The dissertative work here presented have as objective bring to academic light some questions with great interest to researchers in Communication that are hunched at elementary questions of the brazilian cinema, crossed by a perennial stage of underdevelopment, as alleged by the film critic Paulo Emílio Salles Gomes. The focus of this research is the set of movies produced in the paulistan region of Boca do Lixo [ Mouth of Trash ], precisely between the years of 1980 and 1985, when the filmmakers established in there demarcate some traces of authorship vinculated to a production model quite particular, but those were progressively extincted by the massive introduction of the movies with explicit sexual content during the politic reopening of Brazil, what, in fact, culminated in the definitive decay of the region, today designed by the even more demeritorious nickname of Cracolândia [ Crackland ]. If, in the 1960 s, the regional quadrilateral baptized by the policeman as Boca do Lixo (because of the criminal activities, predominately related to prostitution) received attention in to host some important productive cinema enterprises of the country including Cinedistri, that, in 1962, was proud to produce the winner of the International Cinema Festival of Cannes, O Pagador de Promessas (directed by Anselmo Duarte) in the first half of the 1980 s, the careers of the film directors that have been consolidated after the well-succeeded cicle of the pornochanchadas were both threatened by the inclement pursuit of the militar censorship and biased press of the period as the porn requirements arising from the penetration of foreign cinematographies. The strategies found by these filmmakers of the Boca do Lixo in order to maintain their stylistic trademarks and, at same time, obey for the obligations for saleability and affiliating themselves to the contestatory cries of the period is what was intended to scan in this research. / O trabalho dissertativo ora apresentado tem como objetivo trazer à luz acadêmica algumas questões de sumo interesse para os comunicólogos que se debruçam sobre as contradições elementares do cinema brasileiro, atravessado por um traço perene de subdesenvolvimento, conforme alegou o crítico Paulo Emílio Salles Gomes. O foco da pesquisa é o cinema produzido na região paulistana da Boca do Lixo, precisamente entre os anos de 1980 e 1985, quando os cineastas lá estabelecidos haviam conseguido fixar algumas marcas autorais atreladas a um modelo de produção deveras particular, autoralidade que foi progressivamente extinta pela introdução massiva dos filmes de sexo explícito durante a reabertura política do Brasil, o que, de fato, culminou na decadência definitiva da região, hoje conhecida pelo apelido ainda mais demeritório de Cracolândia. Se, desde o final da década de 1960, o quadrilátero regional batizado pelos policiais de Boca do Lixo por causa do sobejo de atividades criminais (predominantemente relacionadas à prostituição) se destacava por sediar algumas importantes empresas produtoras de cinema do país inclusive, a Cinedistri, que, em 1962, orgulhou-se de ter produzido o vencedor da Palma de Ouro no Festival Internacional de Cinema de Cannes, O Pagador de Promessas (dirigido por Anselmo Duarte) na primeira metade da década de 1980, as carreiras dos diretores que se consolidaram a partir do ciclo comercialmente bem-sucedido das pornochanchadas foram ameaçadas tanto pela perseguição inclemente da censura militar e da imprensa preconceituosa do período quanto pelas exigências cada vez mais impositivas dos ditames pornográficos advindos da penetração de cinematografias estrangeiras. As estratégias encontradas pelos cineastas da Boca do Lixo para resguardarem seus traços estilísticos ao mesmo tempo em que atendiam às obrigações por vendabilidade e filiavam-se aos clamores contestatórios do período é o que se tentou perscrutar nesta pesquisa.

Una de las consecuencias del vertiginoso avance tecnológico de los últimos años ha sido la alteración de uno de los pilares de la cotidianeidad del ser humano: la sexualidad. Así, las tradicionales prácticas sexuales adquirieron nuevas posibilidades y escenarios para su desenvolvimiento. Este panorama, a su vez, brindó a los académicos nuevos puntos de vista desde los cuales aproximarse a este campo de estudio. Es así que este artículo analizó las características del discurso de los usuarios que forman parte del foro peruano ZonaCaleta, espacio virtual dedicado al intercambio de información sobre encuentros sexuales con prostitutas. Para ello se tomó como muestra 100 posts publicados en el 2015, los cuales fueron examinados a través de tres matrices: la primera buscó particularidades lingüísticas en el discurso, la segunda identificó algunas dinámicas tensivas que determinaban las sensaciones de placer o displacer en los foristas, y la tercera se ocupó de analizar la plataforma en sí. Gracias a estas herramientas se arribó hacia conclusiones tales como la existencia de un sociolecto entre los usuarios, la ficcionalización de los relatos a partir del uso de elementos literarios o la marcada cosificación del cuerpo femenino presente en el discurso de los foristas. / One of the consequences of the vertiginous technological advance of the last years has been the alteration of one of the pillars of the daily life of the human being: sexuality. Thus, the traditional sexual practices acquired new possibilities and scenarios for their development. This panorama, in turn, provided the academics new points of view to approach to this field of study. Therefore, this article analyzed the characteristics of the speech of the users that form part of the peruvian forum ZonaCaleta, virtual space dedicated to the exchange of information on sexual encounters with prostitutes. In order to do that, 100 posts published in 2015 were taken as sample and they were examined through three matrices: the first one searched for linguistic peculiarities in the discourse, the second identified some tensive dynamics that determined the feelings of pleasure or displeasure the forum members felt, and the third analyzed the platform itself. Thanks to these tools, we arrived at some important conclusions such as the existence of a sociolect among the users, the fictionalization of the stories due to the use of literary elements or the marked reification of the female body present in the discourse of the forum members. / Trabajo de investigación

Despite its chequered interpretational history, the book of Shîr ha-Shîrîm (Song of Songs) in the Hebrew Bible and Christian Old Testament has still not come to its fullest religious potential. The reason is that it has mainly served relatively closed religious traditions defined by the exclusion of those that have reacted against it. As the text of Song of Songs itself does not explicitly testify to any religiosity, these communities have understood it religiously by projecting their own predetermined needs and beliefs onto it. The text does, however, suggest several layers in the history of its formation, representing different levels of consciousness and stages of religiosity. In the postmodern globalising context where the importance of interfaith understanding is increasingly realised and the nature of human religiosity is constantly redefined in terms of ever-broadening horizons, the religiosity of the book has been stretched as wide as possible by also taking into consideration the ancient contextual influences which could have left their traces on the unconscious mind of its author(s) and redactor(s). To this end, the transpersonal psychological theory of Kenneth Wilber as interpreted by Michael Washburn has been used. Wilber’s inclusive view of religiosity respects all its forms as developmentally appropriate expressions of experiences of the divine which should all be taken seriously. The explicit “absence” of the divine in Song of Songs has been so conspicuous that it has ironically made it more present and led to a greater search for the Ineffable whose whispering and footprints are discernible in relation to the level of consciousness. Exploring the religiosity of Song of Songs in this way then becomes an exercise in being more sensitive to the presence of the divine in all other areas of life as well. Traditional polarities such as sexuality and religiosity are dissolved at the same time and proven to coincide as two aspects of the same experience. Not only does erotic love open one’s eyes to the divine in nature as the body of God, but one also encounters the divine in the body. / Biblical and Ancient Studies / D. Th. (Old Testament)