28,175 research outputs found
Variations on the Author
No full text“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
O curso de licenciatura em educação física da Universidade Federal de Santa Catarina: suas concepções de ensino e de educação física
No full textDissertação (mestrado) - Universidade Federal de Santa Maria. Centro de Educação Fisica e Desporto
Santa Maria di Loreto a Milano: i progetti di Francesco Maria Richino e i "sacri ragionamenti" di Federico Borromeo
No full textFederico Borromeo asked Francesco Maria Richino for some projects for the new church dedicated to Santa Maria di Loreto outside the Porta Orientale in Milan. The author debates the connections between the omely wrote by Federico Borromeo and the plans of the church
Imagens de Otto Maria Carpeaux: esboço de biografia
No full textTese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em História, Florianópolis, 2015.Este esboço de biografia procura citar algumas imagens de Otto Maria Carpeaux: construções biográficas de naturezas múltiplas, elaboradas em contextos, por atores e sob condições igualmente díspares. Está constituído a partir de uma visão crítica da História, o que permite que ?outras imagens?, fragmentárias e não monumentais, também tenham espaço. Em diálogo com o princípio da montagem, este esboço apresenta-se em duas partes. Na primeira, Imagens possíveis, estão citadas as imagens elaboradas em vida e post mortem acerca do austríaco-brasileiro que nasceu em Viena em 1900, se exilou no Brasil em 1939 e morreu no Rio de Janeiro, em 1978. Na segunda, Montagens possíveis, apresentam-se duas possibilidades de exercício biográfico: pela leitura alegórica do documentário O velho e o Novo (Otto Maria Carpeaux), entendido como instrumento de intervenção no contexto ditatorial brasileiro e de uma reelaboração biográfica concernentes às suas experiências europeias; e pelo Caderno de imagens críticas, registro dos encontros em Carpeaux pelo meio de imagens críticas produzidas a partir da cesura do presente.Abstract : This biographical sketch attempts to quote some images of Otto Maria Carpeaux: various types of biographical constructions, carried out in different contexts by disparate authors under conditions just as distinct. It stems from a critical view of history, allowing for ?other images? fragmented and non-monumental ? to share the space.In dialogue with the montage principle, this sketch has two parts. The first, Possible Images, quotes the images produced during and after the life of the Austrian-Brazilian, who was born in Vienna in 1900, went to Brazil in exile in 1939 and died in Rio de Janeiro in 1978. The second part, Possible Montages, presents two possibilities of a biographical exercise: through the allegorical reading of documentary O Velho e o Novo (Otto Maria Carpeaux), understood as an instrument of intervention in the Brazilian dictatorship context and as a biographical retelling of the author?s European experiences; and through my Scrapbook of Critical Images, a record of the encounters in Carpeaux through critical images produced from the caesura of the present
Maria meu amor… Uma leitura d’<em>A Monja de Lisboa</em> de Agustina Bessa-Luís [Elektronisk resurs]
No full textÉ por considerar que a obra A Monja de Lisboa de Agustina Bessa Luís tem um lugar seminal para a compreensão do conjunto da produção historiográfica da autora, que proponho desenvolver uma reflexão à volta do género biográfico, atentando, mais precisamente, nas implicações do acto de biografar e no seu impacto na imagem do sujeito biografado. As reflexões à volta da identidade de género trazidas pelo método metabiográfico definido por Dhúill, servirá para mostrar como a autora procura questionar as “narrativas de género” oferecidas pelos textos biográficos que ela reinveste para as desconstruir e dar um novo rosto à personagem histórica, Maria da Visitação. As I consider the work A Monja de Lisboa by Agustina Bessa Luís has a seminal place for the understanding of the whole historiographical production of this author, I propose to develop a reflection around the biographical genre, paying especial attention to the implications of the act of biographing and its impact on the image of the biographee. The reflections related to gender identity brought by the metabiographical method defined by Dhúill, will be used to show how the author seeks to question the “gender narratives” offered by the biographical texts she reinvests in her work to deconstruct them and be able to draw a new face for the historical figure, Maria da Visitação.</p
Escravidão “um grande mal”:: A tese de Maria Firmina dos Reis
No full textDiese Studie diskutiert die Bedeutung narrativer Prozesse in der Darstellung von Schwarzen und Sklaverei im Werk von Maria Firmina dos Reis (1822-1917) aus Maranhão. Dazu nehmen wir die 1887 veröffentlichte Kurzgeschichte „A escrava“ als spezifischen Korpus. Wir werden auch versuchen, die Präsenz romantischer Ironie als einen Aspekt hervorzuheben, der einen herausragenden Platz in den stilistischen Verfahren im Gesamtwerk von einnimmt Maria Firmina dos Reis (2018). Als wichtigste theoretische Ressource haben wir nicht nur das Konzept der romantischen Ironie nach Kierkegaard (1991) und des Witzes nach Suzuki (1998) verwendet, sondern auch Verfahren der literarischen Darstellung, die sich auf die Figur des versklavten Schwarzen beziehen in der Erzählung des Autors in Frage. Es ist daher die Prämisse dieser Studie, die ästhetischen Aspekte der Erzählung von Maria Firmina dos Reis aufzuzeigen, die, wie wir verstehen, die Besonderheiten ihrer Arbeit im Kontext der brasilianischen Literaturgeschichtsschreibung aufzeigen. Ein Ergebnis dieser Analyse ist die Erweiterung der festen Grenzen des brasilianischen Literaturkanons, ein theoretischer Aspekt, der die Wahrnehmung der Heterogenität der brasilianischen Romantik wertschätzt und, soweit möglich, die kontinuierliche Überarbeitung und Erweiterung des Literaturkanons fördert in Brasilien.Our concern in this study was to reflect on the importance of narrative processes in the representation of black people and slavery in the work of Maria Firmina dos Reis (1822-1917). To do so, we take as specific corpus the short story "A escrava", published in 1887, and, as far as possible, the complete work of the author. We will also seek to indicate the presence of romantic irony as an aspect that occupies a prominent place in the stylistic procedures in the complete work of Maria Firmina dos Reis (2018). We use as main theoretical resource the concept of romantic irony, according to Kierkegaard (1991), and, that of chiste, according to Suzuki (1998), among others, and, as well as procedures of literary representation associated with the figure of the enslaved black man in the narrative of the author in question. As a main methodological resource, we will discuss our corpus stricto sensu, with emphasis on the short story "A escrava", trying to comment, whenever possible, on the author's complete work. It is a premise of the study to demonstrate aesthetic aspects of Maria Firmina dos Reis' narrative that, as we understand it, demonstrate the specificities of her work in the context of Brazilian literary historiography. An unfolding of the study is the expansion of the fixed limits of the Brazilian literary canon, a theoretical aspect that values the perception of the heterogeneity of Brazilian romanticism and, as far as possible, promotes the continuous revision and expansion of the literary canon in Brazil.Este estudio discute la importancia de los procesos narrativos en la representación del negro y la esclavitud en la obra de Maria Firmina dos Reis (1822-1917), de Maranhão. Para ello, tomaremos como corpus específico el cuento “A escrava”, publicado en 1887. También buscaremos destacar la presencia de la ironía romántica como un aspecto que ocupa un lugar destacado en los procedimientos estilísticos de la obra completa de María Firmina dos Reis (2018). en cuestión. Es la premisa de este estudio, entonces, demostrar los aspectos estéticos de la narrativa de Maria Firmina dos Reis que, entendemos, revelan las especificidades de su obra en el contexto de la historiografía literaria brasileña. Un resultado de este análisis es la ampliación de los límites fijos del canon literario brasileño, aspecto teórico que valora la percepción de la heterogeneidad del romanticismo brasileño y, en la medida de lo posible, promueve la revisión y ampliación continua del canon literario. en Brasil.O presente estudo discorre sobre a importância dos processos narrativos na representação do negro e da escravidão na obra da maranhense Maria Firmina dos Reis (1822-1917). Para tanto, tomamos como corpus específico o conto “A escrava”, publicado em 1887. Buscaremos evidenciar ainda a presença da ironia romântica como um aspecto que ocupa lugar de destaque nos procedimentos estilísticos na obra completa de Maria Firmina dos Reis (2018). Utilizamos como principal recurso teórico não apenas o conceito de ironia romântica, conforme Kierkegaard (1991), e, o de chiste, segundo Suzuki (1998), entre outros, como também procedimentos de representação literária relacionados à figura do negro escravizado na narrativa da autora em questão. É premissa deste estudo então demonstrar os aspectos estéticos da narrativa de Maria Firmina dos Reis que, entendemos, revelam as especificidades de sua obra no contexto da historiografia literária brasileira. Um desdobramento desta análise é a ampliação dos limites fixos do cânone literário brasileiro, aspecto teórico que valoriza a percepção da heterogeneidade do romantismo brasileiro e, na medida do possível, promove a contínua revisão e ampliação do cânone literário no Brasil
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Recombinant adenoviral-meditated alterations of cytochrome P450 3A2 and 2C11
No full texttextRecombinant adenovirus serotype 5 (Ad) is a key vector extensively employed in gene therapy clinical trials and vaccine development protocols. Although this vector has a natural tropism for the liver, there is limited understanding of how Ad infection affects one of the primary hepatic processes, drug metabolism. Preliminary data investigating the effect of a single dose of 5.7 x 1012 adenovirus particles/kilogram on the hepatic cytochrome P450 enzyme system (CYP) revealed not only that significant suppression occurs following systemic administration, but also that enzymatic activity remains suppressed for 14 days. In addition to the vector dose, various components of the virus (transgene, virus gene expression and capsid-receptor interactions)
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could be responsible for the observed suppression in hepatic CYP. Investigation of treatment (5.7 x 1010-5.7 x 1012 vp/kg) of a recombinant vector expressing a non-therapeutic transgene significantly suppressed CYP3A2 expression (mean value of 39%) and function (mean value of 41%) four days after administration. Doses in the range of 5.7 x 106-5.7 x 109 vp/kg did not alter CYP3A2 expression or function, but significantly increased CYP2C11 one day after administration. Expression levels (mean value of 88%) and activity levels (mean value of 93%) were markedly increased. Doses of vectors expressing self transgenes and no transgene revealed that CYP is altered regardless of the transgene cassette used. Treatment with the Null vector, a vector without a transgene cassette, significantly altered CYP3A2 activity throughout the duration of the study (14 days) and CYP2C11 activity at early time points (6 and 24 hours). In addition, modifications at the molecular and macromolecular level do not eliminate aberrations in CYP following Ad administration. Treatment with an adenoviral vector lacking all viral genes markedly suppressed both CYP isoforms, at the transcriptional and translational level, for 14 days. The data presented here suggest that the binding of Ad to cell surface receptors and subsequent internalization of the virion significantly alters posttranslational CYP function, possibly through altered signal transduction pathways. In addition these studies show that shifts in cellular machinery to support the production of the transgene product, and not the transcription of viral genes, also repress CYP transcription.Pharmaceutical Science
Maria José ao encontro de Tchekov
No full text“A Carta da Corcunda para o Serralheiro” (“Letter from the Hunchback Girl to the Metalworker”), signed by Maria José, was first performed in a theatre show in 1988 (by actress-director Maria do Céu Guerra), two years before the typescript was published in book form for the first time by Teresa Rita Lopes. The evidence upon which this article is built is that it was the theatre that revealed the dramatic destination of this singular epistle of the only female heteronym that Fernando Pessoa invented, which was also the last heteronym to be created by the author. The dramatic construction of Maria José can be approximated to the character-building strategies in Anton Chekhov’s realist dramaturgy, in a way that differs from Pessoa’s other dramaturgical experiences. The analysis of Chekhov’s ascendancy over Stanislavski’s research, as well as the importance of Schopenhauer’s conception of the tragicomic, which is simultaneously projected onto Chekhov’s theatre and Maria José’s profile, are favourable lines of reading for this rapprochement between Pessoa and the Russian fiction writer and playwright. Pessoa’s readings of Chekhov’s texts (such as the play Uncle Vania and the short story “Vanka”) provide relevant data for assessing the magnitude of this encounter.“A Carta da Corcunda para o Serralheiro”, assinada por Maria José, começou por ser difundida num espectáculo de teatro em 1988 (pela actriz-encenadora Maria do Céu Guerra) dois anos antes de o dactiloscrito se ver publicado em livro, pela primeira vez, por Teresa Rita Lopes. Parte-se da evidência de ter sido o teatro a revelar a destinação dramática da epístola singular do único heterónimo mulher que Fernando Pessoa inventou, que terá sido também o último a ser criado pelo autor. A construção dramática de Maria José pode ser aproximada às estratégias de construção de personagem na dramaturgia realista de Anton Tchekov, de um modo que se distingue de outras experiências dramatúrgicas de Pessoa. A análise do ascendente de Tchekov sobre as pesquisas de Stanislavski, bem como a importância da concepção de tragicómico em Schopenhauer, que se projecta em simultâneo sobre o teatro de Tchekov e sobre o perfil de Maria José, são linhas de leitura propícias para esta aproximação entre Pessoa e o ficcionista e dramaturgo russo. As leituras de textos de Tchekov por parte de Pessoa (como o caso da peça Tio Vânia e o conto “Vanka”) fornecem dados relevantes para avaliar a magnitude deste encontro
O negro como personagem na literatura infantil, na obra de Maria Rita Py
No full textTried to when analyzing the works of Coleção História da Vó Preta, of the Santa Mariense author Maria Rita Py, the representation of black people, showing how the issues surrounding it in society, his yearnings, sorrows, lived since last century , are present in contemporary children's literature. The literature has shown an increasing concern in presenting a cultural identity that expresses the relationship of social inclusion. The Brazilian reality shows that the black, after the liberations of slaves, and most recently with the growth of the black movement, assumed a new vision, creating a new discourse in this literature, when passing to be personage of the transformation of black spirit (sense). It is in this context that the black literature of Maria Rita Py inserts, dedicated to child audience, search for solutions to solve the problems of this personage such as frustration, rejection, desire to be white, doubts and anxieties of children black in society, affect self-esteem and identityProcurou-se ao analisar nas obras da Coleção História da Vó Preta, da autora santa-mariense Maria Rita Py, a representação do negro, demonstrando como as questões que o envolvem na sociedade, seus anseios, mágoas, vividas desde o século passado, estão presentes na literatura infantil contemporânea. A literatura tem evidenciado uma preocupação cada vez maior em apresentar uma identidade cultural que expresse as relações de inclusão social. A realidade brasileira mostra que o negro, após a libertação dos escravos, e mais recentemente com o crescimento do movimento negro assumiu uma nova visão, criando um novo discurso nessa literatura, quando passa a ser personagem da transformação da consciência negra. Neste contexto que se insere a literatura negra de Maria Rita, dedicadas ao público infantil, destaca-se a preocupação em buscar soluções para resolver os problemas dos seus personagens tais como: frustração, rejeição, desejo de ser branco, dúvidas e os anseios de crianças negras na sociedade, mas que afetam a auto-estima e a sua identidade
Give Up Art: Collected Critical Writings
No full textGive Up Art is a collection of critical writings by author Maria Fusco. Operating across fiction, criticism, and theory, Fusco’s work forges a contemporary space for critical art writing internationally. Give Up Art brings together nearly two dozen essays, reviews, and smaller pieces published between 2002 and 2017
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