CICANT - Capítulos de Livros Nacionais

URI permanente para esta coleção:https://hdl.handle.net/10437/10952

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  • Item type: Item ,
    Perspetivas de Investigação I - O Papel de Quem Joga na Acessibilidade : playtesting e inclusão das Comunidades
    (AEDPV | APVP | SPCV, 2025) Sousa, Carla; Neves, José Carlos; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
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    Scenes from the Climate Theatre
    (Caleidoscópio, 2025-10-20) Gerner, Alexander Matthias; Gerner, Alexander; Corrêa, Graça P.; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Scenes from the Climate Theatre slices conventional climate discourse with surgical precision. Rejecting Aristotelian catharsis as an ideolog- ical sedative that does not respond to our problems today, we establish climate theatre not as an interpretative schema but as an epistemological operational framework where crisis cannot be neatly contained or resolved. The scenic method derived from the Greek “skene” (shadow space)—positions climate real- ity not as a spectacle but as a Levinasian shadow where ethical engagement occurs without totalizing. Through deliberately constructed scenes—a 46,000-year-old revived nematode performing “pure waiting” across millennia; The novelist Martin Walser’s critique of environmental spectatorship masking social amnesia; The filmmaker Kelly Reichardt’s strategic darkness in “Night Moves” generating ecological violence through calculated absence and climate activists attacking old Master paintings as well as AI advancement’s paradoxical nuclear energy depend- ence— this chapter maps climate theatre’s performative-metabolic terrain. The essay dissects our narrative steady-state, preserving addiction to the final happy end or ending in absolute clash and armageddon: “How convenient that environ- mental collapse comes packaged in the same structure used to sell action films!” Climate crisis becomes “simultaneously urgent enough to suspend politics, yet perpetually deferred to avoid structural change,” allowing business-as-usual between emergency declarations; let us rehearse this again. Our position is an alternative to the collective theatre response absence. It is neither about tech- nological salvation nor apocalyptic resignation but a performance and a theatre requiring audience and climate theatre dramaturgies transformation.
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    O poder das palavras
    (Centro de Estudos Sociais da Universidade de Coimbra, 2022) Cardoso, Daniel; Santos, Sofia José; Garraio, Júlia; Araújo, Sara; Carvalho, Alexandre Sousa; Cravo, Teresa Almeida; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
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    «#MeToo, és tu?» : incertezas ativistas ontológicas por entre tensões e re-mobilizações portuguesas contra a violência de género no Twitter
    (CICS.NOVA - Centro Interdisciplinar de Ciências Sociais, 2025) Cardoso, Daniel; PEREIRA, ANA SOFIA TORRES; Delgado, Carla Maria Gomes; Cerqueira, Carla; Taborda, Célia; Rodrigues, Juliana; Simões, José Alberto; Campos, Ricardo; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias; Centro Universitário Lusófona - Porto; Faculdade de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    The #MeToo movement started on Twitter in 2006, aiming to give visibility to shared narratives of victims of gender-based violence, highlighting its systemic nature. In this sense, technical accessibility to the networked communication platform was an advantage for the dissemination of stories related to the sphere of intimacy, and made it possible to mobilize a specific audience with the ability to occupy technological, social, and discursive space in a highly contested area. This chapter is based on the collection of tweets made until the end of 2022 (inclusive) that contain the hashtag #MeToo, or #EuTambém (Portuguese for "MeToo"), and the word "Portugal" or that were published in Portugal. The aim is to conduct the first complete analysis of the history of this hashtag in Portugal, and to understand how the 'Portuguese-ness' of the use of #MeToo manifests itself. Based on the analysis of the content of the tweets and the network of social actors and reach (through replies, reactions, and shares), we show that: 1) the ontological status of a Portuguese #MeToo, or its mere possibility, is in constant contestation and reaffirmation; 2) corporate media still have a predominant role in pre-defining discursive frameworks on Twitter, creating responsive rather than proactive mobilizations; 3) the discursive performance associated with #MeToo is sometimes accompanied by a non-use of the hashtag, denoting a rejection but not a refusal to participate in the debate.