I have my eyes fixed ahead : A contribution to the African literary landscape

This exploratory and conceptual paper aims to demonstrate the relevance of literary heritage to enhance the tourist experience and development of the Chão Bom Resistance Museum in Tarrafal (Cape Verde). This study contributes to the construction of the African literary landscape and lls the gap in the research on literary tourism in African destinations. Methodologically, the paper analyses primary and secondary data to identify literary texts and authors associated with the site that can help shape the site's literary landscape and suggest literary tourism products and experiences be implemented at the museum. The study is grounded in literary tourism studies, in the notion that literature can play a signi cant testimonial and enhancing role in tourism. It reviews the literature on literary tourism in African destinations. The main ndings point towards a substantive gap in the literature concerning literary tourism in African countries and a need for cultural promotion of literary tourist destinations aimed at both literary and non-literary touristsinfo:eu-repo/semantics/publishedVersio

Comunicação e memória em tempos de repressão: uma análise interdisciplinar de Memórias do Cárcere e Primavera con una esquina rota

As histórias de vivência de prisioneiros políticos em tempos de repressãocolocam de maneira intensa a questão da memória. Duas obras literárias latino-americanas: Memórias do cárcere, de Graciliano Ramos, e Primavera con una esquina rota, de Mario Benedetti, são analisadas neste artigo. A autora pondera que, embora nos forneça índices essenciais, a análise puramente literária não basta para abordar as experiências vividas no cárcere. Além de seu necessário enquadramento em determinadoscontextos históricos e políticos, considera que devemos, ao abordá-las,levar igualmente em conta os seus aspectos psicológicos, referindo-se essencialmente aos trabalhos de pesquisa pioneiros sobre os efeitos da tortura que têm sido realizados por Françoise Sironi e o centro parisiensede etnopsiquiatria Georges-Devéreux

Search for dark photons in Higgs boson production via vector boson fusion in proton-proton collisions at √s = 13 TeV

A search is presented for a Higgs boson that is produced via vector boson fusion and that decays to an undetected particle and an isolated photon. The search is performed by the CMS collaboration at the LHC, using a data set corresponding to an integrated luminosity of 130 fb−1, recorded at a center-of-mass energy of 13 TeV in 2016–2018. No significant excess of events above the expectation from the standard model background is found. The results are interpreted in the context of a theoretical model in which the undetected particle is a massless dark photon. An upper limit is set on the product of the cross section for production via vector boson fusion and the branching fraction for such a Higgs boson decay, as a function of the Higgs boson mass. For a Higgs boson mass of 125 GeV, assuming the standard model production rates, the observed (expected) 95% confidence level upper limit on the branching fraction is 3.5 (2.8)%. This is the first search for such decays in the vector boson fusion channel. Combination with a previous search for Higgs bosons produced in association with a Z boson results in an observed (expected) upper limit on the branching fraction of 2.9 (2.1)% at 95% confidence level

Measurement of the Higgs boson production rate in association with top quarks in final states with electrons, muons, and hadronically decaying tau leptons at s√=13TeV

The rate for Higgs (H) bosons production in association with either one (tH) or two (tt¯H) top quarks is measured in final states containing multiple electrons, muons, or tau leptons decaying to hadrons and a neutrino, using proton–proton collisions recorded at a center-of-mass energy of 13TeV by the CMS experiment. The analyzed data correspond to an integrated luminosity of 137fb−1. The analysis is aimed at events that contain H→WW, H→ττ, or H→ZZ decays and each of the top quark(s) decays either to lepton+jets or all-jet channels. Sensitivity to signal is maximized by including ten signatures in the analysis, depending on the lepton multiplicity. The separation among tH, tt¯H, and the backgrounds is enhanced through machine-learning techniques and matrix-element methods. The measured production rates for the tt¯H and tH signals correspond to 0.92±0.19(stat)+0.17−0.13(syst) and 5.7±2.7(stat)±3.0(syst) of their respective standard model (SM) expectations. The corresponding observed (expected) significance amounts to 4.7 (5.2) standard deviations for tt¯H, and to 1.4 (0.3) for tH production. Assuming that the Higgs boson coupling to the tau lepton is equal in strength to its expectation in the SM, the coupling yt of the Higgs boson to the top quark divided by its SM expectation, κt=yt/ySMt, is constrained to be within −0.9<κt<−0.7 or 0.7<κt<1.1, at 95% confidence level. This result is the most sensitive measurement of the tt¯H production rate to date.SCOAP

Turismo sombrio como lição de memória: As marcas da ditadura civil militar de 64 na cidade de São Paulo

Este trabalho tem por base a observação do itinerário Caminhos da resistência – Memórias da política paulistana, proposto pelo departamento de turismo social do Serviço Social do Comércio de São Paulo, em torno da resistência contra a ditadura civil militar de 1964 no Brasil. Além da visita de espaços patrimonializados, cujo principal é o Memorial da resistência, o passeio tem dimensões de turismo literário, ao incluir poemas/canções engajados ligados a este periodo. Tendo como respaldo metodológico a abordagem interdisciplinar indispensável aos estudos de turismo literário, nosso objetivo é de propor um enriquecimento deste aspecto do itinerário. Para tanto, recorremos a três obras de cunho autobiográfico do dramaturgo e diretor de teatro Augusto Boal (1931 – 2009), que poderiam intensificar o processo imersivo proposto pelo Memorial. Em conclusão, refletimos sobre o indispensável papel pedagógico desempenhado por esta forma específica de turismo sombrio e literário no atual contexto de crise social, política e ética do Brasil destes últimos anos

Fado tropical de Chico Buarque et Portugal de Georges Moustaki. De la dictature de Salazar à la Révolution des œillets au Portugal

En 1974, Georges Moustaki transpose dans sa chanson Portugal l’œuvre du compositeur brésilien Chico Buarque Fado Tropical, enregistrée un an auparavant. En changeant radicalement le sens des paroles de la chanson originale, afin d’exprimer le bouleversement tout aussi radical apporté par la Révolution des œillets, le compositeur français a-t-il trahi l’ensemble de significations porté par Fado tropical ? À travers cet exemple surprenant, nous voyons surgir l’une des questions les plus épineuses de la traductologie, celle de la fidélité

“A sociedade” d’Antônio de Alcântara Machado. Une idylle futuriste entre immigrés italiens et fondateurs de la ville de São Paulo

Le mouvement moderniste né au début du vingtième siècle dans la ville de São Paulo, dont Antônio de Alcântara Machado (1901-1935) fut l’un des protagonistes, subit sans aucun doute l’influence du Manifeste futuriste de Filippo Tommaso Marinetti, paru en 1909 et diffusé au Brésil dès 1912. La nouvelle « A sociedade » révèle en particulier une grande maîtrise des principaux traits du style moderniste. La mise en perspective à la fois littéraire, historique et sociologique de ce texte peut nous fournir des pistes pour comprendre une attirance paradoxale : celle qu’une ancienne ville provinciale en pleine mutation capitaliste, moderne et cosmopolite, éprouve envers une communauté d’immigrés fuyant leur pauvreté et leurs origines rurales ; celle-ci en deviendra, en l’espace d’une décennie, l’une des composantes les plus marquantes de l’identité même de São Paulo

Fado tropical de Chico Buarque et Portugal de Georges Moustaki. De la dictature de Salazar à la Révolution des œillets au Portugal

En 1974, Georges Moustaki transpose dans sa chanson Portugal l’œuvre du compositeur brésilien Chico Buarque Fado Tropical, enregistrée un an auparavant. En changeant radicalement le sens des paroles de la chanson originale, afin d’exprimer le bouleversement tout aussi radical apporté par la Révolution des œillets, le compositeur français a-t-il trahi l’ensemble de significations porté par Fado tropical ? À travers cet exemple surprenant, nous voyons surgir l’une des questions les plus épineuses de la traductologie, celle de la fidélité.Em sua canção de 1974, intitulada Portugal, Georges Moustaki transpõe Fado Tropical de Chico Buarque, gravada um ano antes. Ao mudar radicalmente o sentido da letra original, para expressar a reviravolta também radical que havia sido provocada pela Revolução dos Cravos, o cantor francês poderia ser acusado de ter traído o conjunto de significados presente em Fado tropical ? Através deste exemplo peculiar, defrontamo-nos com uma das noções mais complexas em tradutologia : a questão da fidelidade

Une pension auberge en pleine mutation : O cortiço d’Aluisio Azevedo

Cette étude cherche à montrer dans quelle mesure Aluísio Azevedo, l’un des écrivains les plus représentatifs du Naturalisme brésilien, construit une image contradictoire du Brésil urbain du XIXe siècle à travers son roman O cortiço. En effet, placée au centre de l’œuvre, cette sorte de pension auberge de Rio abrite les couches populaires d’origines diverses dans une apparente harmonie. Le cortiço serait-il emblématique du mythe de la « démocratie raciale », qui commence à surgir avec l’abolition de l’esclavage