This book proposes an approach to Eurocentrism as a paradigm of knowledge production and interpretation rooted in the Western narrative of modernity and its racial governmentalities. Accordingly, it interrogates the relationship between knowledge, race, and power at the heart of debates on the making and circulation of history, opening up a tension, not so much with other histories, but with Eurocentrism's formulas of self-assurance, and attempts to accommodate other narratives. The book is an interdisciplinary endeavor that engages with diverse political and academic contexts and debates that reveal understandings of coloniality/modernity, specifically in education. Education, and in particular history teaching, is approached as a key arena in which to explore the (re)configuration of broader political and academic discourses and silences on power and race. Moving beyond discussions on national identity and the multicultural curriculum, it critically examines textbooks in Portugal and the discussions raised during empirical research with actors from a wide variety of fields, such as academia, policy and decision-making, schooling and the media. These are addressed in relation to the international context that saw the consolidation of global and regional organizations-such as UNESCO and the Council of Europe-which established scientific knowledge as a key solution to political conflicts (conventionally defined as exacerbated nationalism, ethnocentrism and cultural misunderstandings). Central to these discussions are the ideas of multiperspectivity and the inclusion of content about the 'other', which are addressed in detail through a case study on depictions of the African national liberation movements. This book aims to contribute to the critique of the contemporary workings of Eurocentrism and racism that have frustrated the struggles for the decolonization of knowledge and continue to shape our understandings of the world order in racially hierarchical terms, by re-centering the West/Europe.

Illustrates how the children of immigrants use art to grapple with issues of citizenship, state violence, and belonging Young immigrant children often do not have the words to express how their lives are shaped by issues of immigration, legal status, and state-sanctioned violence. Yet they are able to communicate its effects on them using art. Based on ten years of work with immigrant children as young as six years old in Arizona and California— and featuring an analysis of three hundred drawings, theater performances, and family interviews—Silvia Rodriguez Vega provides accounts of children’s challenges with deportation and family separation during the Obama and Trump administrations. While much of the literature on immigrant children depicts them as passive, when viewed through this lens they appear as agents of their own stories. The volume provides key insights into how immigrant children in both states presented creative, out-of-the-box, powerful solutions to the dilemmas that anti-immigrant rhetoric and harsh immigration laws present. Through art, they demonstrated a righteous indignation against societal violence, dehumanization, and death as a tool for navigating a racist, anti-immigrant society. When children are the agents of their own stories, they can reimagine destructive situations in ways that adults sometimes cannot, offering us alternatives and hope for a better future. At once devastating and revelatory, Drawing Deportation provides a roadmap for how art can provide a safe and necessary space for vulnerable populations to assert their humanity in a world that would rather divest them of it.

Illustrates how the children of immigrants use art to grapple with issues of citizenship, state violence, and belonging Young immigrant children often do not have the words to express how their lives are shaped by issues of immigration, legal status, and state-sanctioned violence. Yet they are able to communicate its effects on them using art. Based on ten years of work with immigrant children as young as six years old in Arizona and California- and featuring an analysis of three hundred drawings, theater performances, and family interviews-Silvia Rodriguez Vega provides accounts of children's challenges with deportation and family separation during the Obama and Trump administrations. While much of the literature on immigrant children depicts them as passive, when viewed through this lens they appear as agents of their own stories. The volume provides key insights into how immigrant children in both states presented creative, out-of-the-box, powerful solutions to the dilemmas that anti-immigrant rhetoric and harsh immigration laws present. Through art, they demonstrated a righteous indignation against societal violence, dehumanization, and death as a tool for navigating a racist, anti-immigrant society. When children are the agents of their own stories, they can reimagine destructive situations in ways that adults sometimes cannot, offering us alternatives and hope for a better future. At once devastating and revelatory, Drawing Deportation provides a roadmap for how art can provide a safe and necessary space for vulnerable populations to assert their humanity in a world that would rather divest them of it.

I think, therefore I write. That could be the slogan of this guide teaches writing based on the pragmatic, focusing semantic-communicative, not from the grammar normative rules. Pragmatic is the discipline that studies the language in its relationship with users and the circumstances of the communication. This manual suggests you practice the best strategies to develop different types of documents, given that writing is to order and contextualize the ideas that someone wants to explain in a process written communication. Going against the traditional teaching, supported by the normative grammar to teach writing, this guide developing a strategy based on pragmatic semantics - communication, offering an approach closer to the reality of speakers. Therefore offers a different approach and very current, which teaches writing through the principle of action-research.

E certo. Nunca estaremos sos. Seremos pelo menos sempre dois: o leitor, com a sua imaginacao e a recriacao que faz dos poemas que le, e o escritor. Por isso, traz as asas, que eu levo algumas palavras. Encontro no sitio do costume...