Academic literature on the topic 'Revlon dolls'

O psicodrama com bonecos e brinquedos com adultos revelou ser um recurso poderoso na psicoterapia psicodramática bipessoal, na qual não há presença de grupo. A objetivação em cena de uma situação de conflito ou queixa subjetiva do paciente é realizada por meio de imagem psicodramática. Este artigo apresenta as possibilidades de manejo, com base em casos clínicos, tendo por referência as técnicas de Moreno e a fundamentação teórica das técnicas de construção de imagens de Rojas-Bermúdez.

Recently I was idly leafing through one of our State's educational review magazines. My attention was immediately captivated by a headline which read ‘Students to be empowered as consumers’. ‘At last’, I thought, as I dived in to consume the article, ‘even the education system is going to empower students in their role as consumers of school life’. I'm sure you can imagine my disappointment when I discovered that in fact the education department was introducing a program of teaching students to be good retail consumers. You know the kind - Levis versus Corfu, MacDonald versus Hungry Jacks, Revlon versus Shiseido, Dolly versus Juice, hip versus funk - the type of purchasing traumas we all experience from time to time.

Despite the century and three-decade gap between them, Henrik Ibsen’s A Doll’s Houseand Zainabu Jallo’s Onions Make Us Cry have often been studied for their indebtedness to two movements that have shaped human history and conditioned contemporary thoughts: the former as a play that inaugurates the modernist discuss in literature and pioneered the feminist subject, and the latter expressively reflecting this gender-based discourse. However, the position of this study is that aside the woman question, the texts share some other important elements. They both provoke the question of being and existence: the being of human reality and of truth. In Ibsen and Jallo, we witness Nora’s and Malinda’s experience of existential structures, their perspectival grappling with the perceptual realities of their existence, the psychological alteration that comes with this ontic awareness, and how the perception of ‘what is’ moves one to revolt against ‘what has been’. The plays are seen as capturing nihilism, what Cunningham calls the unmaking of formed things and the making of formless things. This essay is thus an existential explication of the “speak out” phenomenon as the culmination of a long but unsteady process of existential change which, in both plays, climaxes in the embracing of nihilism. Our inquiry is, therefore, grounded on an existential phenomenological approach derived from Nietzschean and Heideggerian philosophies.

Este artigo apresenta e analisa aspectos da autorização, captação e devolução de fotografias realizadas na pesquisa para registro das bonecas Karajá como Patrimônio Cultural Imaterial do Brasil. O uso metodológico da imagem fotográfica aprofundou diálogo, expôs tensões e revelou subjetividades. Argumento que a dinâmica das negociações decorrentes das particularidades estruturais do grupo estudado problematiza as normatizações previstas pelos Comitês de Ética em Pesquisa. As evidências etnográficas apresentadas indicam que as etapas de autorização, captação e devolução de imagem se fundem em continuo processo de negociação com as e os interlocutores envolvidas/os. Palavras chave: Bonecas Karajá. fotografia e metodologia. diário iconográfico. pesquisa e devolução. Photographic documentation and dynamics of negotiations in the construction of ethnography: my experiences with "Bonecas Karajá" research Abstract This article presents and analyzes aspects involved in the agreement for capture and in the return of photographs made in the research which constitutes the documentation for the registry of Karaja dolls as Patrimônio Cultural do Brasil.The methodological use of the photographic image deepened dialogue, exposed tensions and revealed subjectivities. I argue that the dynamics of the negotiations resulting from structural features of the study group questions the norms laid down by the Comitês de Ética em Pesquisa. The ethnographic evidence suggests that the separated steps of authorization, capture and return of image merge into continuous negotiation process with the stakeholders involved. Keywords: Karajá dolls. photography and methodology. iconographyc journal. research return.