Abstract This paper aims to explore one of the central chapters in Ulysses as a dramatic text, and, more importantly, its disruptive purport. Therefore, starting with the theoretical framework offered by the Drama Theory with its analytical tools, combined with a historical and a comparative perspective in order to place the text in the context in which it was generated and published and in relation to other texts and authorships, it explores some of its most relevant and renewing features. As the most important results, it is pointed out that the chapter that Joyce placed under the invocation of Circe is a profoundly innovative play, and it maintains parallels with the dramatic work of other transcendental authors in the 20th century.

Resumen Este artículo tiene como finalidad mostrar la condición de texto dramático de uno de los capítulos centrales en Ulysses, y sobre todo su voluntad rupturista. Para ello, a partir del marco teórico que ofrece la Teoría Dramática con sus herramientas analíticas, a las que se suman las perspectivas histórica o comparada para situar el texto en el contexto en que se genera y publica y en relación con otros textos o autorías, se consideran algunos de sus rasgos más relevantes y novedosos. Como resultados más notables se señala que el capítulo que en su día Joyce situó bajo la advocación de Circe, constituye una obra dramática profundamente innovadora y mantiene paralelismos con la obra dramática de otros autores transcendentales en el siglo XX.

Neste trabalho, apresento algumas partes da minha dissertação defendida em 2023, onde analiso depoimentos produzidos e compartilhados durante as dinâmicas efetivadas no campo de pesquisa. Realizei observação participante no programa “Território Hip-Hop” da prefeitura de São Paulo – uma iniciativa de política pública conquistada pela militância da cultura Hip-Hop na cidade. Essa imersão permitiu compreender os desenvolvimentos e interações de jovens negros/as e periféricos/as participantes das atividades do programa. Utilizei trechos de rap de artistas como Baco Exu do Blues, Cristal e Djonga para a produção de dados. As músicas foram usadas como provocações, permitindo levantar questões e reflexões, mais do que apenas fornecer respostas definitivas. Organizei um experimento com dois grupos focais e realizei entrevistas semiestruturadas com alguns/as desses/as adolescentes, captando suas perspectivas e conhecimentos situados. Essa abordagem metodológica permitiu uma análise das experiências, das construções de identidades e posicionamentos dos/as jovens, contextualizando suas vivências no cotidiano. Durante a produção e análise dos dados, investiguei as vozes e conhecimentos desses jovens identificados com a cultura Hip-Hop. Busquei compreender os efeitos subjetivos das mensagens de negritude presentes no rap, que descrevem as realidades raciais no Brasil. Desse modo, analisei como essas mensagens influenciam trajetórias e perspectivas de vida, moldando identidades e identificações. As entrevistas e discussões revelaram o rap como uma poderosa ferramenta transformadora que estimula reflexões profundas e transcende a luta contra opressões, sendo um saber realizado pelo corpo e pela voz, representando múltiplas vivências.

In this paper, I present some parts of my dissertation defended in 2023, where I analyze testimonies produced and shared during the dynamics carried out in the research field. I carried out participant observation in the “Território Hip-Hop” program of the city of São Paulo – a public policy initiative achieved by the activism of Hip-Hop culture in the city. This immersion allowed me to understand the dynamics and interactions of young black people and people from the outskirts of the city who participated in the program’s activities. I used rap excerpts from artists such as Baco Exu do Blues, Cristal and Djonga to produce data. The songs were used as provocations, allowing questions and reflections to be raised, rather than just providing definitive answers. I organized an experiment with two focus groups and conducted semi-structured interviews with some of these adolescents, capturing their perspectives and situated knowledge. This methodological approach allowed an analysis of the experiences, identity constructions and positioning of the young people, contextualizing their experiences in everyday life. During the production and analysis of the data, I investigated the voices and knowledge of these young people who identify with Hip-Hop culture. I sought to understand the subjective effects of the messages of blackness present in rap, which describe racial realities in Brazil. In this way, I analyzed how these messages influence life trajectories and perspectives, shaping identities and identifications. The interviews and discussions revealed rap as a powerful transformative tool that stimulates deep reflections and transcends the fight against oppression, being a knowledge carried out by the body and voice, representing multiple experiences.

Abstract: The article focuses on two plays about the Greek hero, heir to the weapons of Heracles, written by Sophocles and Heiner Müller. With regard to the tragedy of Sophocles, the relationship with sacrificial ritual based on the studies of Walter Burkert gives rise to an alternative reading of the final speech, ex machina , of Heracles and the ending and meaning of the drama. In the case of Müller, the article discusses, in addition to differences and continuities in relation to the Greek model, the actuality of the play in times of crossroads. Abstract hero Müller speech drama discusses model crossroads

Resumo: O artigo aborda os dramas acerca do herói grego, herdeiro das armas de Héracles, concebidos por Sófocles e Heiner Müller. No que concerne à tragédia grega, a relação com o ritual sacrificial pelos estudos de Walter Burkert dá o ensejo a uma leitura alternativa da fala final, ex machina , de Héracles e, com isso, de término e sentido do drama. No caso de Müller, discute-se, para além de diferenças e continuidades em relação ao modelo grego, a atualidade da peça em tempos de encruzilhada. Resumo grego Müller grega final isso drama discutese, discutese discute se, se discute-se encruzilhada

Resumen Este artículo examina el creciente auge de los pódcasts de ficción en español dentro del contexto actual de la esfera literaria digital en el ámbito hispánico. Inicialmente, se analiza el fenómeno del podcasting como un medio híbrido que se sitúa en la confluencia de la intermedialidad y la reciente plataformización de la producción cultural. Luego, se profundiza en la reciente relación entre las audioseries y las narrativas de ciencia ficción especulativa, destacando la prevalencia de temas relacionados con futuros distópicos, imaginarios apocalípticos y especulaciones tecnocientíficas. Posteriormente, ofrece una visión panorámica de la producción de pódcasts dentro de esta línea en América Latina y España. El artículo concluye con una propuesta de agenda de investigación que busca establecer un diálogo entre la literatura comparada y el paradigma de la intermedialidad, con el objetivo de posicionar la ficción sonora como un objeto de estudio inter y transdisciplinario.

Resumo Este artigo examina o crescente aumento dos podcasts de ficção em espanhol no contexto atual da esfera literária digital na esfera hispânica. Inicialmente, analisa-se o fenômeno do podcasting como um meio híbrido que se situa na confluência da intermidialidade e da recente plataformização da produção cultural. Em seguida, aprofunda-se a relação recente entre séries de áudio e narrativas especulativas de ficção científica, destacando a prevalência de temas relacionados a futuros distópicos, imaginários apocalípticos e especulações tecnocientíficas. Posteriormente, oferece uma visão panorâmica da produção de podcasts desta linha na América Latina e na Espanha. O artigo conclui com uma proposta de agenda de pesquisa que busca estabelecer um diálogo entre a literatura comparada e o paradigma da intermidialidade, com o objetivo de posicionar a ficção sonora como objeto de estudo transdisciplinar.

Abstract This paper examines the growing rise of fiction podcasts in Spanish within the current context of the digital literary sphere in the Hispanic sphere. Initially, the phenomenon of podcasting is analyzed as a hybrid medium that is situated at the confluence of intermediality and the recent platforming of cultural production. Then, the recent relationship between audio drama and speculative science fiction narratives is delved into, highlighting the prevalence of themes related to dystopian futures, apocalyptic imaginaries and techno-scientific speculations. Subsequently, it offers a panoramic view of the production of podcasts within this line in Latin America and Spain. The article concludes with a proposed research agenda that seeks to establish a dialogue between comparative literature and the paradigm of intermediality, with the aim of positioning sound fiction as an object of transdisciplinary study.

Abstract: The history of the 1910-1920 revolutionary process in Mexico State is a troubling issue. Here, there was no spectacular drama, it wasn’t the stage for great battles, nor were any major social demands made. What’s curious is that its proximity to the state of Morelos made it into a space for confluence and communications. In the historiography, there have been contrasting views of the approach to the Zapatistas of Morelos. One position has pejoratively labelled it a “contagion,” while others saw similarities and emphasized the state’s agrarian conflicts. There has been a greater diversity of publications in recent years, producing a more nuanced panorama. The objective of this article is to present this debate and the changing interpretations of the Revolution in Mexico State at the end of the twentieth century and beginning of the twenty-first.

Resumen: La historia del proceso revolucionario de 1910 a 1920 en el Estado de México es un tema inquietante. En este lugar no se dieron los pasajes más espectaculares, no fue el escenario de grandes batallas ni tampoco se hicieron públicas demandas radicales. Lo curioso es que su cercanía con el estado de Morelos lo posicionó como un espacio de confluencia y comunicación. En la historiografía, el acercamiento con el zapatismo morelense se ha visto de forma contrastante. Una posición lo denominó peyorativamente “un contagio”, mientras que otros vieron sus semejanzas y señalaron el conflicto agrario en la entidad. En tiempos recientes, las publicaciones se han diversificado y arrojan un panorama más matizado. Por ello, el objeto del artículo es mostrar este debate y los cambios en las interpretaciones de la Revolución en territorio mexiquense a fines del siglo XX e inicios del XXI.

Resumen Los modelos de socialización de la niñez narrados en cuentos costarricenses del siglo XX posibilitan mostrar patrones culturales de socialización y su historicidad. La reflexión se orienta hacia la interrogante sobre cómo representa la narrativa costarricense nociones de niñez y modelos de socialización de la niñez en cuentos costarricenses de las primeras décadas del siglo XX. Con base en el análisis desde la Hermenéutica Profunda, se identificaron patrones de socialización, sobre todo de la niñez femenina, como recurso para intensificar el dramatismo de procesos sociales en boga durante la época que cubren. Los hallazgos se contrastan con premisas teóricas derivadas de estudios que tratan la historicidad de la niñez y los procesos socioculturales subyacentes. Los resultados develan una niñez ajena a procesos protagónicos en sus entornos de interacción sujeta a un control vertical ejercido por figuras de autoridad. Se tienden a sobrevalorar características deseables como la sumisión y la obediencia infantil y sobresale la carencia de la caracterización de un lugar social de la niñez con identidad propia. La noción de niñez es una metonimia que representa la calamidad y la decadencia, sin un auténtico cuestionamiento de su lugar sociofamiliar.

Abstract The models of childhood socialization narrated in Costa Rican tales of the 20th century make it possible to depict cultural patterns of socialization and their historicity. The reflection is oriented on the question of how the Costa Rican narrative represents notions of childhood and models of childhood socialization, in Costa Rican tales of the 20th century. The analysis from the in-depth Hermeneutics identified patterns of socialization, especially of female childhood, as a resource to intensify the drama of social processes in vogue during the time they cover. The findings are contrasted with theoretical premises derived from studies dealing with the historicity of childhood and the underlying sociocultural processes. The results reveal a childhood alien to leading processes in their interaction environments; subject to vertical control exercised by authority figures. Desirable characteristics such as child submission and obedience tend to be overestimated, and the lack of characterization of a social place in childhood with its own identity stands out. The notion of childhood is a metonymy that represents calamity and decadence, without a genuine questioning of its socio-familiar place.

The music of the Racionais MC’s, one of the most important Brazilian rap groups, draws its strength from a forceful discourse. Racionais’ rap is poetry made in the periphery and aimed at the periphery itself, where its members come from. However, their reach extends beyond this audience of equals to other social actors. This is because they have achieved so much success, but also for formal reasons characteristic of the structure of the compositions. Another even more significant feature is the characterization of the characters acting in the songs, which include broader actors and interlocutors. In this process, Racionais’ rap combines the construction of identities with a performance that stages and dramatizes narrative and social positions. From the album Sobrevivendo no Inferno (1997) onwards, the group’s music appealed to a wide audience and challenged the listener, who had to position themselves in relation to what they were hearing. The article sets out to investigate how the group’s lyrics have contributed to this broadening of the dialog with listeners. Two compositions, “Diário de um detento” (“Diary of a prisoner”) and “Capítulo 4, versículo 3” (“Chapter 4, verse 3”), are analyzed in order to understand how, by dramatizing situations in which different social actors find themselves, the songs force people to take up positions, to take part in the drama, a drama that is the drama of the peripheries, but which is also the drama of everyone, as these songs indicate, inviting people not only to reflect, but to take part in the game of action and enjoyment of the compositions.

A música dos Racionais MC’s, um dos mais importantes grupos do rap brasileiro, retira sua força de um discurso contundente. O rap dos Racionais é uma poesia feita na periferia e que procura se dirigir à própria periferia, quebrada de origem de seus integrantes. Entretanto, seu alcance extrapola esse público de iguais para se voltar também a outros atores sociais. Isso ocorre por terem alcançado muito sucesso, mas também por razões formais características da estrutura das composições. Outro recurso ainda mais significativo é a caracterização de personagens atuando nas músicas, que incluem atores e interlocutores mais abrangentes. Nesse processo, o rap dos Racionais combina a construção de identidades a uma performance que encena e dramatiza posições narrativas e sociais. A partir do disco Sobrevivendo no Inferno (1997), a música do grupo convoca um público amplo e interpela o ouvinte, que precisa se posicionar em relação ao que escuta. O artigo se propõe a averiguar como as letras do grupo passaram a contribuir para esse alargamento do diálogo com os ouvintes. Duas composições, “Diário de um detento” e “Capítulo 4, versículo 3”, são analisadas para entender como, ao dramatizar situações em que diferentes atores sociais se encontram, as músicas obrigam a assumir posições, a participar do drama, de um drama que é o drama das periferias, mas que é também o drama de todos, como essas músicas indicam, convocando não apenas a refletir, mas a participar do jogo de ação e fruição das composições.

SUMMARY The music of the Racionais MC's, one of the most important Brazilian rap groups, draws its strength from a forceful discourse. Racionais' rap is poetry made in the periphery and aimed at the periphery itself, where its members come from. However, their reach extends beyond this audience of equals to other social actors. This is because they have achieved so much success, but also for formal reasons characteristic of the structure of the compositions. Another even more significant feature is the characterization of the characters acting in the songs, which include broader actors and interlocutors. In this process, Racionais' rap combines the construction of identities with a performance that stages and dramatizes narrative and social positions. From the album Sobrevivendo no Inferno (1997) onwards, the group's music appealed to a wide audience and challenged the listener, who had to position themselves in relation to what they were hearing. The article sets out to investigate how the group's lyrics have contributed to this broadening of the dialog with listeners. Two compositions, "Diário de um detento" ("Diary of a prisoner") and "Capítulo 4, versículo 3" ("Chapter 4, verse 3"), are analyzed in order to understand how, by dramatizing situations in which different social actors find themselves, the songs force people to take up positions, to take part in the drama, a drama that is the drama of the peripheries, but which is also the drama of everyone, as these songs indicate, inviting people not only to reflect, but to take part in the game of action and enjoyment of the compositions. MCs, MCs MC s, s MC's groups discourse itself However success compositions interlocutors process positions 1997 (1997 onwards group listener hearing listeners Diário detento Diary prisoner prisoner" Capítulo 4 3 Chapter 3, , 3") peripheries everyone indicate reflect 199 (199 19 (19 1 (1 (

RESUMO A música dos Racionais MC's, um dos mais importantes grupos do rap brasileiro, retira sua força de um discurso contundente. O rap dos Racionais é uma poesia feita na periferia e que procura se dirigir à própria periferia, quebrada de origem de seus integrantes. Entretanto, seu alcance extrapola esse público de iguais para se voltar também a outros atores sociais. Isso ocorre por terem alcançado muito sucesso, mas também por razões formais características da estrutura das composições. Outro recurso ainda mais significativo é a caracterização de personagens atuando nas músicas, que incluem atores e interlocutores mais abrangentes. Nesse processo, o rap dos Racionais combina a construção de identidades a uma performance que encena e dramatiza posições narrativas e sociais. A partir do disco Sobrevivendo no Inferno (1997), a música do grupo convoca um público amplo e interpela o ouvinte, que precisa se posicionar em relação ao que escuta. O artigo se propõe a averiguar como as letras do grupo passaram a contribuir para esse alargamento do diálogo com os ouvintes. Duas composições, "Diário de um detento" e "Capítulo 4, versículo 3", são analisadas para entender como, ao dramatizar situações em que diferentes atores sociais se encontram, as músicas obrigam a assumir posições, a participar do drama, de um drama que é o drama das periferias, mas que é também o drama de todos, como essas músicas indicam, convocando não apenas a refletir, mas a participar do jogo de ação e fruição das composições. MCs, MCs MC s, s MC's brasileiro contundente integrantes Entretanto sucesso composições abrangentes processo 1997, 1997 , (1997) ouvinte escuta ouvintes Diário detento Capítulo 4 3, 3 3" encontram periferias todos indicam refletir 199 (1997 19 (199 1 (19 (1 (

Thirty-eight years into the HIV and AIDS pandemic, the world is still striving to reduce global HIV infections towards zero new infections and AIDS-related deaths by 2030. Sub-Saharan Africa continues to carry the burden of global HIV infections as governmental and nongovernmental agencies try out different prevention strategies (UNAIDS, 2024b). Several scholars have argued that comprehensive sexuality education (CSE) is the best preventive strategy to reach youth and key populations with factual information regarding HIV and AIDS. This paper draws from the project, Mentoring as a Method to Promote Women's Health in the Context of HIV-Prevention and Unequal Gender Relations, which employed memory work, photo-voice, drama, drawings, and focus group discussions with third-year student teachers in a life orientation module. Focussing on the data generated through drama, I present an arts-based activity that was used to teach about HIV transmission to student teachers in a bid to equip them with alternative ways of teaching school-learners about HIV and AIDS. The findings highlight student teachers' lived experiences and how they have shaped their perceptions of HIV infections and living with AIDS. I argue from the findings, that arts-based pedagogies allow for enhanced understanding of complex phenomena due to their participatory and in-built intervention nature. Thus, I posit that pedagogies that employ participatory, arts-based, and visual methodologies should be extensively employed in teacher-education towards reducing new HIV infections among the youth.

The low levels of interest by students in science, technology, engineering, and mathematics (STEM)-related subjects and work is a challenge that needs to be resolved. And research has shown that arts-based, participatory, and humanistic methodologies-when integrated with the teaching of STEM subjects-have the potential to stimulate student interest, facilitate epistemological access, and hence, improve performance. Thus, in this self-study research paper, two science teacher educators share and reflect on their observations and experiences of using an arts-based teaching methodology (drama) in teaching science concepts and socio-scientific issues to pre-service teachers training to be high school teachers. Drama activities were used to teach the concepts of diffusion, DNA structure, meiosis, and a socio-scientific issue associated with albinism in African communities. Data were collected through the development of drama scripts, journaling observations, reflections, and discussions with a critical friend. Insights from the study show that the integration of drama into the science classroom creates opportunities for social interaction, for recognising students' active participation in their own learning, for power sharing, and for promoting engagement (cognitive, affective, and physical) that leads to the construction of new knowledge. In addition, drama pedagogy humanises science subject matter by showing its relevance and catering for varied learning styles. And drama ignites enthusiasm in students by invoking their innate sense of wonder. Consequently, adopting a STEAM (science, technology, engineering, arts, and mathematics) approach to teaching STEM subjects enriches epistemological access to scientific disciplines because such unconventional pedagogical strategies humanise abstract concepts, thereby increasing the likelihood of student success in these fields. There is, however, a need for heightened alertness in the teacher in order to pick up any misunderstandings and misconceptions about the science concepts that may manifest in the drama presentations.

Even with well-prepared lectures, some of my students still struggled to understand some of the concepts of cell biology. I therefore wondered if an exploration of teaching methods involving the arts would help them to engage with the subject content in ways that made it more accessible, and help them to understand the concepts better. Building on earlier approaches of using collaborative learning, I requested students to discuss, plan, and present to each other on cell biology concepts using arts-based teaching methods. In groups of 4-6 members, they could use any strategy such as dance, drama, music, poetry, and drawing to teach the concepts. The students collaboratively prepared content for a concept of their choice and presented it using their chosen and developed teaching strategy. Some of the strategies that students seemed to enjoy using included rapping the concepts, songs, dance, role play, and poetry. A few students resorted to individual PowerPoint presentations. The hope was that the enjoyment would translate into students' familiarisation with and understanding of the concepts better than through traditional teaching. Although the approach demonstrated that students could teach these concepts in versatile and fun ways, it did not assess their understanding of the concepts presented.

ABSTRACT The essay proposes a retelling of the short story “Os óculos de Pedro Antão”, by Machado de Assis, published in Jornal das Famílias in 1874. As Machado did not incorporate the narrative into his compilations, the drama received unimpressive attention. It is suggested that the text parodically decomposes the detective story genre, in a possible dialogue with the literary production of Edgar Allan Poe. Furthermore, by indicating the narrator’s analytical ineptitude, “Bruxo de Cosme Velho” makes explicit the artificiality of literature. Os Antão, Antão , Antão” Assis 1874 compilations attention genre Poe Furthermore narrators narrator s ineptitude Bruxo Velho literature 187 18 1

RESUMO O ensaio propõe uma releitura do conto “Os óculos de Pedro Antão”, de Machado de Assis, publicado no Jornal das Famílias em 1874. Como ele não foi incorporado por Machado em suas coletâneas, o drama acabou recebendo pouca atenção. Sugere-se que o texto decompõe, de forma paródica, o gênero do romance policial, em possível diálogo com a produção literária de Edgar Allan Poe. Além disso, ao indicar a inépcia analítica do narrador, o Bruxo de Cosme Velho explicita a artificialidade da literatura. Os Antão, Antão , Antão” Assis 1874 coletâneas atenção Sugerese Sugere se decompõe paródica policial Poe disso narrador literatura 187 18 1

Résumé Freud et Lacan font tout deux un usage intensive, mais différent, de l’art et la littérature dans leurs théories. Cela peut être mieux lorsque les auteurs se concentrent sur la même œuvre, comme Hamlet et, dans le cas de Freud, Macbeth de William Shakespeare. Cet article donc analyse la lecture de Freud de ces deux tragédies shakespeariennes, ainsi que l’analyse de Lacan sur Hamlet, en étudiant certaines particularités de leurs relations avec l’art et la littérature. Bien qu’ils impliquent des interprétations différentes, ces travaux rassemblent des éléments importants et ont parfois valeur d’exemple paradigmatique pour les réflexions psychanalytiques. intensive différent lart l art théories œuvre Shakespeare shakespeariennes lanalyse quils qu ils différentes dexemple d exemple psychanalytiques

Resumen El arte y la literatura están presentes de manera significativa, tanto en Freud como en Lacan, sin embargo se inscriben de diferentes formas en ambas teorías, esto se puede observar mejor cuando los autores se enfocan en una misma obra, como Hamlet de William Shakespeare. Además de esto, Macbeth es otro drama de Shakespeare que a Freud le interesará por el personaje de Lady Macbeth. Por tanto, el artículo analizó las interpretaciones de Freud sobre estas dos tragedias de Shakespeare, así como las interpretaciones de Lacan sobre Hamlet, investigando algunas particularidades sobre sus relaciones con el arte y la literatura. Aunque implican diferentes interpretaciones, estas obras reúnen elementos importantes y, en ocasiones, con el valor de un ejemplo paradigmático para las reflexiones en el campo del psicoanálisis. significativa teorías obra ocasiones psicoanálisis

Abstract Both Freud and in Lacan make extensive, albeit different, use of art and literature in their theories. This can be better observed when they focus on the same work, such as Hamlet and, in Freud’s case, Macbeth by William Shakespeare. Thus, this article analysed Freud’s readings of these two Shakespearean tragedies, as well as Lacan’s analysis of Hamlet, investigating some particularities about their relations with art and literature. Despite differences in interpretation, these works bring together important elements valuable as a paradigmatic example of psychoanalytic reflections. extensive different theories work Freuds s case Shakespeare Thus tragedies Lacans interpretation reflections

Resumo A arte e a literatura estão presentes de maneira significativa, tanto em Freud quanto em Lacan, entretanto elas se inscrevem de diferentes formas nas duas teorias, isso pode ser melhor observado quando os autores se debruçam sobre uma mesma obra, como Hamlet de William Shakespeare. Além desta, Macbeth é outro drama shakespeariano que interessará a Freud por conta da personagem de Lady Macbeth. Diante disso, o artigo analisou as interpretações de Freud acerca dessas duas tragédias shakespearianas, assim como as de Lacan sobre Hamlet, investigando algumas particularidades acerca de relações com a arte e com a literatura. Embora impliquem em interpretações diversas, essas obras reúnem elementos importantes e por vezes com um valor de exemplo paradigmático para reflexões no campo da psicanálise. significativa teorias obra Shakespeare desta disso shakespearianas diversas psicanálise

RÉSUMÉ Le Théâtre Devancé: Ludovina Soares da Costa et L’Abbé de l’Épée, comédie historique, en cinq actes – Cet article étudie la mise en scène de la pièce L’Abbé de l’Épée de Jean-Nicolas Bouilly, dans la période impériale. L’objectif était d’analyser comment les multiples discours sur la surdité qui circulaient dans les médias, ajoutés à la performance de l’actrice portugaise Ludovina Soares da Costa en tant que sourd-muet, ont motivé la fondation de la première institution brésilienne pour les sourds. La recherche documentaire a été effectuée par balayage de 1810 à 1860 dans l’Héméothèque de la Bibliothèque Nationale, cherchant les annonces, les notes et les critiques des présentations. Les résultats montrent le transit des conceptions sur la surdité dans la société fluminense au théâtre. Devancé LAbbé L Abbé lÉpée, lÉpée l Épée, Épée historique JeanNicolas Jean Nicolas Bouilly impériale Lobjectif objectif danalyser d analyser médias lactrice actrice sourdmuet, sourdmuet sourd muet, muet sourd-muet sourds 181 186 lHéméothèque Héméothèque Nationale annonces présentations théâtre 18 1

ABSTRACT When Theater is at the Vanguard: Ludovina Soares da Costa and The Deaf and Dumb or the Abbé de l’Épée: an Historical Drama – This article investigates the staging of Jean-Nicolas Bouilly’s play L’Abbé de l’Épée, [The deaf-mute or the Abbot de l’Épée] during Brazil's imperial period. The objective was to analyze how multiple discourses on deafness that circulated in the media, combined with the performance of the Portuguese actress Ludovina Soares da Costa as a deaf-mute young man motivated the founding of Brazil's first institution for the deaf, in Rio de Janeiro. The documentary study surveyed material from the newspaper collection at the Hemeroteca da Biblioteca Nacional, for periodicals from 1810 through 1860, reviewing ads, news and reviews of the performances. The results highlight the transmission of conceptions about deafness in the local society through theater. Vanguard lÉpée l Épée l’Épée JeanNicolas Jean Nicolas Bouillys Bouilly s LAbbé L lÉpée, Épée, deafmute deaf mute Brazils Brazil period media Janeiro Nacional 181 1860 ads performances theater 18 186 1

RESUMO O Teatro se Antecipa: Ludovina Soares da Costa e O Surdo-Mudo ou o Abade de l’Épée – Este artigo investiga a encenação da peça O Surdo-Mudo ou o Abade de l’Épée, de Jean-Nicolas Bouilly, no período imperial. O objetivo foi analisar como os múltiplos discursos que circularam na mídia sobre a surdez, somados à atuação da atriz portuguesa Ludovina Soares da Costa como um jovem surdo-mudo, serviram de motivação para fundar a primeira instituição brasileira para surdos no Rio de Janeiro. A pesquisa documental foi realizada por meio de varredura nos periódicos de 1810 a 1860 da Hemeroteca da Biblioteca Nacional, buscando mapear anúncios, notas e críticas das apresentações. Os resultados destacam o trânsito de concepções sobre a surdez na sociedade fluminense por meio do teatro. Antecipa SurdoMudo Surdo Mudo lÉpée l Épée lÉpée, Épée, JeanNicolas Jean Nicolas Bouilly imperial surdomudo, surdomudo surdo mudo, mudo surdo-mudo Janeiro 181 186 Nacional anúncios apresentações teatro 18 1