874 research outputs found
A Colecção de Retratos de Diogo Barbosa Machado
No full textThe present article aims to offer an initial insight of the print collecting activity of Diogo Barbosa Machado, author of Biblioteca Lusitana, a work of reference in Portuguese bio-bibliography.
The article analyses an important section of his set of iconographic gatherings – the Colecção de Retratos (Portrait Collection), and presents a critical review of former evaluations, advancing a new interpretation on the methods and models adopted in the process of organizing the collection, which was done in accordance with collecting procedures in those days. Historian or Connoisseur? The article ends by attempting to define the collector’s profile of Diogo Barbosa Machado, in the light of the dichotomy established at the time. This initial overview will also, hopefully, help pave the way for future works on the topic, such as a systematic study of the overall collection, which stands amongst the most important 18th century compilations ever assembled in Portugal
Poesia e composição na canção: estudo analítico dos Três Cantos de Hilda Hilst (2002) de Almeida Prado e de canções do álbum Poesia Paulista (1998) de Achille Picchi, Eduardo Guimarães Álvares e José Augusto Mannis; composição comentada da canção A Casa do Tempo Perdido (2008) de Diogo Lefèvre
No full textEsta dissertação aborda a canção tendo como principal foco de interesse a composição musical. Esta trabalho engloba o estudo analítico dos Três Cantos de Hilda Hilst (2002) de Almeida Prado e de canções compostas por Achille Picchi, Eduardo Guimarães Álvares e José Augusto Mannis para o álbum Poesia Paulista (1998). Neste estudo, o objetivo principal é investigar estratégias de composição musical empregadas em obras que têm um texto poético como ponto de partida. Esta pesquisa envolveu também a composição da canção A Casa do Tempo Perdido (2008), de Diogo Lefèvre, onde se aplicam alguns procedimentos observados na análise das outras peças aqui estudadas. Realizou-se também um estudo comparativo entre A Casa do Tempo Perdido e as outras obras enfocadas por esta pesquisa. Detectaram-se estratégias musicais que abrangem diversas facetas das canções abordadas, como utilizações específicas dos recursos vocais e intrumentais, e também a estruturação formal das obras estudadas. Percebeu-se que muitas destas estratégias, mas não todas, se relacionam instensamente com os textos musicados.This work approaches the song having the musical composition as main center of interest. This dissertation includes the analytical study of the Três Cantos de Hilda Hilst by Almeida Prado and songs composed by Achille Picchi, Eduardo Guimarães Álvares and José Augusto Mannis for the álbum Poesia Paulista. The research's main objective is to investigate strategies of musical composition in works that have a poetical text as a starting point. The song A Casa do Tempo Perdido was composed in the course of this study by Diogo Lefèvre, research's author. In this piece some procedures observed in the analysis of the other songs approached by the dissertation were applied, and a comparative study between this last song and the others was made. Musical strategies thar include several facets of the approached songs were disclosed, such as specific uses of the instrumental and vocal resources, and the formal stucture of the pieces. Many of the disclosed strategies, but not all, have a close relationship with the text of these songs
Poesia e composição na canção: estudo analítico dos Três Cantos de Hilda Hilst (2002) de Almeida Prado e de canções do álbum Poesia Paulista (1998) de Achille Picchi, Eduardo Guimarães Álvares e José Augusto Mannis; composição comentada da canção A Casa do Tempo Perdido (2008) de Diogo Lefèvre
No full textEsta dissertação aborda a canção tendo como principal foco de interesse a composição musical. Esta trabalho engloba o estudo analítico dos Três Cantos de Hilda Hilst (2002) de Almeida Prado e de canções compostas por Achille Picchi, Eduardo Guimarães Álvares e José Augusto Mannis para o álbum Poesia Paulista (1998). Neste estudo, o objetivo principal é investigar estratégias de composição musical empregadas em obras que têm um texto poético como ponto de partida. Esta pesquisa envolveu também a composição da canção A Casa do Tempo Perdido (2008), de Diogo Lefèvre, onde se aplicam alguns procedimentos observados na análise das outras peças aqui estudadas. Realizou-se também um estudo comparativo entre A Casa do Tempo Perdido e as outras obras enfocadas por esta pesquisa. Detectaram-se estratégias musicais que abrangem diversas facetas das canções abordadas, como utilizações específicas dos recursos vocais e intrumentais, e também a estruturação formal das obras estudadas. Percebeu-se que muitas destas estratégias, mas não todas, se relacionam instensamente com os textos musicados.This work approaches the song having the musical composition as main center of interest. This dissertation includes the analytical study of the Três Cantos de Hilda Hilst by Almeida Prado and songs composed by Achille Picchi, Eduardo Guimarães Álvares and José Augusto Mannis for the álbum Poesia Paulista. The research's main objective is to investigate strategies of musical composition in works that have a poetical text as a starting point. The song A Casa do Tempo Perdido was composed in the course of this study by Diogo Lefèvre, research's author. In this piece some procedures observed in the analysis of the other songs approached by the dissertation were applied, and a comparative study between this last song and the others was made. Musical strategies thar include several facets of the approached songs were disclosed, such as specific uses of the instrumental and vocal resources, and the formal stucture of the pieces. Many of the disclosed strategies, but not all, have a close relationship with the text of these songs
Imitação na écloga portuguesa quinhentista: Diogo Bernardes, Camões, António Ferreira
No full textThe concept of imitation, as a creative process, allows for different ways of referring to a model text, as the author may prefer the resemblance to be more or less apparent. While it might be expected that Diogo Bernardes would follow his "mestre" António Ferreira, and stick very closely to the imitated text, in fact, like Luís de Camões, he favours imitation as Petrarch defined it, relying on similitudo. Both Bernardes and Camões aim clearly at emulation and producing an original poem, one that resembles Virgil and Sannazaro, and at the same time is entirely new
Imitação na écloga portuguesa quinhentista: Diogo Bernardes, Camões, António Ferreira
No full textThe concept of imitation, as a creative process, allows for different ways of referring to a model text, as the author may prefer the resemblance to be more or less apparent. While it might be expected that Diogo Bernardes would follow his "mestre" António Ferreira, and stick very closely to the imitated text, in fact, like Luís de Camões, he favours imitation as Petrarch defined it, relying on similitudo. Both Bernardes and Camões aim clearly at emulation and producing an original poem, one that resembles Virgil and Sannazaro, and at the same time is entirely new
Imitação na écloga portuguesa quinhentista: Diogo Bernardes, Camões, António Ferreira
No full textThe concept of imitation, as a creative process, allows for different ways of referring to a model text, as the author may prefer the resemblance to be more or less apparent. While it might be expected that Diogo Bernardes would follow his "mestre" António Ferreira, and stick very closely to the imitated text, in fact, like Luís de Camões, he favours imitation as Petrarch defined it, relying on similitudo. Both Bernardes and Camões aim clearly at emulation and producing an original poem, one that resembles Virgil and Sannazaro, and at the same time is entirely new
Diogo do Couto e a Decada 8. da Asia
No full textThe first section is an unpublished version of Decada da Asia (Eight Asia Decade). It is the version which is reproduced in the codices 839 and 2980 of the Municipal Public Library of Oporto and the National Library of Madrid, respectively, and which resulted in much controversy between the Camonists (specialists in the work of Camoes writer), due to the unpublished part related to Camoes'life and work and his relationship with the author. Together with the original text this section includes also an introduction to hand-written traditions and the edition's origins, as well as a glossary and historical and geographical notes on the text. The second part begins with a comparative study of the known versions of the eight decade, (the abbreviated one and that of the codices of Oporto and Madrid) set in an exhaustive survey of some variables, which are included in the appendices. This reopened the controversy among biographers of Camoes, about the aprocriphicity/authenticity of Oporto/Madrid version in order to conclude that it represents a previous stage of what would become the "Eighth Decade" in its final version, undoubtedly with it's author's mark Diogo do Couto. The third part is a reflection on an historical speech of Diogo do Couto, in which he says that although he had covered all decades of the chronicler, he took the eight decade as fundamental reference text. This section synthesizes the historical outcome of Diogo do Couto and implicitly reinforces the findings which are examined and discussed in section two. Vol. I - Imprensa Nacional, Lisboa. 1993 (Vol II no prelo)Available from Fundacao para a Ciencia e a Tecnologia, Servico de Informacao e Documentacao, Av. D. Carlos I, 126, 1200 Lisboa / FCT - Fundação para o Ciência e a TecnologiaSIGLEPTPortuga
“Eu preegador e apostola fuy”: pregação feminina num legendário pós-tridentino português (Fr. Diogo do Rosário, 1567)
Full text linkThis article analyzes the lives of two saints that Middle Ages represented as apostles and preachers, Saint Mary Magdalen and Saint Martha, in the first legendary post-Tridentine published in Portugual (1567). Their author, Fr. Diogo do Rosário, tries to comply with the conciliar guidelines. The analysis aims to ascertain whether his work actually puts into practice new methods and new themes, for example giving back to the limits of orthodoxy these two narratives which, in the medieval tradition, did not obey the prohibition that Saint Paul threw on the women’s preaching. The analysis will be made by comparing the choices that Fr. Diogo do Rosário made with the textual sources he had at his disposal and by evaluating his innovation on the texts.Este artigo analisa as vidas de duas santas que a Idade Média representou como apóstolas e pregadoras, Santa Maria Madalena e Santa Marta, no primeiro legendário pós-tridentino publicado em Portugal (1567). O seu autor, Fr. Diogo do Rosário, tem como objectivo a observação das orientações concilares. Pretende-se saber se a sua obra põe, de facto, em prática, novos métodos e novos temas, por exemplo repondo dentro dos limites da ortodoxia estas duas narrativas que, na tradição medieval, não obedeciam à proibição que S. Paulo lançara sobre a pregação feminina. A análise será feita comparando as escolhas que Fr. Diogo do Rosário fez com o que ofereciam as fontes que teve à sua disposição e avaliando a sua acção inovadora sobre os textos
Poesia e composição na canção: estudo analítico dos Três Cantos de Hilda Hilst (2002) de Almeida Prado e de canções do álbum Poesia Paulista (1998) de Achille Picchi, Eduardo Guimarães Álvares e José Augusto Mannis; composição comentada da canção A Casa do Tempo Perdido (2008) de Diogo Lefèvre
No full textEsta dissertação aborda a canção tendo como principal foco de interesse a composição musical. Esta trabalho engloba o estudo analítico dos Três Cantos de Hilda Hilst (2002) de Almeida Prado e de canções compostas por Achille Picchi, Eduardo Guimarães Álvares e José Augusto Mannis para o álbum Poesia Paulista (1998). Neste estudo, o objetivo principal é investigar estratégias de composição musical empregadas em obras que têm um texto poético como ponto de partida. Esta pesquisa envolveu também a composição da canção A Casa do Tempo Perdido (2008), de Diogo Lefèvre, onde se aplicam alguns procedimentos observados na análise das outras peças aqui estudadas. Realizou-se também um estudo comparativo entre A Casa do Tempo Perdido e as outras obras enfocadas por esta pesquisa. Detectaram-se estratégias musicais que abrangem diversas facetas das canções abordadas, como utilizações específicas dos recursos vocais e intrumentais, e também a estruturação formal das obras estudadas. Percebeu-se que muitas destas estratégias, mas não todas, se relacionam instensamente com os textos musicados.This work approaches the song having the musical composition as main center of interest. This dissertation includes the analytical study of the Três Cantos de Hilda Hilst by Almeida Prado and songs composed by Achille Picchi, Eduardo Guimarães Álvares and José Augusto Mannis for the álbum Poesia Paulista. The research's main objective is to investigate strategies of musical composition in works that have a poetical text as a starting point. The song A Casa do Tempo Perdido was composed in the course of this study by Diogo Lefèvre, research's author. In this piece some procedures observed in the analysis of the other songs approached by the dissertation were applied, and a comparative study between this last song and the others was made. Musical strategies thar include several facets of the approached songs were disclosed, such as specific uses of the instrumental and vocal resources, and the formal stucture of the pieces. Many of the disclosed strategies, but not all, have a close relationship with the text of these songs
Reversing the effect of the IDUA GENE W402X mutation?
Full text linkPresenting author: Diogo Ribeiro; Corresponding author: Olga AmaralIntroduction: Mucopolysaccharidosis type I (MPS I; OMIM #252800) is an autosomal recessive disorder, which results from the defective activity of the lysosomal enzyme α-L-iduronidase (IDUA, EC 3.2.1.76). The gene encoding α-L-iduronidase (IDUA; OMIM #252800) maps to chromosome 4p16.3 and contains 14 exons.
The W402X mutation is the most common in patients of European Caucasian origin, appearing in over 45% of alleles in unrelated patients of various western European origins. In addition, this mutation has been considered to play an important role in terms of the pathophysiology of MPS I.
The main objective of this work was to functionally evaluate the susceptibility of the nonsense mutation W402X of the IDUA gene to mechanisms of nonsense suppression with two individual compounds.Additional information:
FCT PIC/IC/82822/2007, DR is beneficiary of a BI grant from Fundação da Ciência e Tecnologia (MCTES) – Portugal
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