30,109 research outputs found
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
Full text link“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
Full text linkDissertação (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
Full text linkTese (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 José ao encontro de Tchekov
Full text link“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
Full text linkTried 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
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
„The left profile” of the scientist. Maria Skłodowska-Curie serving Polish studies during socialism
No full textThe author presents ways in which Maria Skłodowska-Curie was constructed
as a personal model for socialism. The first part of the article attempts
to reconstruct the portrait of the great scientist contained in the
anthologies for primary school in the time of The People’s Republic of Poland,
as well as the books by Helena Bobińska Maria Skłodowska-Curie and
Ewa Curie Maria Curie. In the second part of the paper the author examines
the means by which this image was used to serve ideological purposes.
The author also examines selected school indoctrination practices which
were intended to further students’ assimilation and imitation of a personal
model of socialism derived from Skłodowska’s biography. She also discusses
school indoctrination practices through which students were not
only supposed to get to know Skłodowska-Curie, “the progressive scholar”
– her life, work and virtues – but also to emulate her in their own lives
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