<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1984-5987</journal-id>
<journal-title><![CDATA[Childhood & Philosophy]]></journal-title>
<abbrev-journal-title><![CDATA[child.philo]]></abbrev-journal-title>
<issn>1984-5987</issn>
<publisher>
<publisher-name><![CDATA[Universidade do Estado do Rio de Janeiro]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1984-59872020000100314</article-id>
<article-id pub-id-type="doi">10.12957/childphilo.2020.48116</article-id>
<title-group>
<article-title xml:lang="pt"><![CDATA[&#8220;Os dentes afiados da vida preferem a carne na mais tenra infância&#8221;: etnocartografar com olhos de besta]]></article-title>
<article-title xml:lang="en"><![CDATA[&#8220;The sharp teeth of life prefer meat in the earliest childhood&#8221;: an ethnocartography with beasties eyes]]></article-title>
<article-title xml:lang="es"><![CDATA[&#8220;Los dientes afilados de la vida prefieren la carne en la primera infancia&#8221;: etno-cartografiar con ojos de bestia]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Melo]]></surname>
<given-names><![CDATA[Marcos Ribeiro de]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Vasconcelos]]></surname>
<given-names><![CDATA[Michele de Freitas Faria de]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Souza Neto]]></surname>
<given-names><![CDATA[Edson Augusto de]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidade Federal de Sergipe  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Brazil</country>
</aff>
<aff id="Af2">
<institution><![CDATA[,Universidade Federal de Sergipe  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Brazil</country>
</aff>
<aff id="Af3">
<institution><![CDATA[,Universidade Federal de Sergipe  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>Brazil</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>00</month>
<year>2020</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>00</month>
<year>2020</year>
</pub-date>
<volume>16</volume>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_arttext&amp;pid=S1984-59872020000100314&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_abstract&amp;pid=S1984-59872020000100314&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://educa.fcc.org.br/scielo.php?script=sci_pdf&amp;pid=S1984-59872020000100314&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="pt"><p><![CDATA[resumo neste artigo, dispomo-nos ao exercício de uma etnocartografia de tela em agenciamento com o filme Beasts of the southern wild (2012) dirigido por Benh Zeitlin. Lançamo-nos numa experimentação fílmica que desembocou numa escrita a artistar e infantilar (nossos) modos de vida. Apostamos no cinema e na infância como possibilidades de ensaiar um gaguejar da linguagem para a criação de novos mundos e formas de viver. As imagens do cinema menos como representação, e mais como arte que se propõe à incompletude, à fissura, a um buraco nas aparências. A infância como exercício de diferenciação e de resistência às narrativas dominantes em um dado contexto. A infância como experiência limite da/na linguagem, a desnudar incansavelmente a condição humana frente ao mundo. Deste modo, acompanhando a personagem principal da trama, a pequena Hushpuppy, uma moradora de seis anos de idade da &#8216;Ilha de Charles Doucet&#8217;, tratada todo o tempo como &#8220;a Banheira&#8221;, somos estremecidos pelas formas de vidas ali presentes, consideradas bestiais e não reconhecidas pelos homens citadinos. Hushpuppy, seu pai e amigos resistem às tentativas de destruição de suas existências pelas forças do Estado que tentam domesticá-los, imbuídos da lógica de que primitivos devem vir para civilização, assim como as crianças devem se tornar adultos.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[abstract in this article, we experience the exercise of a screen ethnocartography in agency with the film Beasts of the southern wild (2012) by the director Benh Zeitlin. We tested a film experimentation that led to a renewed writing (our) ways of life. We bet on cinema and childhood as possibilities for creating cracks and a stutter of language for the creation of new worlds and ways of living. In cinema images less as a representation, and more as art that proposes incompleteness, fissure, a hole in appearances. In childhood as an exercise of differentiation and resistance to dominant narratives in a given context. In childhood as a limiting experience of/in language, tirelessly exposing the human condition in front of the world. Thus, accompanying the main character of the plot, little Hushpuppy - a six-year-old resident of the &#8220;Charles Doucet Island&#8221;, experienced as &#8220;the Bathtub&#8221; -, we are shaken by the forms of life there, considered bestial and not recognized by city humans. Hushpuppy, his father and friends resist attempts to destroy their existence by the forms of the state that try to domesticate them, imbued with the logic that primitives must come to civilization, just as children must become adults.]]></p></abstract>
<abstract abstract-type="short" xml:lang="es"><p><![CDATA[resumen En este artículo, estamos dispuestos a ejercer una etno-cartografía de pantalla en agencia con la película Beasts of the southern wild (2012) dirigida por Benh Zeitlin. Nos embarcamos en un experimento cinematográfico que condujo a una escritura para artistar e infantilar (nuestras) formas de vida. Apostamos por el cine y la infancia como posibilidades de ensayar un tartamudeo del lenguaje para la creación de nuevos mundos y formas de vivir. Las imágenes del cine menos como representación y más como arte que propone la incompletitud, la fisura, un hueco en las apariencias. La infancia como ejercicio de diferenciación y resistencia a las narrativas dominantes en un contexto dado. La infancia como experiencia límite del/en el lenguaje, exponiendo incansablemente la condición humana frente al mundo. Así, acompañando al protagonista de la trama, la pequeña Hushpuppy, una niña de seis años residente de la 'Isla Charles Doucet', tratada todo el tiempo como &#8220;la Bañera&#8221;, nos estremecen las formas de vida allí presentes, consideradas bestiales y no reconocidas por los hombres de la ciudad. Hushpuppy, su padre y amigos se resisten a los intentos de destruir su existencia por parte de fuerzas estatales que intentan domesticarlos, imbuidos de la lógica en que los primitivos deben venir para la civilización, así como los niños deben convertirse en adultos.]]></p></abstract>
<kwd-group>
<kwd lng="pt"><![CDATA[infância]]></kwd>
<kwd lng="pt"><![CDATA[cinema]]></kwd>
<kwd lng="pt"><![CDATA[etnocartografia de tela]]></kwd>
<kwd lng="pt"><![CDATA[bestas.]]></kwd>
<kwd lng="en"><![CDATA[childhood]]></kwd>
<kwd lng="en"><![CDATA[cinema]]></kwd>
<kwd lng="en"><![CDATA[screen ethnocartography]]></kwd>
<kwd lng="en"><![CDATA[language]]></kwd>
<kwd lng="en"><![CDATA[beasties]]></kwd>
<kwd lng="es"><![CDATA[infância]]></kwd>
<kwd lng="es"><![CDATA[cine]]></kwd>
<kwd lng="es"><![CDATA[etno-cartografía de pantalla]]></kwd>
<kwd lng="es"><![CDATA[bestias.]]></kwd>
</kwd-group>
</article-meta>
</front><back>
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