a política e a estética (Ricoeur, Assmann, Derrida, Rancière), e em parte da fortuna crítica sobre a ficção brasileira contemporânea e a ditadura civil e militar pós-64 (Seligmann-Silva, Vecchi), o aspecto central abordado neste trabalho é o potencial crítico e criativo do uso da comunidade como resistência em diversos aspectos e elementos da narrativa de Mota. 2017, 2017 , (2017) Mota pós64. pós64 pós 64. 64 Ricoeur, Ricoeur (Ricoeur Assmann Derrida Rancière, Rancière Rancière) pós-6 SeligmannSilva, SeligmannSilva Seligmann Silva, Silva (Seligmann-Silva Vecchi, Vecchi Vecchi) 201 (2017 pós6 6 pós- 20 (201 2 (20 (2 (

Abstract This essay presents a reading of the novel Never-Ending Youth (2017), by writer and journalist Urariano Mota, focusing on the complex relationships between the fictional fabric of the present and the memory of the post-1964 civil and military dictatorship. Based on critical theories involving the relationships between memory, politics, and aesthetics (Ricoeur, Assmann, Derrida, Rancière), and partly on the critical fortune on contemporary Brazilian fiction about the post-1964 civil and military dictatorship (Seligmann- Silva, Vecchi), the focus of this work is the critical and creative potential of the notion of community as resistance in different aspects and elements of Mota’s fictional narrative. NeverEnding Never Ending 2017, 2017 , (2017) Mota post1964 post 1964 post-196 politics Ricoeur, Ricoeur (Ricoeur Assmann Derrida Rancière, Rancière Rancière) Seligmann (Seligmann Silva Vecchi, Vecchi Vecchi) Motas s narrative 201 (2017 post196 196 post-19 20 (201 post19 19 post-1 2 (20 post1 1 post- (2 (

Resumen Este ensayo presenta una lectura de la novela La duración más larga de la juventud (2017), del escritor y periodista Urariano Mota, centrándose en las complejas relaciones entre el tejido ficcional del presente y la memoria de la dictadura civil y militar post-1964. Basado en teorías críticas que involucran las relaciones entre memoria, política y estética (Ricoeur, Assmann, Derrida, Rancière), y en parte de la fortuna crítica sobre la ficción brasileña contemporánea y que aborda la dictadura civil y militar posterior al 1964 (Seligmann-Silva, Vecchi), el aspecto central abordado en este trabajo es el potencial crítico y creativo de utilizar a la comunidad como resistencia en diferentes aspectos y elementos de la narrativa ficcional de Mota. 2017, 2017 , (2017) Mota post1964. post1964 post 1964. post-1964 Ricoeur, Ricoeur (Ricoeur Assmann Derrida Rancière, Rancière Rancière) 196 SeligmannSilva, SeligmannSilva Seligmann Silva, Silva (Seligmann-Silva Vecchi, Vecchi Vecchi) 201 (2017 post196 post-196 19 20 (201 post19 post-19 1 2 (20 post1 post-1 (2 post- (

The operationalization of fantastic elements in fiction narratives is recurrent in children's and youth works, with the fantastic tale being a literary genre indicated in the BNCC. This article discusses the insertion of the fantastic tale as a teaching-learning object in the classroom both to boost literary literacy, considering local literary production, and to qualify the teaching practice of the Portuguese language. Based on this dialogical perspective, the document addresses the fantastic tale as an aesthetic category and teaching-learning object for literary training, based on Calvino (2004), Paes (1985), Roas (2014), Todorov (2008), and discusses the relevance in basic education of working with the author/work of the local reality of the school community. Then, it exemplifies with a didactic sequence for the seventh grade of Elementary School. Proposal carried out during the supervised teaching internship, which, according to Pimenta and Lima (2005/2006), it is constituted as a research activity and theory-practice reflection in order to overcome imitation and technical instrumentalization and strengthen the teacher's autonomy and pedagogical action training in the context of their practice. The main results include: (i) the positive reception and engagement of students in activities; (ii) the teaching possibility of exploring different aspects of the tale in dialogue with socially shared oral narratives; and (iii) the importance of valuing local literature in the school space, understanding the proximity to the author and the text as vectors that can contribute to the aesthetic and ethical formation of readers and teaching practice in Portuguese.

A operacionalização de elementos fantásticos em narrativas de ficção é recorrente em obras infanto-juvenis, sendo o conto fantástico um gênero literário indicado na BNCC. Este artigo discute a inserção do conto fantástico como objeto de ensino-aprendizagem na sala de aula tanto para impulsionar o letramento literário, considerando a produção literária local, quanto para qualificar a prática docente de língua portuguesa. Com base nessa perspectiva dialógica, o documento aborda o conto fantástico enquanto uma categoria estética e objeto de ensino-aprendizagem para formação literária, a partir de Calvino (2004), Paes (1985), Roas (2014), Todorov (2008), e discute a relevância na educação básica de se trabalhar autor/obra da realidade local da comunidade escolar. Em seguida, exemplifica com uma sequência didática para o sétimo ano do Ensino Fundamental. Proposta executada durante o estágio supervisionado docente, que, segundo Pimenta e Lima (2005/2006), se constitui como uma atividade de pesquisa e reflexão teoria-prática de modo a superar a imitação e instrumentalização técnica e fortalecer a autonomia e ação pedagógica do professor em formação no contexto de sua prática. Como principais resultados, destacam-se: (i) a recepção positiva e engajamento dos alunos nas atividades; (ii) a possibilidade docente de explorar diferentes aspectos do conto em diálogo com narrativas orais partilhadas socialmente; e (iii) a importância da valorização da literatura local no espaço escolar, entendendo-se a proximidade com o autor e o texto como vetores que podem contribuir para a formação estética e ética dos leitores e a prática docente em língua portuguesa.

Toda obra artística es productora de sentido. Sesenta y siete videos producidos por jóvenes bolivianos sobre la pandemia y en época de cuarentena han permitido tomar una radiografía social de lo que ellos experimentaron, sintieron y pensaron respecto a la situación de crisis sanitaria, el confinamiento y el distanciamiento social. Videoclips, dramas de ficción y documentales fueron deconstruidos para construir un discurso colectivo representativo, según propone el semiólogo francés Jacques Derrida. La pandemia y la cuarentena, con sus consecuencias directas (la enfermedad, el encierro y la infoxicación) e indirectas (incertidumbre, miedo, ansiedad y depresión), han reconfigurado nuestras vidas, redireccionado nuestras prioridades y creando una nueva normalidad. Eso dicen los jóvenes.

All artistic work is a producer of sense. Sixty-seven videos produced by Bolivian youth on the pandemic and quarantine have allowed to take an social x-ray of what they experienced, they felt and thought about the health crisis situation, lockdown and social distancing. Video clips, fiction dramas and documentaries were deconstructed to build a representative collective discourse, as proposed by the semiologist French Jacques Derrida. The pandemic and the quarantine, with its direct consequences (illness, confinement and infoxication) and indirect (uncertainty, fear, anxiety and depression), they have reconfigured our lives, redirected our priorities and creating a new normal. That's what the young people say.

RESUMO O escritor norte-irlandês C. S. Lewis (1898-1963) foi um dos mais destacados pensadores cristãos do século passado. Autor de vasta obra, transitou por áreas como crítica literária, literatura infanto-juvenil, ficção científica e textos de exposição teológica e apologética propriamente. Na categoria ficção científica destaca-se a assim chamada “Trilogia Cósmica”: Além do planeta silencioso, Perelandra e Aquela fortaleza medonha. Nestes três livros Lewis apresenta grande gama de temas. Dentre tantos, a angelologia - o estudo sistematizado dos seres celestiais conhecidos como anjos. O objetivo do presente artigo é apresentar as principais influências que Lewis utilizou para construir sua angeologia, literatura judaica antiga, representada por textos como o Enoque Etíope (ou Livro de Enoque ou 1Enoque) e a tradição bíblica. Procurar-se-á também defender a hipótese que, com o recurso da literatura de ficção, Lewis constrói uma teologia imaginativa e sugestiva que é uma crítica ao racionalismo da teologia continental de seu tempo.

ABSTRACT The Northern Irish author C. S. Lewis (1898-1963) was one of the outstanding Christian thinkers of the last century. A prolific author, he moved through different areas, such as literary criticism, youth literature, science fiction, and texts of theological exposition and of apologetics. In science fiction there is his remarkable “Cosmic Trilogy”: Beyond the Silent Planet, Perelandra, and That Hideous Strength. In these three books, Lewis presents a vast array of themes. Among these is angelology,the systematic study of heavenly beings known as angels. The aim of this article is to present the major influences that Lewis used to build his angelology: old Jewish literature, exemplified in texts such as the Ethiopian Enoch (or the Book of Enoch or First Enoch), and the biblical tradition itself. The article will seek also to defend the hypothesis that, using fiction, Lewis builds an imaginative and suggestive theology that is a critique of the rationalism of continental theology of his day.

Abstract: This study is based upon an undergraduate course taught at the School of Journalism at the Universidad de los Andes in Chile (2018). In order to write from scratch a story over the semester, the fifty students enrolled in the Creative Writing class developed collectively fiction novels. Although there were no previous prompts regarding the content, all the stories represented the family whether in a central or a secondary role. Relying on the nine novels produced, this article analyzes the family representations in the fictional stories of college students. Fictional audiovisual material appears as very influential in the corpus analyzed. After conducting a content analysis on the stories, the results show that all writings reinforce the role of the family as a desirable environment for the individuals’ well-being, regardless of the topic or frame of each novel.

Resumen: Esta investigación surge de una actividad de pregrado de Periodismo de la Universidad de los Andes en Chile (2018). Con el propósito de elaborar un relato extenso durante el semestre, los cincuenta estudiantes de la clase de Escritura Creativa desarrollaron colectivamente novelas de ficción. A pesar de no existir directivas previas sobre el contenido, todas las historias representaron a la familia como protagonista o de manera secundaria. A partir de las nueve novelas producidas, este trabajo analiza el retrato de familia en los relatos de ficción de jóvenes universitarios. Las influencias del material audiovisual de ficción aparecen como elemento central en el corpus analizado. Gracias a un análisis de contenido de las novelas digitales centrado en el tipo de familia representada, se concluye que las ficciones juveniles refuerzan el rol de la familia como entorno necesario para el bienestar del sujeto, independiente del enfoque de cada novela.

Abstract In this paper I will try to elucídate the notion of fiction suggested by Leibniz in his Parisian period. This notion is clarified if we take into account the Leibnizian conception of symbolic knowledge as theore- tical framework. The connection between Leibniz’s conception of fictions and that of symbolic thought is observed in the fact that he conceived fic- tions as abbreviations or compendia of speaking, thinking, discovering and de- monstrating. With this in mind, we will see that fictions were thought as blind (there is no idea that corresponds to them), confused (we have a vague knowledge of the meaning of the expressions), analogous (we employ them as if they designate possible entities) and creative (the geometer must in troduce them as suppositions) notions.

Resumen En este trabajo buscaré dilucidar la noción de ficción en el pensamiento parisino de Leibniz. Veremos que esta noción se esclarece si tenemos en cuenta, como marco teórico, la concepción leibniziana del conocimiento simbólico. La conexión entre la con cepción de las ficciones y la del pensamiento simbólico se observa por el hecho de que Leibniz pensó las ficciones como abreviaturas o compendios del hablar, pensar, des cubrir y demostrar. Teniendo en cuenta este hilo con ductor, veremos que las ficciones fueron pensadas como nociones ciegas (no hay una idea que les corresponda), confusas (tenemos un conocimiento vago del significado de las expresiones), analógicas (las empleamos como si designaran entidades posibles) y creativas (el geómetra debe introducirlas al modo de una suposición).

Many adolescents are drawn to the fantasy, science fiction and urban fantasy genres (movies and books), genres whose main characters include witches, wizards, vampires, ghosts, angels, demons, aliens and various other supernatural beings and events. Books and movies such as The Hobbit, Lord of the Rings (film series), Harry Potter (film series), X-Files, Twilight (film series), Star Wars (film series), and so on, are not only fervently consumed by some adolescents but have also, in some instances, been sacralised by adolescents (see Hopper 2005:116, McAvan 2012:5-10, Kirby 2013:2). In this article it will be argued that the reason for this, is that adolescents while questioning their identities and exploring their spiritualties, need a 'safe spiritual space' for this journey, one which may be related as something akin to what Berger termed the 'sacred canopy' where order can keep chaos at bay (Berger 1967: 51). This article will build on a lived theology perspective of how the divine can be experienced in the sources offered by popular culture texts that may become a 'sacred canopy' under which the adolescents can express their spiritual journeys. This article hopes to contribute to the facilitation of more conversations taking place amongst parents, pastors and teachers on the importance of allowing adolescents more freedom in what movies and books they are allowed to see and read. These conversations may also be employed by pastors, parents and teachers as conversation openers with adolescents who are often reluctant to open up about topics that they find difficult to discuss. Osmer and Salazar-Newton (2014:70) encourage the church to 'think of ways it can take advantage of the interest of children and youth in fantasy literature,' on their spiritual life journeys.

Abstract: This research had the general objective to identify the relation between consumption of television fiction and public opinion among young Nahuas of the municipality of Cuetzalan del Progreso, Puebla. This work tried to establish the association between the reception of television fiction and the formation of public opinion from the theories of both fields of knowledge that study the audience. This research assumed that a strong identity of the Nahuas´ youth takes part in the process of television fiction reception and its relation with the formation of their public opinion. A mixed method was applied, composed of two phases, the first qualitative served to develop the instrument for the quantitative phase. The main results are that the young Nahuas of Cuetzalan consumed large content of soap operas, have a strong ethnic identity and their public opinion is about locals and immediate problems such as pollution in their community, loss of customs and traditions and their present and future situations. These issues, they say, are very different from the topics covered in soap operas, giving as a central finding in this study that, although young people consume lot of television fiction, soap operas have low connection with the formation of their public opinion.

Resumen: Esta investigación tuvo como objetivo general identificar la relación entre el consumo de ficción televisiva y la opinión pública entre jóvenes nahuas del municipio de Cuetzalan del Progreso, Puebla. Se buscó establecer la relación entre la recepción de la ficción televisiva y la formación de la opinión pública a partir de las teorías que estudian a las audiencias en ambos campos del conocimiento. Este trabajo partió de la hipótesis de que una fuerte identidad étnica de los jóvenes nahuas interviene como mediación en el proceso de recepción de la ficción televisiva y en la formación de su opinión pública. Se aplicó una metodología mixta, compuesta de dos fases: la cualitativa sirvió para desarrollar el instrumento de la fase cuantitativa. Los principales resultados fueron que los jóvenes nahuas consumen telenovelas en alto grado, poseen una fuerte identidad étnica y su opinión pública gira en torno a problemáticas locales, como la contaminación de su comunidad, la pérdida de costumbres y su situación presente y futura. La conclusión fue que, a pesar de que los jóvenes consumen en alto grado la ficción televisiva, las telenovelas tienen escasa relación en la formación de su opinión pública.

ABSTRACT Since 1994, a growing number of South African writers of young adult and crossover fiction have experimented with science fiction and fantasy as tools for anticipating potential futures. In this article, three of these works are considered: The Slayer of Shadows by Elana Bregin, Zoo City by Lauren Beukes and The Mall Rats series consisting of Deadlands and Death of a Saint by Lily Herne. The texts are initially briefly contrasted with two texts by authors based in the USA: Lauren St John's The White Giraffe and Sarah Pinsker's "The Trans-dimensional Horsemaster Rabbis of Mpumalanga Province" to show that the three local writers' engagement with the South African present enables them to resist, in varying degrees, prevalent Western tendencies to see positive African futures in terms of either an idealised pre-colonial past or as the result of redemptive agency by external forces. Although almost twenty years separate the Bregin novel from the others, there are clear similarities between them: each is written by a white woman (or women) and each places a young female protagonist within a crumbling, violent and resolutely urban environment. Paradoxically, the future worlds the authors create are at once both profoundly unfamiliar and recognisably South African, perhaps lending credence to Darko Suvin's view that good fantasy gives rise to "cognitive estrangement" (4) by which the reader is freed to explore troubling issues such as guilt and complicity at a safe emotional remove. By foregrounding and contrasting the presentation of divisive contemporary themes such as gender, race, guilt and violence in these novels, it is hoped to establish whether the repressed fears/desires they articulate are in any way indicative of social attitudes to either present experience or imagined futures and whether such attitudes have changed significantly in the twenty years since the first democratic elections.

The Anglo-Boer War has been a very important influence in the history of the Afrikaners, and is well represented as a theme in Afrikaans literature for adults. However, so far relatively few books for young people have appeared with the war as their theme. The potential of this war, in which so many children were active participants, has not been realised properly by authors of Afrikaans children's and youth literature. The wave of new books for adults which appeared in Afrikaans during the centenary of the war at the end of the 20th century did not reach children's and youth literature. No new children's or youth books with the war as theme have appeared after 1990. The role often played by such books for adults - finding the truth, achieving reconciliation and recreating both individuals and the collective - was therefore not available by way of Afrikaans children's and youth literature. In this article five Afrikaans youth books with the Anglo-Boer war as theme that were published between 1985 and 1990 were analysed. These books include Gezina en die bruin wind by Maretha Maartens (1985), Helena in die tyd van die tente by Franci Greyling (1986), Dirkie, Drieka, Frederika by Franci Greyling (1988), Wynand se oorlog by Ria Jordaan (1989) and Eendag was daar 'n oorlog by Heléne le Roux (1990). All these books were written by female authors. If we look more closely at the children's and youth books on the war which appeared in the 1980s, it is evident that they differ considerably from the ones which had been published prior to this. Books on the war before the 1980s can mainly be described as adventure stories against a background of the war. These books have a powerful nationalistic and patriotic message. On the other hand, youth literature appearing in the 1980s is characterised by depictions of female characters' experiences of the war. These female characters are depicted as strong, resolute and undaunted women. The books also reveal a more realistic view ofwar and the meaning of heroism. The emphasis is on the characters' inner growth and the insights which they gain from the war. There is also a clear difference in the depiction of the enemy, while attempts at reconciliation are touched upon without falling into the trap of didacticism. Relations between white and black are depicted with due regard for the altered sociopolitical situation in South Africa during the 1980s, and for the first time the suffering of black people in the war is touched upon. This change coincides with the first contributions of women writers to literature on the war. Before 1980, Afrikaans children's and youth books on the war were with two exceptions written by men. This article discusses the changes introduced by women writers on the Anglo-Boer War. It initially compares the children's andyouth literature on this topic in Afrikaans with South African adult fiction as discussed by Eduan Swanepoel in 1998. Swanepoel identifies in an article in Stilet, five periods ofwhich the first extends from 1902-1910 and is characterised by personal accounts. The second period, 1910-1934, features memoirs with an additional element of fiction. Literature which appeared during the third period, between 1934 and 1948, is overwhelmingly propagandist. After a period featuring trivial popular novels replete with anti-English sentiments (1948-1980), we have the postmodern or postcolonial phase, characterised by a reversal of ideological and political sentiments. As far as Afrikaans youth literature is concerned, the first two phases do not for practical purposes exist. The next two phases identified by Swanepoel can be combined in Afrikaans youth literature. Most of the youth books which appeared during that time were written by Mikro. The postmodern or postcolonial period can be identified in youth literature about the war written by female authors.

Die Anglo-Boereoorlog het 'n baie belangrike invloed op die geskiedenis van die Afrikaner gehad en is as tema ook goed verteenwoordig in die Afrikaanse literatuur vir volwassenes. Aan die ander kant het daar relatief min jeugboeke met hierdie oorlog as tema verskyn. Die moontlikhede wat dié oorlog, waaraan soveel kinders aktief deelgeneem het, aan outeurs gebied het, is nie in die Afrikaanse kinder- en jeugliteratuur ontgin nie. Die vlaag nuwe boeke vir volwassenes wat met die honderdjarige herdenking van die oorlog aan die einde van die eeu in Afrikaans verskyn het, het nie in die kinder- en jeugliteratuur gemanifesteer nie. Géén nuwe Afrikaanse kinder- en jeugboeke met hierdie oorlog as tema het na 1990 verskyn nie. Afrikaanse kinders en jongmense het dus nie die voordele geniet wat sulke boeke dikwels vir volwassenes gehad het nie, naamlik waarheid, versoening en die herskepping van die individuele en die kollektiewe. Word die kinder- en jeugboeke wat in die 1980's oor die oorlog verskyn het, van nader beskou, blyk dit dat hierdie boeke aansienlik verskil van die boeke met die oorlog as tema wat voor hierdie tyd gepubliseer is. Dit is opvallend dat hierdie verandering saamval met die tyd toe vroueskrywers vir die eerste keer oor die oorlog begin skryf het. Voor 1980 is Afrikaanse kinderen jeugboeke oor die oorlog op twee na deur mans geskryf. In hierdie artikel word die veranderinge (soos die uitbeelding van karakters, pogings tot versoening, ens.) wat vroueskrywers teweeggebring het, bespreek. Dit word gedoen aan die hand van 'n aanvanklike vergelyking van die Afrikaanse kinder- enjeugliteratuur wat in verskillende tydperke oor die oorlog geskryf is, met Suid-Afrikaanse fiksie vir volwassenes soos in 1998 deur Eduan Swanepoel in 'n artikel in Stilet bespreek is.

Este artigo trata das estratégias de combate ao crime no século XIX, demonstrando que elas se ligavam a práticas e discursos morais que estereotipavam diferentes personagens sociais. Vê-se que figuras como o camponês, o jovem e a criança apareciam numa imagem inversa da civilidade dominante. O tema da educação e da formação era perpassado por preocupações com a boa moral e a recusa às práticas desviantes da norma. A abordagem cruza exemplos pertencentes a diferentes países no Ocidente, sobretudo o Brasil e a França. Entre as fontes, estão: obras de caráter ficcional, trabalhos monográficos, relatórios e bibliografia especializada. A metodologia visa pôr em evidência os aspectos da história das sensibilidades e do imaginário social ligados à formação da criança e do jovem. Objetiva-se tanto recuperar dimensões alternativas do processo histórico, quanto colocar em questão as bases de nossos mecanismos de controle da emoção.

This article deals with the strategies to combat crime in the nineteenth century, showing that they were connected to practices and moral speeches that stereotyped different social characters. It is perceived that figures like the peasant, the young and the child appeared in a reverse image of the dominant civility. The education and formation topic was left behind by concerns over the public morals and the refusal of the practices which are different from the rule. The approach shows examples belonging to Brazil and France. Among the sources, there are: works of a fiction nature, monographs, reports and specialized bibliography. The methodology aims to evidence the aspects of the sensibilities and of the social beliefs connected to the formation of the child and the young. It is desired to both bring back the alternative dimensions of the historical process and to rise questions about the bases of our devices of emotion control.