O fenómeno das Inferências Espontâneas de Traço (IETs) consiste na constatação de que, no seguimento da exposição a um comportamento implicativo de um traço de personalidade, se verifica uma inferência do traço acerca do respectivo autor, sem que haja intenção nem consciência por parte do observador (Winter & Uleman, 1984). Recentemente, o fenómeno de Transferências Espontâneas de Traço (TETs) veio revelar que os traços implicados pelas descrições comportamentais se podem vincular a outros sujeitos que não o seu autor, tais como um comunicador do comportamento. A descoberta do efeito de TETs veio incidir uma nova luz sobre a caracterização das IETs. Especificamente, enquanto que alguns autores definiram as IETs como um processo de natureza inferencial, por oposição às TETs, que se caracterizariam por processos associativos, outros sugeriram que a ambos os efeitos subjaz um mesmo mecanismo associativo. O presente artigo incidirá sobre a investigação na área das IETs e TETs, fazendo uma exposição crítica do debate entre as duas explicações oferecidas e propondo novas formas empíricas de o esclarecer.

Spontaneous Trait Inferences (STI), occur when, after being exposed to a trait implying behaviour, observers infer a trait about the actor of the behavior, without intention or awareness (Winter & Uleman, 1984). Recently, the phenomenon of Spontaneous Trait Transferences (STT), has shown that implied traits can also became attached to subjects other than the actor, such as the person who delivered the message. Detecting the STT effect shed a new light on the conception of STIs. Namely, while some authors defined STIs as an inferential process, that differed from the one underlying STTs, which would be associative, other authors suggested that both effects would be dependent on the same associative processes. This paper will focus on the research that has been conducted in the STI and the STT field, aiming to provide a critical exposition of the debate concerning the two offered explanations, and proposing new empirical directions for solving them.

At the middle of the twentieth century, between the forties and the fifties, especially after the Second World War, the endless debate concerning national identity was taken up again in Latin America with a new focus. Mass culture, especially popular music with ties to the music industry, was shaped by its great capacity to spread-shown through its assorted forms of production, circulation and consumption- as one of the main areas of dispute related to the question of what is considered to be national. During that period there were important debates in Brazil and Chile about the selection, preservation and perpetuation of a certain repertoire of popular urban music as being representative of national folk music. These debates, which are analyzed starting from discursive representations driven by the written press, in both the specialized academic and the large-circulation press, constitute the central focus of this article.

A mediados del siglo XX, entre los años cuarenta y cincuenta, sobre todo después de la Segunda Guerra Mundial, el interminable debate acerca de la identidad nacional se retoma en América Latina con nuevas bases. La cultura de masas, especialmente la música popular ligada al mercado, se configura por su amplia capacidad de difusión -revelada en sus variadas formas de producción, circulación y consumo- como uno de los principales campos de disputa en torno de lo nacional. En ese período, en Brasil y en Chile son importantes las discusiones acerca de la selección, preservación y perpetuación de un determinado repertorio de la música popular urbana como representante de la música folclórica nacional. Estas discusiones, analizadas a partir de las representaciones discursivas vehiculadas por la prensa escrita especializada, tanto académica como de gran circulación, constituyen la problemática central de este artículo.

Popular urban music is a typically modern cultural event. Its production, distribution and consumption occurred during the process of urbanization of Chile and in a period ofgrowing a vailability of technological resources. The broadcasting by the mass media allowed popular urban music to reach a larger audience than the local public. Therefore it didnot take long time for popular urban music to become a means of cultural homogenization within the parameters of the market system of production and distribution of music, in Chile. This article aims to map the connections between folk music and popular music, with the formation and consolidation ofa consumer market for music in Chile. Besides it considers the use of popular music in the forfties and the sixties as a political tool by different groups ofthe Chilean society, during a time when arts were considered within the controversies about the national identity that aróse in different Latín American countries.

La canción popular urbana constituye una manifestación cultural típicamente moderna. Su producción, circulación y consumo se confunden con el proceso de urbanización y con la disponibilidad de recursos tecnológicos. Transmitida por los medios de comunicación de masas, al llegar a un público bastante más amplio que los receptores locales, no demoró, dentro de la lógica de mercado, para traducirse en un importante vector de homogeneización cultural. El objetivo de este artículo es diseñar un mapa de las conexiones entre música folclórica, canción popular, formación y consolidación de un mercado consumidor y los usos políticos de la música popular chilena por parte de diferentes sectores de esta sociedad entre los años 40 y 60, período en el que las artes estuvieron relacionadas con las luchas de las representaciones en torno de la identidad nacional en diferentes países de América Latina.

Dirigido e escrito por Arnaldo Jabor, Tudo bem foi veiculado nas salas de projeção no ano de 1978 - período de distensão da ditadura - com o apoio governamental da Embrafilme. O filme constitui referência documental para a análise do discurso do artista engajado, após o Golpe de 64, e a política cultural implementada pelos consecutivos governos militares. Tudo bem traz, já no título, uma ironia aos tempos vividos. A história transcorre no bairro de Copacabana, no Rio de Janeiro, num apartamento em reforma de uma família de classe média.

The film Tudo bem written and directed by Arnaldo Jabor, was released at the movie theaters in 1978 - during the dictatorial regime distention - with Embrafilme governmental support. The film itself is a documental reference to the analysis of the political active artists’speech after the military empowerment in 1964, and the cultural policy established by the subsequent military governments. Tudo bem brings, in its own title, an irony to that time. The story has its place in Copacabana, in Rio de Janeiro, inside a mid-class apartment that was being repaired.