1,356,092 research outputs found
Postmodernizmin cadısı: Diamanda Galas
No full textBu makalede, şov ile performans arasındaki, günümüzde iyice bulanıklaşan alanda sahiciliğiyle bir performans sanatçısı olarak öne çıkan Diamanda Galas'ın, müziğini edebiyat ve performans ile buluştururken politik tavrından da asla ödün vermeyişi üzerinde durulacaktır. Kendisi için "auteur" (yazar) nitelemesini tercih eden, üç buçuk oktavlık soprano Diamanda Galas, sesini kıyımlara uğrayanların, yurtlarından kovulan halkların, işkence görenlerin, ezilen kadınların, fahişelerin, toplumdan dışlanan eşcinsellerin, AIDS hastalarının yanında, onların lehine bir silah gibi kullanıyor; özgürlük kavramına vurgu yaparak bizzat direnişin ve karşı koyuşun sesine dönüşüyor. Blues, gospel, caz, klasik müzik, folk, rembetiko ve rock etkili müziğinde ölüm, hastalık, kötülük, adaletsizlik gibi karanlık temaları daha çok kullanan Galas, Baudelaire, Artaud, Nerval, Pasolini, Genet, Poe, Celan, Adonis, Michaux, Vallejo gibi yazar ve şairlerin metinlerinden de yararlanıyor. Bu makale, günümüz sanatında başkaldırının en güçlü kadın seslerinden biri olan Diamanda Galas'ın özgünlüğünü ve önemini vurgulamayı amaçlamaktadır. This article will focus on Greek/American avant-garde artist Diamanda Galas and her uncompromising political attitude while her music meets performance and literature. While the boundaries between a show and a performance are blurring, Galas is also an important performance artist. Diamanda Galas has a voice range of three and a half octaves and she prefers the term 'auteur' for herself. She turns her great voice to a weapon for the sake of oppressed, expelled, tortured, externalized, ill-fated people, for the victims of holocausts, genocides and plagues and for the outsiders. She insists on the term 'freedom' and speaks, shouts and screams for their resistance. Her music, influenced by blues, gospel, jazz, classical music, folk, rembetiko and rock has its dark themes like death, illness, evil and injustice. It also uses texts by marginal writers, poets and artists like Baudelaire, Artaud, Nerval, Pasolini, Genet, Poe, Celan, Adonis, Michaux and Vallejo. This article aims to stres the originality and importance of Diamanda Galas, one of the strongest voices of revolt in today's art
Properties of dysprosium doped GaLaS fibre amplifiers operating at 1.3µm
No full textIn light of the recent progress on the fabrication of GaLaS fibres we have modelled the performance of dysprosium doped GaLaS fibre amplifiers operating at 1.3µm. Based on experimental data, we find the incorporation of a co-dopant (terbium) in the fibre core significantly shortens the optimum amplifier length from >30m to ~3m. Such a device may be practical given the fibre losses currently achieved in GaLaS fibres
The Construction of a United Great China: A Comparative Study of the CCTV Spring Festival Galas, 1984-86 and 2004-06
No full textThe Spring Festival, or Lunar New Year, is the most important festival in China. On every Lunar New Year's Eve since 1983, the state-run China Central TV (CCTV), the only national TV station in China, has held a celebrating gala. This thesis attempts to examine the CCTV Spring Festival Galas as a case study of China's statist nationalism. The research questions of this thesis are: what techniques and technologies have the CCTV Spring Festival Galas used to construct a Chinese national space? How have the CCTV Spring Festival Galas describe the Chinese national space? And what changes have taken place in these techniques and technologies as well as in the descriptions? To answer these questions, this thesis conducts a comparative research, comparing both the commonalities and differences between the galas of 1984-86 and those of 2004-06. Employing an interpretative textual analysis approach, it analyzes the videos of these six years' galas and explores the political meanings of words and programs in the galas. This thesis finds that in order to imagine a united Chinese national space, the galas mainly represent China in terms of classes, ethnic groups and places. With the presence of minorities and people from Hong Kong, Macao, and Taiwan, the galas focus on the boundary of the Chinese nation to construct the unity of China. Furthermore, in order to construct the greatness of this united Chinese national space, the galas use heroes and sites to symbolize China. The presence of traditional elements helps create a temporal dimension of the Chinese national space. As a result of, and in response to, the socio-economic changes in the last two decades, the techniques and technologies used by the galas have changed. Besides the great changes in stage settings and technologies, the major changes in the techniques include: in the 2004-06 galas, hosts play a much more important role in interpreting the political meanings of the programs and presenting the state's nationalist narrative to the audience, the Chinese Communist Party occupies a more central place in the galas, and home increasingly means individual family instead of the country of China. Correspondingly, the way the galas treat singers, actors, and hosts from Hong Kong and Taiwan has also changed.Master of Art
Cantigas e galas da canção
No full text(do arquivo de Fernando Rocha, a quem agradeço a gentileza) O casino de Póvoa de Varzim organizou galas da canção poveira, aqui nas edições de 1972 e 1973. Na de 1972, ganhou a canção "Meu Sangue Tem Sal do Mar", do conjunto vocal Os Trovadores, constituído por Rosita Barros, Natércia Maria, Toni Reis, Júlio Guimarães e Fernando Rocha. A canção e outras foram editadas pela Alvorada, etiqueta da Rádio Triunfo (ouvir em https://www.youtube.com/watch?v=y-97iYxK2kc). Fernando Rocha foi apresentad..
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
De los Arcos, Marquez, leyendo unos documentos frente a Santiago Galas durante una ceremonia.
No full textI.O. ""Marquez de los Arcos, Santiago Galas""
Santiago Galas y otras personas a la entrada de la Catedral, retrato de grupo.
No full textI.O. ""Santiago Galas, Marquez de los Arcos, Irigoyen, José de la Macorra""
Effect of contraction modality on muscle strength and structure after resistance training and detraining
No full textIntroduction: Traditional resistance training involves both concentric and eccentric contraction, even if the latter has been shown to be more effective in total strength and muscle mass increment (Roig, 2009). However, often total training volume has been not considered. In addition, less is known about improvements retention after a detraining period. Therefore, aim of the study is to evaluate if muscle strength and structure changes are contraction dependent. In addition, we want to investigate if contraction modality can influence modifications retention after detraining.
Methods: Sixty healthy female sport science students were randomly allocated in eccentric only (E), concentric only (C), eccentric plus concentric training (E+C) or control group (CG). Training groups exercised isovolume unilateral isotonic leg extension for 8 weeks, while CG did not train. Isokinetic eccentric, concentric and isometric Maximal Voluntary Contraction (MVC), 1RM, vastus lateralis fascicle angle (FA), fascicle thickness (FT) and fascicle length(FL) and fat free mass (FFM) were recorded at baseline, 1 and 4 weeks after the end of training. Changes of dependent variables were detected using two- way repeated measures ANOVA.
Results: Significant two way interaction resulted in concentric (p<0,001), eccentric (p<0,001) and isometric (p<0.001) MVC, 1RM (p<0.001) and FA (p<0.05). FFM showed a strong tendency in two way interaction (p=0.058), while FT and FL did not displayed it. Post hoc analysis showed different strength coupling training-testing behavior both after training and detraining. FFM increased only in E after detraining (p<0.05). PA similarly increased in all training groups; FT incremented only in E (0.01) and C (0.05); Fascicle lengthened after detraining in E (p<0.01) and C (p<0.05).
Discussion: Effectiveness of resistance training depend both on volume and contraction modality. Confirming literature, high intensity resistance training showed muscle strength and improvement retention (Fatouros, 2005). Hence, even if high intensity isovolume resistance training improved total strength, contraction specific training- testing is a torque high lightening factor, with a superiority of eccentric training (Guilhem, 2012). Trainers and conditioners should keep in mind that a timeline adaptations knowledge resulted in a more effective training planning.
Fatouros, I. G., et al. (2005). Strength training and detraining effects on muscular strength, anaerobic power, and mobility of inactive older men are intensity dependent. British journal of sports medicine, 39(10)
Guilhem, G.,et al. (2012). Neuromuscular Adaptations to Isoload versus Isokinetic Eccentric Resistance Training. Medicine and science in sports and exercise.
Roig, M., et al.(2009). The effects of eccentric versus concentric resistance training on muscle strength and mass in healthy adults: a systematic review with meta-analysis. British journal of sports medicine, 43(8), 556–68
Galas del Natyasastra: un universo escénico fascinante
No full textMás información en: https://documentacionescenica.com/la-biblioteca/ressenya/resena_17/galas-del-nyastra-un-universo-escnico-fascinante y http://www.danza.es/multimedia/revista/galas-del-natyasastra-ivan-gonzalez-cruzLa aparición del Nāṭyaśāstra en el mundo hispano, tras su publicación por vez primera en castellano en el año 2013, ha sido un acontecimiento celebrado por destacados hinduistas y especialistas del ámbito teatral. Entidades como el Instituto de Indología, la Casa de la India, o la Revista de Literatura del CSIC se sumaron de inmediato, al tener conocimiento de esta obra, con reseñas y eventos que venían a poner de manifiesto la importancia de este hecho, no solo para el arte escénico sino también la cultura en general, debido a la amplitud de temas y materias que se dan cita en este tratado que lo convierte en un documento excepcional sobre el pasado y el presente de la humanidad.
Desde la perspectiva singular de la escena, como señalamos a raíz de la edición de esta obra, en ella se descubre la vigencia de un pensamiento teórico-práctico que se remonta a los orígenes de la dramaturgia. Podemos entrever aquí cómo el Nāṭyaśāstra se adelantó a las principales ideas que vendrían a ser desarrolladas después por los más influyentes métodos contemporáneos del actor. Coquelin, Stanislavski, Meyerhold, Brecht, Grotowski, Strasberg están prefigurados en este libro fundacional.
Entonces afirmábamos que este tratado aporta uno de los eslabones perdidos de la civilización, y abre una nueva visión acerca de la génesis y evolución de la estética teatral, llegando a la conclusión de que su hallazgo reescribirá la historia del arte dramático.
El texto que ahora presentamos con el título Galas del Nāṭyaśāstra: un universo escénico fascinante, introduce al lector en una serie de aspectos que hablan del contexto en que nace este tratado junto a otros asuntos que permitirán comprender su concepción y el significado de traducir un libro de esta relevancia y complejidad.
Entre las grandezas de este tratado está el trascender la singularidad de su época y el teatro de la India. Solo la universalidad de la concepción del diseño del personaje que enseña, la construcción de una obra y su montaje, o sus lecciones para el actor, bastarían para hacer del Nāṭyaśāstra una poética primordial, pero hay más, mucho más que únicamente puede apreciarse después del estudio, meditación y puesta en práctica de sus saberes.
Las Academias y Escuelas del Actor tienen con el Nāṭyaśāstra una nueva puerta que se abre en el incesante proceso de formación del talento y realización del prodigioso desafío del arte teatral.González Cruz, I. (2019). Galas del Natyasastra: un universo escénico fascinante. Letralia. Tierra de Letras. (343):1-12. https://riunet.upv.es/handle/10251/118755S11234
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
- …
