244 research outputs found
Evolución 2011- 2018 del Mercado Integrado Latinoamericano (MILA) y retos para su desarrollo estratégico
No full textEste artículo busca exponer cuál ha sido la evolución del Mercado Integrado Latinoamericano (MILA) en el periodo 2011-2018 y los principales retos a los que se enfrenta para que se considere un mercado líquido y atractivo para los inversionistas de los cuatro países que lo integran. Para la investigación realizamos un estudio analítico con tres secciones: el primero corresponde a un análisis de la creación de ventaja competitiva del MILA a la luz de la teoría de competitividad de Michael Porter, el concepto teórico de clústeres del mismo autor y el modelo de coopetencia de Brandenburger & Nalebuff. (1996). El segundo corresponde a la revisión y análisis de datos sobre las características de cada una de las bolsas que integran el MILA. El tercer enfoque es la ejecución de entrevistas cualitativas semiestructuradas para identificar los retos que tiene MILA desde la perspectiva de las entidades que participan en él. Como conclusión identificamos que las principales variables en las que el MILA como mercado tiene más oportunidad de mejora son las barreras de entrada para el inversionista, así como la confirmación que la aplicación de la teoría de cluster por parte de las bolsas al integrarse a través del MILA fue exitosa como contra peso a la competencia con otros países no solo de la región si no del mundo.The purpose of this paper is to explain the evolution of the Latin American Integrated Market (MILA) in the period of time 2011-2018 and the main challenges that has to deal to be considerate an attractive and liquidity market for the investors of the four countries. For the research, we realized an analytical analysis focus in three scopes: The first one is an analysis for the creation of the competitive advantages for MILA; this research is based in the theory of competitive of Michael Porter, the Model of Cluster of the same author and the Coopetition model of Brandenburger & Nalebuff (1996). The second one is the data analysis of the negotiation and characteristics of each MILA´s exchange. And the third scope is identify the challenges that face MILA through qualitative semi-structured interviews to the entities that participate in the MILA market. In conclusion, we identify that the main variables in which the MILA as a market has opportunity of improvement are the entry barriers, as well as the confirmation that the application of the cluster theory by the stock exchanges when integrating through the MILA was successful in response to competition with the exchanges of other countries not only of the region but of the world
Adversarial Authorship Attribution in Open-Source Projects
No full textOpen-source software is open to anyone by design, whether it is a community of developers, hackers or malicious users. Authors of open-source software typically hide their identity through nicknames and avatars. However, they have no protection against authorship attribution techniques that are able to create software author profiles just by analyzing software characteristics. In this paper we present an author imitation attack that allows to deceive current authorship attribution systems and mimic a coding style of a target developer. Withing this context we explore the potential of the existing attribution techniques to be deceived. Our results show that we are able to imitate the coding style of the developers based on the data collected from the popular source code repository, GitHub. To subvert author imitation attack, we propose a novel author obfuscation approach that allows us to hide the coding style of the author. Unlike existing obfuscation tools, this new obfuscation technique uses transformations that preserve code readability. We assess the effectiveness of our attacks on several datasets produced by actual developers from GitHub, and participants of the GoogleCodeJam competition. Throughout our experiments we show that the author hiding can be achieved by making sensible transformations which significantly reduce the likelihood of identifying the author’s style to 0% by current authorship attribution systems
Vulgar sem ser sexy: Corpo, trabalho e cena na poesia de Mila Teixeira
No full textThis article focuses on the analysis of poems from the book A proclamação da vulgaridade ou quantos furos uma calcinha pode ter?, written by poet, screenwriter and playwriter Mila Teixeira, and published by Urutau in 2021. From the notion of cruelty in Artaud, the text seeks an approximation with the announcement of vulgarity, proclaimed by the writer. By highlighting verses that suggest the confluence between life and work of art, poetry is analyzed from the perspective of work in art as a practice of investigating the body and recreating relationships. The stories and images shared by the author are interpreted as scenic situations that reveal the manifestation of a poetic-theatrical state in her production. Finally, autofictional writing is approached as a proposition for the expansion of spaces for listening and sharing incarnated experiences.El artículo tiene como objetivo analizar los poemas del libro A proclamação da vulgaridade ou quantos furos uma calcinha pode ter? de la poeta, guionista y dramaturga Mila Teixeira, publicado por Urutau, en 2021. Partiendo de la noción de crueldad en Artaud, el texto busca una aproximación al anuncio de vulgaridad, proclamado por la autora. Al resaltar los versos que sugieren la confluencia entre la vida y la obra, la poesía se analiza desde la perspectiva del trabajo en el arte como una práctica de investigación del cuerpo y recreación de relaciones. Los relatos e imágenes compartidos por la autora se interpretan como situaciones escénicas que revelan la manifestación de un estado poético-teatral en su producción. Finalmente, la escritura autoficcional se aborda como una propuesta de ampliación de espacios para escuchar y compartir experiencias encarnadas.O artigo tem como objeto a análise de poemas do livro A proclamação da vulgaridade ou quantos furos uma calcinha pode ter?, da poeta, roteirista e dramaturga Mila Teixeira, publicado pela editora Urutau, em 2021. A partir da noção de crueldade em Artaud, o texto busca uma aproximação com o anúncio da vulgaridade, proclamado pela escritora. Através do destaque de versos que sugerem a confluência entre vida e obra, a poesia é analisada pela perspectiva do trabalho em arte como prática de investigação do corpo e recriação das relações. Os relatos e imagens compartilhados pela autora são interpretados como situações cênicas que revelam a manifestação de um estado-poético-teatral em sua produção. Por fim, a escrita autoficcional é abordada como proposição para a expansão dos espaços de escuta e compartilhamento das experiências encarnadas
Di nuovo sulla fortuna di un termine “agricolo”: seminarium
No full textThe author studies the presence of agriculture technical language in some works of Ambrose of Mila
Sativus e insitivus: due tecnicismi in Ambrogio?
No full textThe author focuses on some lexical aspects of the language of the works of Ambrose of Mila
Two-dimensional theory of style in translations: an investigation into the style of literary translations
No full textThe aim of this thesis was to address the issue of authorship of translations from two perspectives: firstly, the aim was to engage in the debate, and propose a theory on the authorship of translations; and secondly, to propose a method that would support the theory with empirical evidence. For this purpose a corpus of two translations of Plato’s Republic was used, and the two translations were compared for their style. Firstly, a method that ensures a step-by-step analysis of the texts, rather than the analysis of the whole texts was developed. The results showed that the method successfully compared two translations, demonstrating high degrees of correlation between the styles of the two translations. In other words, the method demonstrated that the unitary style of a translation is in fact a fusion of the translator’s and the author’s styles. Thus, this research demonstrated the two-dimensional nature of the style of translations. Consequently, since the style and authorship are closely related, the research showed that a translation is in fact a result of the collaboration between the author and the translator. In other words, a translation is a result of co-authorship
Between the judiciary and advocacy: Professional preferences of law students in Serbia
No full textIn this paper, the author will present the issue of professional preferences of law students, with a special emphasis on the preferences towards the judiciary and the advocacy as professions. The first part of the paper presents the most important legal professions in Serbia, while the second part of the text presents the results of quantitative research conducted at the Faculty of Law, the University of Belgrade. In the concluding discussion, the author will try to systematize the obtained results and give an explanation for them by presenting the motives that students are guided by when choosing a future profession and by comparing working conditions in the judicial and attorney professions.</jats:p
The life and oeuvre of sculptress Mila Wod
No full textDoktorskim radom cjelovito je obrađen do sada tek djelomično poznat život i umjetnički opus kiparice Mile Wod (Ludmile Wodsedalek) nastao kroz gotovo šezdeset godina djelovanja, od najranijeg studentskog crteža iz 1908. do posljednjih kiparskih djela nastalih godinu dana prije smrti 1967. godine. Prikupljeni su dostupni podatci o sačuvanim radovima, ali i o velikom broju radova danas poznatih tek prema fotografskim zapisima ili reprodukcijama, na temelju kojih je izrađen katalog djela. Kiparičino djelovanje može se podijeliti u dvije faze, prva od početka školovanja u prvoj generaciji kipara Privremene više škole za umjetnost i umjetni obrt 1907., zatim prvih izložbenih nastupa, prvih samostalnih javnih radova, pa do 1933. godine. U toj fazi aktivno sudjeluje u likovnim zbivanjima u Zagrebu, iako u njemu od 1919. ne živi. Od 1933. godine boravi u Karlovcu, započinje razvijati ideju Katoličke umjetničke radionice te svoje djelovanje sve više usmjerava prema sakralnoj umjetnosti i radu za katoličku crkvu. Istraživanjem su utvrđeni novi podaci o njezinom službenom djelovanju u sklopu zagrebačke nadbiskupije od 1943. do 1945. kada je zaposlena u ustanovi Nadasve (Naša draga svetišta) kojoj je svrha bila uređenje hrvatskih svetišta, osobito onog u Mariji Bistrici. Stilski, njezin opus dominantno obuhvaća figurativna, realistično modelirana djela s povremenim priklanjanjem impresionističkoj modelaciji i simbolizmu. U razdoblju kada se posvećuje sakralnoj umjetnosti, njezino kiparstvo postaje konzervativnije i bliže akademizmu u zadanim okvirima katoličke ikonologije. Kiparski radovi Mile Wod obuhvaćaju raspon od spomeničke plastike, komorne intimističke skulpture do medalja, plaketa i predmeta uporabne namjene. Pozicioniralo se ovim istraživanjem Milu Wod i u širu sliku umjetničkih zbivanja i društvenih kontakata s progresivnim ženama te su njezin život i djelo, kao umjetnice koja je proživjela različite povijesne mijene i države od Austro-Ugarske Monarhije do SFRJ-a, poslužili kao svojevrsna paradigma umjetničkog puta i sudbine umjetnice prve polovice 20. stoljeća. Obuhvaćene su tako i teme općeg položaja i mogućnosti umjetničkog školovanja žena, kao i djelovanje Kluba likovnih umjetnica čija je Mila Wod bila članica od samog osnutka. U mnogim je segmentima njezina uloga bila pionirska, kao prve autorice javnog spomenika do činjenice da stoji na početku usporedne i do sad zanemarene »ženske« kiparske povijest kao prva kiparica zagrebačke Privremene više škole za umjetnost i umjetni obrt.The sculptress Mila Wod, full name Ludmila Wodsedalek (1888-1968), played an important and pioneering role in the history of Croatian sculpture in the early 20th century. In 1907, she started to study sculpture when she enrolled at the newly opened Temporary High School for Arts and Crafts, predecessor of the Zagreb Academy of Fine Arts and thus she became the first sculptress to successfully graduate from this school. By exploring Mila Wod’s oeuvre and artistic activities, a general topic of the position of women in society and their opportunities for education and participation in the artistic life of a city opened. At the end of the 19th and the first decades of the 20th century, when women were officially banned from the important European academies of arts (Vienna, Munich) until 1920, the opening of the Temporary High School of Arts and Crafts in 1907 as a higher school at which, even female students were equally allowed to enrol, in theory positions Zagreb as a progressive environment. In practice, this naturally caused different reactions. Mila Wod’s artistic work can be roughly divided into two phases. The first phase lasts from the beginning of her studies in 1907 to 1933, when the second phase began, the beginning of which was marked by the idea of establishing the Catholic Art Workshop and then by entering the Third Order of St. Francis in 1938. From that period, she was almost entirely oriented towards the sacral arts and work for the Catholic Church, and almost entirely retreated from the then-contemporary, in her view, »larpurlartistic« exhibition happenings in Zagreb. The artistic beginnings of Mila Wod were very intense and successful. As early as her student days she realized her first work in a public space, the Vuga relief for the facade of the Children’s Home in Kukuljević Street, and very soon afterwards, as a newly graduated student, she was given the opportunity to make her own original work in an important public institution, then in 1912 the newly constructed Royal University Library and Archive (13 bronze reliefs, 9 putti and 4 philosophers). In doing so, she made her name in Croatian art history as one of the first women artists whose authorial reliefs are found on and in public buildings. This was followed by a months-long scholarship stay in Paris, where she had the opportunity to meet Auguste Rodin in person, although, as it has often been wrongly stated, she was not his student. Nevertheless, her early oeuvre depicts a fascination with the work of this sculptor, especially in the way of material treatment, as well as other Impressionist sculptors. This was especially evident at her large solo exhibition held in Zagreb at the Ullrich Salon in 1918. Due to research into texts in periodicals and until now unknown photographs of the exhibition at the Salon Ullrich, this exhibition is now almost entirely reconstructed, and considered as one of her most important and largest solo exhibitions. No less important was the exhibition with Nasta Rojc in Vienna in 1914 at the Austrian Association of Fine Artists, which had the potential of opening great opportunities, however the beginning of the First World War stalled it. From this exhibition, the plaster models of the putti reliefs of the Zagreb library were purchased for the well-known Viennese family of Wittgenstein. The Vienna Exhibition, in which also women’s textile heritage associations participated, can be considered as the beginning of a women’s association in exhibitions, culminating a decade later in 1927 with the founding of the Women’s Art Club. The sculptress’s membership in Zagreb Club was her continuation of cooperation with Nasta Rojc, but also an association in the pursuit of emancipation and greater visibility of women in the visual arts and in the art market. Through almost 20 years of Club’s activity and eleven exhibitions, Mila Wod would participate in four exhibitions (1928 in Zagreb, 1932 in Osijek, 1937 in Dubrovnik and the Jubilee Exhibition in Zagreb in 1939). This research, thanks to the hitherto unknown documentary material from the bequests of Zofka Kveder and Camille Lucerne, also shed new light on the sculptress’s friendship and artistic connections with the progressive and emancipated women of her time. An important point in the sculptress’s work was her move to Petrinja in 1920, marking the beginning of her educational work, which would last until her retirement. At first in Petrinja she influenced some of the young girls to take up ceramics and they would later on become renowned ceramicists. In the biography of Mila Wod, Petrinja is where she made the turn to new sculptural material – clay, while making ceramics and associating with Petrinja potters with the goal of raising the level of their artistic work, as well as raising the awareness of the city’s population about the values and quality of folk work. In 1929 for Petrinja, she created a monument for the leader of the Croatian Peasant Party, Stjepan Radić, pioneering her entry into Croatian art history as the first woman author of a public monument. The second phase of her artistic activity lasted for almost thirty years of her artistic work from 1933 until her death. So far, this phase of the sculptress’s activities has been very poorly known, and her dedication to sacred art has been largely linked to the tragic fate of her younger son Jurica in 1945 at the Jasenovac Concentration Camp. However, as a deeply and sincerely religious person, she decided to put her sculptural skills into the service of the church. The research brought about completely new insights into her involvement with the institution Nadasve (Naša draga svetišta – Our Dear Sanctuaries) with the Archdiocese of Zagreb from 1943 to 1945 and with works found in numerous parish churches that were only partially known until now. This opens the »chapter« of the almost untouched theme of Croatian sacral sculpture in the first half of the 20th century. So far, her sculptural oeuvre has only partially been explored and her artistic activities have largely been limited to a very narrow collection of her sculptural works, mainly from museum institutions. Through the research for this doctoral thesis, available information was also collected on many sculptural works whose fate is unknown today and only photographic records have been preserved. We have gained a new insight into the sculptress’s oeuvre from the earliest student drawing to the last two works created one year before her death. Thanks to new research contributions, her great artistic oeuvre, created over almost sixty years of activity, can now be much more comprehensively considered and stylistically formally analysed. Many of her works were made in bronze and terracotta, and only once did she try her hand at working with wood. In form it spans from medals to monumental sculptures, but her forte were sculptural forms of smaller dimensions. One of the specifics of her oeuvre are numerous portraits of the children, not an easy subject, which she executed with great skill in depicting the child’s psyche. Within the history of Croatian sculpture, we can stylistically position her as a student of Frangeš and Valdec, whose influence is particularly evident at an early stage when she still held on to very classical forms. Under the influence of Frangeš, there was also a shift towards the impressionistic treatment of the epidermis of the sculpture and the presentation and capture of the "moment and impression". This can also be linked with the visit to A. Rodin. Turn to sacral themes and firmly set canons of ecclesiastical art would bring a great stylistic change and, in fact, a return to the »Classical«. The sculptures were modelled in detail, in a posture with minimal movement, of almost ancient stillness. However, within the sacral oeuvre we find examples of works of strong individual style, such as the example of the Six days of Creation candlestick or one of the works from the last decades of life – the Way of the Cross for the Parish Church of Our Lady of Sinj in Sinj. Shaped as relief medallions, each mounted on a Greek cross, on which, with the minimum of expression, only with the position of the head of Christ and facial expression, she was able to display in a very impressive way all 14 stations of the Way of the Cross. The doctoral dissertation brought a series of new insights into the life and work of the sculptress Mila Wod, thus opening up a whole new view of her work, which was so far perceived through a very limited number of works of art, whereas some parts of her artistic work were almost completely unknown. History remembers her first and foremost as a sculptress who took the cast of the death mask of Archbishop Alojzije Stepinac. Mila Wod as a woman, an artist who has lived through various historical changes and states from the Austro-Hungarian Empire to the Socialist Federal Republic of Yugoslavia- SFRY, is one of the possible paradigmatic examples of the artistic path and career of a woman in the first half of the 20th century. From a very ambitious and promising and emancipated artist at the beginning of her career, who at several points played a pioneering role among sculptresses, eventually she willingly chose a »niche« of church art in which she found the realization of her deep Christian beliefs and ideals. This doctoral dissertation provides an insight into what has so far been only partially known of her oeuvre and life
Gamified apps for sustainable consumption: A systematic review
No full textMobile apps are ubiquitous, affecting our everyday practices because “there is always an app for that”. In this vein, there have been a significant number of apps devised to support people’s lifestyles to make them more sustainable. This study aims to draw an overview of gamified mobile apps for sustainable consumption. Following a systematic process, this study analyzes 67 gamified apps’ sustainability approaches and gamification concepts. It was found that (1) sustainable consumption is generally presented as the efficient use of resources to impact the environment positively, rarely addressing societal impacts or economic gains from shifting consumption practices. Other findings include (2) a lack of diversity in gamification characteristics, given the prevalence of direct communication with the user, the absence of virtual identities, and most apps targeting behavior change without attitude change. A potentially problematic design choice is (3) the presence, in some cases, of external rewards that are often contradictory to the message of sustainable consumption as they lead to more consumption. Nonetheless, based on most apps embedding sustainable consumption activities in the gamification concept and having a large number of users, it is possible to conclude that gamification has the potential to motivate shifts in their users’ lifestyles.Energy and Industr
الصدمة النفسیة والكتابة الابداعیة تحت ضوء التحلیل النفسي للأدب
No full textWith the rise of psychoanalytic criticism, the relationship between the
author and his work has become one of the major fields of research. This
article demonstrates the interplay between the author’s trauma and his
artistic sensibility. Far from being an autotelic artifact, the literary text
provides a kind of therapy, which brings solace to a writer, who is
psychically wretched. The traumatic times and the shattering and
baffling experiences in the author’s life sometimes have an impact on his
psychological equilibrium. Hence, the author vents his pent-up feelings
to experience a sense of catharsis. The paper relies on the recent
psychoanalytical trends to evince the relationship between the author’s
trauma and his literary work.
Key words: trauma, creative writing, psychoanalytical criticism, catharsis.With the rise of psychoanalytic criticism, the relationship between the
author and his work has become one of the major fields of research. This
article demonstrates the interplay between the author’s trauma and his
artistic sensibility. Far from being an autotelic artifact, the literary text
provides a kind of therapy, which brings solace to a writer, who is
psychically wretched. The traumatic times and the shattering and
baffling experiences in the author’s life sometimes have an impact on his
psychological equilibrium. Hence, the author vents his pent-up feelings
to experience a sense of catharsis. The paper relies on the recent
psychoanalytical trends to evince the relationship between the author’s
trauma and his literary work.
Key words: trauma, creative writing, psychoanalytical criticism, catharsis
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