30,141 research outputs found
Storying Gendered Emotions in Greek Culture
No full textThe study of emotion in antiquity has produced an ever-growing bibliography that spans from exploring individual emotion to assessing their expression in various historical circumstances and sources. However, in relation to ancient Greek culture, a conspicuous gap persists in the examination of how gender differences shaped emotional experiences and expressions. This concise issue aims to address this gap
The Mechanical Tradition of Hero of Alexandria: Strategies of Reading from Antiquity to the Early Modern Period par Courtney Ann Roby
No full textHow to cite: Gerolemou, M. rev. The Mechanical Tradition of Hero of Alexandria: Strategies of Reading from Antiquity to the Early Modern Period by Courtney Ann Roby. Aestimatio: Sources and Studies in the History of Science 5: rev06 1–7. https://doi.org/10.33137/aestimatio.v5.46216Comment citer : Gerolemou, M. rev. The Mechanical Tradition of Hero of Alexandria: Strategies of Reading from Antiquity to the Early Modern Period by Courtney Ann Roby. Aestimatio: Sources and Studies in the History of Science 5: rev06 1–7. https://doi.org/10.33137/aestimatio.v5.4621
Maria Bersani
No full textLa voce illustra la biografia e l'apporto letterario dato da Maria Bersani alla letteratura per l'infanziaThe headword explains the biography and the contribution of the author Maria Bersani to the children's literatur
Variations on the Author
Get PDF“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
Get PDFDissertação (mestrado) - Universidade Federal de Santa Maria. Centro de Educação Fisica e Desporto
Erratum: Lack of immunity against rubella among Italian young adults. [BMC Infect Dis., 17, (2017) (199)] Doi: 10.1186/s12879-017-2295-y
No full textAfter publication of this article [1], the authors noted that the given names and family names of all authors had been inverted, and are therefore incorrect in the original article. In the original article, the author names appear as the following: Gallone Maria Serena, Gallone Maria Filomena, Larocca Angela Maria Vittoria, Germinario Cinzia and Tafuri Silvio. However, this is incorrect, and the author names should appear as per the below: Maria Serena Gallone, Maria Filomena Gallone, Angela Maria Vittoria Larocca, Cinzia Germinario, Silvio Tafuri. The author names have been corrected in the author list and the citation for this Erratum
Imagens de Otto Maria Carpeaux: esboço de biografia
Get PDFTese (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
Some Thoughts on the Mechanical Features of Pantomime Dancers
No full textThis paper aims to investigate the kinaesthetic experience of dance, and
especially of pantomime dance in Lucian’s De Saltatione and in Libanius’ oration
64, A Reply To Aristides On Behalf Of The Dancers, from the perspective of the
mechanical. Specifically, pantomime will be discussed in juxtaposition with the
concept of mechanical automation. Until now, this aspect remains unexplored;
however, this is of great importance, particularly if we take into consideration
that from the Hellenistic period onwards theatrical automata and processions
with engineered artefacts were considered to be a popular entertainmentmechanism
and, as such, they exerted great influence on the public’s aesthetic.
In this respect, I intend first to survey the concept of pantomimic mimesis as a
mechanical reproduction of motion, i.e. gestures and postures. Next, I shall detect
the vocabulary of mechanisms/mechanisms’ function that is generally embedded
in dance rhetoric by examining forced motion both in pantomime and ancient
mechanics.El presente artículo tiene como objetivo investigar la experiencia cinestésica
de la danza, y especialmente de la danza de la pantomima, en De Saltatione de
Luciano y en la oración 64 de Libanio, Una respuesta a Aristides en nombre de
los bailarines, desde la perspectiva de la mecánica. En concreto, la pantomima
se discutirá en yuxtaposición con el concepto de automatización mecánica, un
aspecto hasta aquí inexplorado, pese a su gran importancia, especialmente si
se tiene en cuenta que a partir del período helenístico autómatas y procesiones
teatrales con artefactos de ingeniería se consideraron un mecanismo de
entretenimiento popular y, como tales, ejercieron gran influencia en la estética
del público. En este sentido, primero tengo la intención de examinar el concepto
de mímesis pantomímica como una reproducción mecánica del movimiento,
es decir, gestos y posturas. A continuación, detectaré el vocabulario de la
función de mecanismos / función de los mecanismos que generalmente se halla
incrustado en la retórica de la danza al examinar el movimiento forzado tanto
en la pantomima como en la mecánica antigua
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