970 research outputs found
Anxiety Of Alexandra Maria Ellena Delgado In Stuart Gillard’s The Cutting Edge: A Psychoanalytic Approach
No full textThe major problem of this study is how anxiety reflected in the major character’s personality. The aim of this study is to analyze Stuart Gillard’s The Cutting Edge the structural elements and the development of personality of the major character based on Psychoanalytic Approach. This study focuses on major character, namely Alexandra Maria Ellena Delgado. The benefit of this research is to give addition all information to be used by other literature researchers who are interested in analyzing this movie. This study uses two data source, namely primary and secondary data source. The primary data source is the play script itself, while the secondary data are taken from some information needed.The method of data collection is qualitative method. Based on the analysis, the study of this research comes from
the major character problem. It purposes to analyze the movie using individual psychologycal perspective. The steps to conduct this research are (1) determining the type of the study, (2) determining the object of the study, (3) determining the data and data sources, (4) determining the technique of data collection, and (5) determining technique of data analysis. The result of the study found that there is a relationship between The Cuttingedge movie and psychoanalytic approach, first on the structural element of the movie; where the message to The Cuttingedge movie shows that Alexandra Maria Ellena Delgado as the major character that she want to be a beautiful ice skater. The point of view is, the director wants to show the struggle of life of Delgado’s. The theme of the movie is the basic idea of story in which the author portrays through conflicts of characters with other character or with life events. The anxiety of Alexandra related with psychoanalytic approach is that the doubt, fear, and worried of Alexandra makes her brave to take the second chance, and make her dream
comes true namely to be a beautiful ice skater
Economic Evaluation of Pollination Services Comparing Coffee Landscapes in Ecuador and Indonesia
No full textBiodiversity conservation through land-use systems on private land is becoming a pressing environmental policy issue. Agroforestry, such as shade-coffee production, contributes to biodiversity conservation. However, falling coffee prices force many coffee growers to convert their sites into economically more attractive land uses. We performed an economic evaluation of coffee pollination by bees in two distinct tropical regions: an area of low human impact with forests neighboring agroforestry in Indonesia and an area of high human impact with little remaining forest in Ecuador. We evaluated bee pollination for different forest-destruction scenarios, where coffee yields depend on forests to provide nesting sites for bees. We used two novel approaches. First, we examined how coffee net revenues depend on the pollination services of adjacent forests by considering berry weight in addition to fruit set, thereby providing a comprehensive evaluation. Second, we determined the net welfare effects of land-use changes, including the fact that former forestland is normally used for alternative crops. In both regions, crop revenues exceeded coffee pollination values, generating incentives to convert forests, even if owners would be compensated for pollination services. The promotion of certified "biodiversity-friendly" coffee is a feasible option to maintain shade-coffee systems. This is of special importance in high-impact areas where only small forest fragments remain. We conclude that a comprehensive economic analysis is necessary to adequately evaluate rainforest preservation for the enhancement of ecosystem services, such as pollination
Maria Keil, uma operária das artes (1914-2012). Arte Portuguesa do século XX
No full textTese de doutoramento em Letras, área de História, na especialidade de História da Arte, apresentada à Faculdade de Letras da Universidade de CoimbraEstudar a vida e a obra de Maria Keil é analisar a História e a Arte Portuguesas desde a década de 1930, quando a autora começou a sua
actividade, até 2012, ano em que faleceu. Tendo desenvolvido obra em
diversas áreas artísticas, destacando-se as artes gráficas, publicidade,
ilustração, azulejaria, desenho e pintura, Maria Keil definia-se como uma
“operária das artes”. O corpo de trabalho que nos legou é vasto e diversificado,
pleno de beleza, sensibilidade e humanismo, qualidades que caracterizavam a
personalidade e o traço da artista.
Nascida em Silves em Agosto de 1914, com o início da I Guerra
Mundial, Maria da Silva Pires deixou a terra Natal aos quinze anos de idade
por vontade da família aconselhada por Samora Barros, seu professor na Escola
Industrial, e partiu para Lisboa para frequentar a Escola de Belas-Artes. Após a
conclusão do curso geral, de três anos, frequentou o primeiro ano do curso de
pintura com o pintor Veloso Salgado. Entretanto, conheceu na Escola
Francisco Keil do Amaral, na altura aluno de arquitectura, com quem viria a
casar em 1933. O casamento com Keil do Amaral e a aproximação a um
círculo de amizades que incluía alguns dos mais notáveis intelectuais e artistas
da época, fê-la perceber que “na Escola não se aprendia nada”. Na rua, nos cafés, designadamente na Brasileira do Chiado, em casa de amigos, era nesses
locais que de facto se aprendia e se tinha acesso ao que as vanguardas artísticas
internacionais faziam. Longe dos modelos em gesso e do academismo do
ensino oficial das artes, havia um mundo por descobrir cujos ecos chegavam
timidamente a Portugal, através de revistas e livros estrangeiros ou pela boca
dos poucos artistas nacionais que conseguiam viajar e estabelecer-se fora do
país.
Em 1936, Maria Keil começou a colaborar com o Estúdio Técnico de
Publicidade (ETP), fundado por José Rocha, onde trabalhavam, entre outros,
Fred Kradolfer, Botelho, Bernardo Marques, Ofélia Marques e Thomaz de
Mello. No ETP, Maria reaprendeu a desenhar, conheceu uma nova realidade, a
da publicidade, e desenvolveu um grafismo muito próprio, de risco sintético e
estilizado, claramente modernista, que aplicaria, mais tarde, a outras áreas
artísticas.
Esse momento marcou o início da actividade profissional,
multifacetada, da autora. Nas décadas de 1930 e 1940, num contexto político
totalitário, em que a Arte foi colocada ao serviço do regime através da acção do
SPN/SNI, Maria Keil trabalhou, tal como a maioria dos artistas da sua geração,
como decoradora nas exposições internacionais de Paris (1937), Nova Iorque
(1939), São Francisco (1939) e na Exposição do Mundo Português (1940).
Neste âmbito, de referir, ainda, a colaboração com a revista Panorama, a
participação nas Campanhas do “Bom gosto”, a decoração das Pousadas de
Portugal e dos edifícios dos CTT, a realização de figurinos e cenários para a
Companhia de Bailado Verde-Gaio, entre outros. Paralelamente a autora, que sempre se posicionou, tal como o marido e o seu círculo de amizades mais
próximas, do lado da oposição ao regime, chegando a ser presa pela PIDE em
1953 por ter ido receber Maria Lamas ao aeroporto, desenvolveu outros
trabalhos, para clientes privados, muitas vezes amigos pessoais, essencialmente
na área da ilustração. A este propósito, refira-se a forte consciência social e
política de Maria Keil que a levou a defender várias causas, entre as quais, a da
Mulher.
A década de 1950 colocou a azulejaria e a ilustração infantil no seu
caminho, áreas artísticas que desenvolveu de forma notável até ao final da vida.
Casada com o arquitecto responsável pelo projecto do Metropolitano de
Lisboa, Maria fez os painéis de azulejo abstractos, de cariz geométrico, que
decoravam as suas estações. Além do marido, outros arquitectos recorreram ao
seu trabalho na área da azulejaria nos anos de 1950, tendo a autora executado
um conjunto de obras que contribuíram para introduzir decisivamente o
modernismo na azulejaria portuguesa. A partir da década de 1950 e até 2009,
ano da derradeira intervenção de Maria Keil na área da azulejaria, a artista
produziu dezenas de painéis de azulejo, sempre na Fábrica da Viúva Lamego.
A actividade de ilustração infantil começou em 1953, com Histórias da
Minha Rua de Maria Cecília Correia, e continuou, sem parar, até 2010, data em
que ilustrou o livro Florinda e o Pai Natal de Matilde Rosa Araújo, tendo a
autora deixado um legado de cerca de quarenta obras infantis ilustradas.
Paralelamente, Maria Keil foi autora de cartões para tapeçarias, escreveu livros, infantis e para adultos, dedicou-se à fotografia e pintou. A pintura, essencialmente de retratos, embora lhe tenha valido um prémio em 1941, era para a autora uma área de actividade pessoal, que ela não incluía no
seu trabalho profissional, ou seja, Maria Keil não se considerava uma pintora.
No entanto, ao longo da sua vida Maria não deixou de expor, individualmente ou em exposições colectivas, a sua obra de pintura que revela, sobretudo no domínio do retrato, uma elevada qualidade estética e técnica.Studying the life and work of Maria Keil is to analyze the Portuguese
History and Art since the 1930s, when she began working, until 2012, the year
she died. Having developed work until the end of her life, in various artistic
fields, among which stand out the graphic arts, advertising, illustration, tiling,
painting and drawing, Maria Keil defined herself as an “arts worker”. The body
of work she left us is vast and diverse, full of beauty, sensitivity and humanity,
qualities that characterized the personality and trace of the artist.
Born in Silves with the onset of World War I, in August 1914, Maria da
Silva Pires, left her homeland at the age of fifteen-years-old, by decision of her
family advised by Samora Barros, her drawing teacher at the Industrial School,
and left for Lisbon to attend the School of Fine Arts. After completing the
general course of three years, she attended the first year of Painting with the
painter Veloso Salgado. At the school she met Francisco Keil do Amaral, a
student of architecture at the time, with whom she would marry in 1933.
Marriage with Keil do Amaral and approximation to a circle of friends that
included some of the most remarkable intellectuals and artists of the time,
made her realize that "at school no one learned anything". On the street, in
cafes, in particular at Brasileira do Chiado, visiting friends, those were the places where in fact young artists learned and had access to the international
artistic vanguards. Far from plaster models and old methods of art education,
existed a world to discover whose echoes came timidly to Portugal, through
foreign magazines and books or by the words of the few artists who could
travel and settle abroad.
In 1936, Maria Keil began collaborating with Estúdio Técnico de
Publicidade (ETP), founded by José Rocha and where worked, among others,
Fred Kradolfer, Botelho, Bernardo Marques, Ofélia Marques an Thomaz de
Mello. In the ETP, Maria relearned how to draw, met a new reality, publicity,
and developed a very own artwork, with a synthetic risk and stylized, clearly
modernist, that she abandoned no more and applied to other artistic areas. From
there began the multifaceted occupation of the author.
In the 1930s and 1940s, a totalitarian political context in which the art
was placed at the service of the regime through the action of SPN / SNI, Maria
Keil worked, as most artists of her generation, as decorator in international
exhibitions, in Paris (1937), New York (1939) and San Francisco (1939), and
the Portuguese World Exhibition (1940). In this context, has to be mentioned
also the collaboration with the SPN’s magazine Panorama and the
participation in campaigns of "Good Taste", decoration of the Pousadas de
Portugal and public buildings, the creation of performing costumes and sets for
the Ballet Company Verde-Gaio, among others. Alongside, the author, who has
always positioned herself, as her husband and her closest circle of friends,
against the regime, eventually being arrested by the PIDE in 1953 for going to
the airport to receive Maria Lamas, developed other work for private clients, often personal friends, primarily in the field of illustration. In this regard,
should be mentioned the strong social and political consciousness of Maria
Keil that led her to defend various causes, including the Women's.
The 1950 placed the tiles and children's illustration in her way, artistic
areas that she developed remarkably from then until the end of her life. Married
to the architect responsible for the design of the Lisbon Metro, Maria made the
abstract tile panels of geometric nature, which decorated the stations. Besides
her husband, other architects resorted to her work in the area of tiles in the
1950s, having executed several works that contributed decisively to introduce
modernism in Portuguese tiles. From the 1950s and until 2009, the year of last
intervention of Maria Keil in the field of tiles, the artist produced dozens of tile
panels, always in Viúva Lamego Factory.
Maria’s activity in the field of children’s illustration began in 1953,
with Histórias da minha Rua, by Maria Cecilia Correia, and continued nonstop
until 2010, with the illustration of Florinda e o Pai Natal, by Matilde Rosa
Araújo. Maria Keil has left a legacy of nearly forty illustrated books for
children. Meanwhile, Maria Keil was author of tapestries, wrote books for
children and adults, made an experience on photography and painted. Painting,
primarily of portraits, though it was worth a prize in 1941, was for her a
personal thing, that she did not included in her professional work, in other
words, Maria Keil did not considered herself a painter. However, throughout
her life, she has not ceased to exhibit individually or in collective exhibitions, her work of painting, which reveals, especially in the field of portraiture, a high
aesthetic and technical quality
My Boyfriend Came Back From The War: una narrazione visiva di Olia Lialina
No full textThe contribution proposes the analysis of Net Art’s world-famous masterpiece
of one of its founders: My Boyfriend Came Back from the War (1996) by Olia Lialina.
Combining black and white images and words, it evokes the encounter of two lovers who
have been separated so long by the war. With her work, Lialina shows us the potential for
interaction of the new screen – that of the computer. She experiments with a non-linear
narration, where users edit the story frames thanks to hypermedia platform, resulting in
a new relationship between author and public. Considering such operations, the paper
aims to highlight the work’s ludic connotation beside the impact of filmic narrative on
the web
Renascimento simbólico pós-revolução de abril em Balada da Praia dos Cães e Alexandria Alpha, de José Cardoso Pires
No full textAnalysis of the dictatorial Portuguese period (1926-1974) in the fiction of José Cardoso Pires, taking into account the mythological-symbolic deconstruction done by this author. In this sense, we’ll cover the problematization of space undertaken by the author as well as the study of symbolism and social imaginary, before and after the revolution on 25 April 1974, especially in two works: Balada da Praia dos Cães e Alexandra Alpha. We’ll continue this study with a reflection on the duality historical time-time of narrative in both works, doing a parallel with a work of a Portuguese author which, in order to discuss the recent Portuguese past, also employs this same duality: Casas Pardas, by Maria Velho da Costa.Análise do período ditatorial português (1926-1974) na ficção de José Cardoso Pires, tendo, sobretudo, em consideração, a desconstrução mitológico-simbólica cardosiana. Neste sentido, abordaremos a problematização do espaço português levada a cabo pelo autor e estudaremos a simbologia e imaginário social, antes e depois da Revolução de 25 de Abril de 1974, em duas obras de José Cardoso Pires: Balada da Praia dos Cães e Alexandra Alpha. Continuamos este estudo com uma reflexão sobre a dualidade tempo histórico-tempo da narrativa em ambas as obras, fazendo, para tal, um paralelo com uma obra de uma autora portuguesa que, de forma a problematizar o passado recente português, emprega essa mesma dualidade: Casas Pardas, de Maria Velho da Costa
Unconventional Transport Routes of Soluble and Membrane Proteins and Their Role in Developmental Biology.
No full textMany proteins and cargoes in eukaryotic cells are secreted through the conventional secretory pathway that brings proteins and membranes from the endoplasmic reticulum to the plasma membrane, passing through various cell compartments, and then the extracellular space. The recent identification of an increasing number of leaderless secreted proteins bypassing the Golgi apparatus unveiled the existence of alternative protein secretion pathways. Moreover, other unconventional routes for secretion of soluble or transmembrane proteins with initial endoplasmic reticulum localization were identified. Furthermore, other proteins normally functioning in conventional membrane traffic or in the biogenesis of unique plant/fungi organelles or in plasmodesmata transport seem to be involved in unconventional secretory pathways. These alternative pathways are functionally related to biotic stress and development, and are becoming more and more important in cell biology studies in yeast, mammalian cells and in plants. The city of Lecce hosted specialists working on mammals, plants and microorganisms for the inaugural meeting on "Unconventional Protein and Membrane Traffic" (UPMT) during 4-7 October 2016. The main aim of the meeting was to include the highest number of topics, summarized in this report, related to the unconventional transport routes of protein and membranes
Nivel de satisfacion en los usuarios de la compañía de transporte escolar e institucional Riveras del Babahoyo S.A.
No full textThe objective of this Case Study is to publicize the level of satisfaction of the users of the Riveras del Babahoyo School and Institutional Transport Company, the type of method used is the inductive one because we analyze the cases of disagreement by the users of the company, for this it is necessary to have contributions from bibliographic links that help to support what is desired to manifest in this work, through the surveys we can verify that the users consider the service of the company to be unsatisfactory because of the which company decreases its productivity The company needs to have a better administration, also train the drivers of the transport units so that they can perform a quality serviceEl objetivo del presente Estudio de Caso es dar a conocer el nivel de satisfacción de los usuarios de la Compañía de Transporte Escolar e Institucional Riveras del Babahoyo, el tipo de método que se empleo es el inductivo porque analizamos los casos de inconformidad por parte de los usuarios de la compañía, para esto es necesario contar con aportaciones de enlaces bibliográficos que ayuden a respaldar lo que se desea manifestar en el presente trabajo, a través de las encuestas podemos verificar que los usuarios consideran poco satisfactorio el servicio de la empresa razón por la cual la compañía disminuye su productividad. La compañía necesita tener una mejor administración, también capacitar a los conductores de las unidades de transporte para que puedan efectuar un servicio de calida
A participação das crianças nos websites das escolas municipais de Florianópolis
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Ciências da Educação. Programa de Pós-Graduação em Educação.O trabalho procura compreender a relação das crianças com o site institucional da própria Escola, relação essa entendida como possibilidade de produção de sentidos. Considerando que as crianças são receptores potenciais do site, o foco do estudo é o modo como as crianças atribuem sentido à sua participação na escola, e, mais especificamente, no site ali produzido. O trabalho incluiu uma pesquisa de recepção realizada com crianças de quarta e de quinta série de uma escola pública municipal de Florianópolis/SC. Foram usados questionários, discussões em grupos focais com as crianças, além de entrevistas com profissionais e exestudantes que participaram da produção do site. A partir dos depoimentos das crianças, ficou claro que a participação ainda é, na maioria das situações, tutelada e didatizada. No caso da participação no site, as crianças atribuem importância ao sentimento de pertencimento, por um lado, e, por outro, questionam seu endereçamento e interatividade. Com essa atenção ao sentido que as próprias crianças dão à sua participação na produção midiática, a pesquisa procura contribuir para a discussão acerca da relevância de se inserirem aspectos da mídia educação no contexto escolar, como coadjuvantes no processo de formação de pessoas capazes tanto de fazer uma leitura crítica das mídias quanto de participarem ativamente da sua produção
Literary journalism in Alexandra Lucas Coelho's book reports: an analysis of Vai, Brasil and Viva México
No full textDissertação de mestrado em Ciências da Comunicação, área de especialização em Informação e JornalismoEste estudo tem como objetivo a análise da produção jornalística em dois livros, e do jornalismo
literário expresso nos livros-reportagens, advindos de relatos de viagens, da autora portuguesa
Alexandra Lucas Coelho. As obras escolhidas são Vai, Brasil (2013), uma seleção de crônicas, e Viva
México (2018), narrativas de viagem, ambas as obras produzidas nos respectivos países, criadas para
publicação no jornal português Público, tendo sido reunidas e publicadas em livros. A fim de
pormenorizar a execução desta pesquisa, estabeleceram-se os seguintes objetivos específicos:
identificar as características do jornalismo literário nos livros-reportagens de Alexandra Lucas Coelho,
discutir a estrutura narrativa das obras analisadas pelo viés do conteúdo imersivo do jornalismo literário
e expor o conteúdo informativo no jornalismo literário contido nos livros-reportagens, analisados através
da disposição dos relatos de viagens e envolvimento com as fontes/personagens das histórias.
Visando alcançar os objetivos propostos, escolheu-se como metodologia a abordagem qualitativa e o
uso da pesquisa documental. Através dessa análise, foi observado que a jornalista utilizou técnicas de
encantamento para envolver o leitor, tendo em vista seus relatos bem construídos e repletos de
detalhes, usando a arte da escrita literária. Por outro lado, permaneceu fiel à não ficcionalidade, que é
a principal engrenagem do jornalismo. A autora demonstrou sua experiência tanto no âmbito literário
como no jornalístico, utilizando a intertextualidade para enriquecer a narrativa, tanto esteticamente
como em termos informativos. A adoção de uma postura participativa, vivenciando os acontecimentos
e absorvendo a atmosfera inerente ao ambiente das personagens resulta em uma aproximação entre o
repórter e os fatos. As fontes foram tratadas e apresentadas ao leitor sob uma relação humanizada e
de proximidade, na qual as personagens são mostradas através de suas próprias vozes, com base em
descrições empáticas.This study aims at analyzing journalistic production in two books and literary journalism expressed in
book-reports, as a consequence of travel reports, by the Portuguese author Alexandra Lucas Coelho.
The works selected are Vai, Brasil (2013), a selection of chronicles, and Viva México (2018), travel
narratives, both produced in their respective countries, created for publication in the Portuguese
newspaper Público, then gathered and published in books. The following specific objectives were
established: identify the characteristics of literary journalism in the book-reports of Alexandra Lucas
Coelho, discuss the narrative structure of the works by the bias of the immersive content of literature
journalism, and expose the literary journalism contained in the book-reports, analyzed through the travel
reports structure and engagement with the sources/characters of the stories. In order to achieve the
proposed objectives, the qualitative approach and the use of documentary research have been chosen
as methodology. Through this analysis, it was observed that the journalist used enchantment
techniques to engage the reader given the well-constructed and detailed reports, using the art of literary
writing. On the other hand, she remained faithful to non-fiction, which is the main characteristic of
journalism. She also demonstrated her experience in the literary and journalistic fields, using
intertextuality to enrich the narrative, both aesthetically and informatively. Adopting a participative
attitude, taking an active role in the events, and absorbing the atmosphere inherent in the environment
of the characters results in an approximation between the reporter and the facts. The fonts have been
treated and presented to the reader under a humanized relationship and proximity, in which the
characters are shown through their own voices, based on empathic descriptions
Implications of the U.S. Farm Act on Canadian Agriculture
No full textThis paper addresses the implications of the U.S. Farm Security and Rural Investment Act of 2002 or "Farm Act" for Canadian agriculture. The Farm Act, which is expected to add at least US $45 billion in new price supports over its six-year timeframe, is expected to harm the position of less-subsidized and non-subsidized producers in Canada and other countries. Canadian farm products will be less competitive not only domestically, but also in the U.S. and in third-country markets. Canada will be most affected by subsidies for corn, soybeans, wheat, and pulse crops. New country-of-origin labeling rules under the Farm Act are also expected to be disruptive to Canadian livestock exports. In addressing these issues the paper also explores potential Canadian responses - including filing WTO or NAFTA complaints - as well as the broader implications for U.S.-Canada trade and international cooperation.U.S. Farm Bill, U.S.-Canada trade, Agricultural and Food Policy, International Relations/Trade,
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