30,445 research outputs found
Entrevista a les mestres Rosa Gispert i Maria Febrelles i a les seves exalumnes Pilar Fontàs, Rosa Maria Xiberta, Teresa Llorens i Maria Esteva
No full textEntrevista a les mestres Rosa Gispert i Maria Febrelles i a les seves exalumnes Pilar Fontàs, Rosa Maria Xiberta, Teresa Llorens i Maria Esteva sobre l'escola a l'època franquista. Els entrevistats parlen dels seus records sobre l'escola d'aquells temps. Els mestres es refereixen sobretot a la seva formació professional, la relació entre els mestres, els salaris, la manera de fer classes, l'horari escolar, la metodologia i els recursos pedagògics que feien servir, la disciplina, etc. I els exalumnes dels seus records relacionats amb l'escola i els mestres, les infraestructures i la neteja dels edificis escolars, les assignatures que tenien, les extraescolars, la llengua que es feia servir a l'aula i al pati, la formació patriòtica i religiosa que varen rebre, etc35.4 B Maria Febrelles.mp
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
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
Montserrat Gispert Cruells: “L’etnobotànica és la disciplina que afirma que les plantes són cultura”
No full textAprofitant una estada a Barcelona en el marc d’un any sabàtic de la catedràtica d’Etnobotànica de la Facultat de Ciències de la Universidad Nacional Autónoma de México (UNAM), Montserrat Gispert Cruells, he parlat amb ella - i transcric aquí les principals idees sorgides de la nostra conversa. Hem xerrat sobre l’etnobotànica com a ciència i, també, de les diferents aproximacions metodològiques dels estudis etnobotànics, tant a Mèxic com en altres territoris. Insistim en les plantes que van viatjar cap aquí (a Catalunya, a Europa en general), i en les plantes que van ser introduïdes d’aquí a Mèxic, al llarg de tants d’anys d’intercanvis transcontinentals.Montserrat Gispert Cruells, professor of Ethnobotany at the Faculty of Sciences of Universidad Nacional Autónoma de México (UNAM), has been in Barcelona as part of a sabbatical and I have talked with her – I transcribe here the main ideas arising from our conversation. We address the concept of Ethnobotany as a science and also the different approaches of ethnobotanical studies, both in Mexico and in other territories. We insist on the plants that travelled from Mexico to here (to Catalonia, to Europe in general), as well as on the plants that were introduced from here to Mexico along the many years of uninterrupted transcontinental trade
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
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
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
Jujol and collage. Fragments of the Sansalvador villa
No full text[EN] The description of Josep Maria Jujol S work has aroused diverse opinions, however, there is a term used frequently by experts: collage. This writing proves the relevance on applying this concept to Jujol s work, and especially to the Sansalvador villa. First, the use of the term collage to refer to Jujol is briefly exposed, as well as a historical-artistic contextualization. From this, follows that collage may be understood in three ways: as a graphic resource, as an intellectual strategy and as a process. Then the case study is analysed through these three meanings, which allows to discover the presence of decontextualized fragments of different origins, arranged in such a way that they generate apparently unitary images. Therefore, the Sansalvador villa presents the representation and intellectual method that correspond, point by point, to the definition of collage.[ES] La descripción de la obra de Josep Maria Jujol ha suscitado diversidad de opiniones, sin embargo, hay un término que aparece repetidamente por parte de los expertos, el collage. Este escrito comprueba la pertinencia de aplicar dicho concepto a su obra, y especialmente a la finca Sansalvador. Primero se expone brevemente el uso del término collage para referirse a Jujol, así como una contextualización histórico-artística. De ésta se deduce que el collage puede entenderse de tres maneras: como recurso gráfico, como estrategia intelectual y como proceso. Luego se analiza el caso de estudio a través de estas tres acepciones, lo que permite descubrir la aparición de fragmentos descontextualizados de distintos orígenes, dispuestos de tal modo que generan imágenes aparentemente unitarias. Por consiguiente, la finca Sansalvador presenta el procedimiento de representación e intelectual que corresponde, punto por punto, a la definición de collage.De Gispert Hernández, J. (2024). Jujol y el collage. Fragmentos de la finca Sansalvador. EGA Expresión Gráfica Arquitectónica. 29(50):76-91. https://doi.org/10.4995/ega.2024.19085OJS7691295
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