145 research outputs found
The foreigner, the Beja and the leopard
No full textTale-telling. Session organised in the language assistant's house. Some members of his family were present.A foreigner promisses a Beja to give him his car and his belongings if he manages to kill a leopard within a limited area. The Beja kills it but fails to meet the conditions
The foreigner, the Beja and the leopard
No full textTale-telling. Session organised in the language assistant's house. Some members of his family were present.A foreigner promisses a Beja to give him his car and his belongings if he manages to kill a leopard within a limited area. The Beja kills it but fails to meet the conditions.Recording conditions: Edirol 09 Digital recorder ; Sony MS907 microphon
Capital Flight and the Hollowing Out of the Philippine Economy in the Neoliberal Regime
No full textCapital flight is the movement of capital from a resource-scarce developing country to avoid social controls, and measured as net unrecorded capital outflow. Capital flight from the Philippines was 36 billion in the 1980s, and $43 billion in the 1990s. Indeed these figures are significant amounts of lost resources that could have been utilized in the country to generate additional output and jobs. Capital flight from the Philippines followed a revolving door process – that is, capital inflows were used to finance the capital outflows. This process became more pronounced with financial liberalization in the 1990s. With these results, we argue that capital flight resulted in the hollowing out of the Philippine economy and, more important, neoliberal policies underpinned the process.Capital flight; external debt; revolving door; Philippines
Caracterização de materiais argilosos para aplicações terapêuticas: os barros de Beja
No full textOs efeitos terapêuticos e/ou cosméticos das argilas são
amplamente reconhecidos e o seu uso é tão antigo como a
própria humanidade. Têm sido utilizadas em vários países,
em termas ou centros de talassoterapia, para tratar
problemas reumatológicos, doenças de pele ou para fins
cosméticos.
Atualmente, o uso de geoprodutos para tratamentos é
conhecido como Geoterapia. A Peloterapia é uma variante
da Geoterapia e consiste no uso de argilas por via interna ou
externa devido às suas propriedades: analgésica, anti inflamatória, cicatrizante, tonificadora, vitalizante e
antitóxica.
O presente trabalho tem como objetivo principal estudar oito
amostras de solos residuais recolhidos na zona de Beja e
averiguar se apresentam, ou não, características adequadas
para a utilização em peloterapia.
Realizaram-se diversos ensaios de caracterização
granulométrica, mineralógica, físico-química e tecnológica
dessas amostras de argilas. Entre os ensaios realizados
para verificação da sua adequabilidade para peloterapia,
selecionaram- se: granulométricos como curva
granulométrica, sedigraph e superfície específica;
mineralógicos por Difração de Raios X (DRX) de agregados
orientados e não orientados; físico-químicos por
Fluorescência de Raios X (FRX), matéria orgânica (MO), pH,
condutividade, Capacidade de Troca Catiónica (CTC); e
tecnológicos como tempo de arrefecimento, abrasividade,
limites de consistência, expansibilidade, viscosidade, calor
específico e absorção de óleo.
As amostras Beja 3, Beja 21 e Beja 40 cumprem os valores
mínimos aceitáveis para serem utilizadas em peloterapia, no
entanto, sugere-se a elaboração de ensaios futuros com o
intuito de averiguar se são prejudiciais para a saúde humana
e maximizar os seus efeitos benéficos.The therapeutic and/or cosmetic effects of clays are widely
recognized, and their use is as old as humanity itself. The use
of clays in many countries, in spa or thalassotherapy centres,
to treat rheumatological or skin problems or for cosmetic
purposes is frequent. Geotherapy is the treatment with
geoproducts. Pelotherapy is a variant of geotherapy and
consists of the use of internal or external clays due to its
properties: analgesic, anti-inflammatory, healing, toning,
vitalizing and antitoxic.
The main objective of this work was to study eight residual soil
samples collected in the Beja region and to verify if they
present or not suitable characteristics for use in pelotherapy.
The author selected several laboratory tests to characterize
the selected samples, such as particle size, mineralogical,
physicochemical, and technological of these clay samples.
Among these tests performed to verify its suitability for
pelotherapy, the author selected the following: particle size
such as particle size curve, sedigraph and specific surface;
physicochemical by X-ray fluorescence (XRF), determination
of organic matter (MO), pH, conductivity, Cation Exchange
Capacity (CTC); mineralogical by X-ray Diffraction (XRD) of
oriented and unoriented aggregates; and technological such
as cooling time, abrasiveness, consistency limits,
expandability, viscosity, specific heat and oil absorption.
Beja 3, Beja 21 and Beja 40 samples meet the minimum
acceptable values to use in pelotherapy, however, it is
suggested that future trials be carried out to ascertain whether
they are harmful to human health and maximize their
beneficial effects.Mestrado em Engenharia Geológic
Eastland with unidentified man and Beja Clark.
No full textGreenwood, Mississippi; 2 copies.https://egrove.olemiss.edu/joephoto_e/1304/thumbnail.jp
Trigaches Marbles (São Brissos, Beja, Portugal): petrographic and geochemical characterization of a historical dimension stone
No full textThe exploitation of carbonate crystalline rocks in the Ossa-Morena Zone (OMZ) dates back more than two thousand years. Several historical exploitation poles in OMZ were identified based on the identification of distinctive marble lithotypes in Roman consumption areas, and some of those historical exploitation places were, subsequently, identified in situ through geo-archaeological works (e.g. Almadén de la Plata, Estremoz Anticline). The distinctive macroscopic features of Trigaches Marbles also allowed to recognize their use on Roman architecture, but also in several buildings, namely in southern Portugal, along numerous historical periods until present days, which indicates a long lived history of exploitation of this dimension stone. The Trigaches Marbles are exploited in Trigaches - São Brissos parish (Beja, Alentejo), located at the SW border of the OMZ. The geological unit containing the Trigaches Marbles has been assigned to Cambrian (as most of the exploited marbles on OMZ), outcropping in a N-S elongated strip with approximately 1.5 km2 of area. This unit contacts with Carboniferous magmatic bodies to the west and north, and with a predominantly metasedimentary unit, composed of schists and subordinate metavolcanic rocks, to the east.
At macroscopic scale, Trigaches Marbles can be light grey, dark grey or grey-scale banded marbles, showing a poorly developed subvertical to steeply dipping metamorphic banding, subparallel to the main unit trend. Marbles are mainly composed of calcite (generally above 97% of volume - just one sample has a proportion around 95%), exhibiting a well-developed non-oriented granoblastic texture, commonly with tendency towards polygonization of calcite grains. As minor mineral phases, quartz, opaque minerals, biotite or muscovite, and sporadically, scapolite and pyroxene were identified. Marbles are inequigranular, generally coarse to very coarse grained, although sometimes medium grained calcite is also present (grain size ranges from 0.5mm to 20-40 mm). Calcite crystals commonly present type 4 twins, indicating medium-high temperature recrystallization, in accordance with the grain size.
Major element geochemical data show great homogeneity, in accordance with mineral modal composition: CaO ranges between 52.2 and 54.8% whilst MgO varies from 0.4 to 1.0%, in accordance with the calcite nature of these marbles and the absence of dolomite; low concentrations of Al2O3 [0.8 - 0.1%], K2O [0.0 - 0.2%] and Na2O [0.0 - 0.3%] agree with low phyllosilicate contents and the absence of feldspars s.l.; SiO2 can reach 2% of whole rock being related mostly to the presence of quartz (can reach 3% of modal composition); LOI range between 42.5 and 43.9%, mainly indicative of the CO2 content.publishe
Transferring artistic graffiti to fenzine
No full textDiplomsko delo z naslovom Prenos umetniškega grafita v fanzin raziskuje možnosti prenosa značilnih vizualnih elementov ulične umetnosti v tiskano obliko. Glavni namen naloge je bil proučiti, kako ohraniti značilnosti grafitarske ustvarjalnosti, kot so dinamične linije, intenzivne barvne kontraste in tridimenzionalne učinke tipografskih upodobitev ter jih učinkovito prenesti v dvodimenzionalni in materialni omejen format fanzina.
V teoretičnem delu naloga obravnava zgodovino in razvoj grafitov in fanzinov, pri čemer izpostavlja njune skupne lastnosti, kot sta svobodno izražanje in eksperimentiranje v likovnem izražanju. Eksperimentalni del prikazuje proces izdelave avtorskega fanzina, od lastnoročne izdelave grafitov v urbanem prostoru in digitalne obdelave vizualnega gradiva do oblikovanja mreže, tiska in vezave.
Končni rezultat je avtorski fanzin, združuje podobe avtorsko ustvarjenih grafitov iz mesta Ljubljane, ki so bili ustvarjeni na dovoljenih prostorih, ki jih Mestna občina Ljubljana namenja grafitarskemu izrazu. Delo se navezuje na princip »naredi sam«, ki je značilen za fanzinsko kulturo. Naloga predstavi, da je ulično umetnost mogoče prenesti v tiskani medij brez izgube njene avtentičnosti, hkrati pa ponuja tudi odnos novih medijev do grafitarske kulture.The thesis entitled Transfer of artistic graffiti into fanzines examines the possibilities of transfering the visual elements of street art into printed form. The main aim of the thesis was to investigate how the characteristics of the graffiti form and style, such as dynamic lines, intense colour contrasts and three-dimensional attributes, can be preserved and effectively transferred to the two-dimensional and materialistically limited format of a fanzine.
The theoretical part of the work deals with the history and development of graffiti and fanzines, explaining their common similarities such as freedom of expression and experimentation in artistic expression. The experimental part shows the process of making an original fanzine, from making the graffitis and the digital process of the visual material to the designing of the grid, printing and binding.
The final result in an author\u27s fanzine, combining images of author\u27s graffiti from the city of Ljubljana, which were created in the permitted spaces designated by the Municipality of Ljubljana for graffiti expression. The work is shown as the DIY principle that characterises fanzine culture. The work shows that street art can in fact be transferred into a printable media without losing its authenticity, while also offering a new media approach to graffiti culture
Estimating Trade Mis-invoicing from China: 2000-2005
No full textAn examination of available data reveals large trade misinvoicing between China and its trade partners. The analysis finds a net trade misinvoicing of US1.4tn. China needs to establish more effective management of its international trade flows. At the same time, the international community needs to provide more effective governance mechanisms to address trade misinvoicing. Copyright (c) 2008 The Author.
From the author to de reader: the how and the why of the editorial mediation
No full textO presente trabalho visa estudar a origem, âmbito, metodologia e relevância da mediação editorial no contexto do aparecimento e evolução da escrita e da leitura, pilares fundamentais para o desenvolvimento sociocultural das populações e das sociedades. Tendo em vista o objectivo definido analisa-se o desenvolvimento dos materiais e processos utilizados para fazer chegar a mensagem escrita aos seus interessados, e aprofunda-se o surgimento, a partir de finais do século XIII e durante o século XIV, de profissões relacionadas com a edição e o comércio livreiro, que ganhariam protagonismo a partir do século XV com a introdução do livro impresso e a entrada na era da Galáxia Gutenberg.Sub sequentemente, aborda-se a autonomização da mediação editorial e caracterizam-se as múltiplas componentes, da avaliação de conteúdos temáticos ao conhecimento de tendências na economia da oferta e da procura, que a avalizam como função privilegiada de divulgação dos autores junto dos seus leitores.The present work aims to study the origin, scope, methodology and relevance of editorial mediation in the context of the emergence and evolution of writing and reading, fundamental pillars for the sociocultural development of populations and societies. Having this objective in mind, we analyze the development of materials and processes used to convey the written message to the interested parties, and we deepen the study of the emergence, from the end of the 13th century and during de14th century, of professions related with book publishing and trade, and describe how these professions gained prominence from the 15th century onwards with the introduction of the printed book and the arrival of the Gutenberg Galaxy. Subsequently, the autonomy of the editorial mediation is discussed and multiple components are characterized, going from the evaluation of thematic contents to the knowledge of supply and demand trends. All these elements guarantee its consistency, and endorse the privileged role of disseminating authors and engaging readers.FCT - Fundação para a Ciência e , I.P., no âmbito do projecto com a referênciaTecnologia UIDB/04188/2020publishe
A háborúnak (nincs) vége : A traumamunka színrevitele Lola Arias dokumentumfilmjében (Theatre of War, 2018)
No full textA tanulmány Lola Arias Theatre of War (2018) című, a Falkland/Malvinas háború
veteránjainak közreműködésével készült, újrajátszásokra épülő filmjét a 2010-es évek
második felétől jelentkező „próba-dokumentumfilmek” példájaként tárgyalja. Ez a filmtípus
traumatörténetek érintettjeivel zajló színházi próbákat tesz a forgatás tárgyává, az előadás
kulisszáját a film játékterévé, a próbát pedig a traumamunka intim terepévé avatja. Dominick
LaCapra freudi ihletésű kritikai traumaelméletének acting-out (újraélés) és working-through
(átdolgozás) fogalmai segítségével a tanulmány azt a folyamatot vizsgálja, ahogyan a
Theatre of War-ban a „személyes újrajátszás” a szerző által kiemelt három gyakorlata (a
testarchívum, az ismétlés-tükrözés, valamint a színházi és filmes performativitás kettős
expozíciója) létrehozza az átélt háborús traumák megjelenítésének teátrális, ugyanakkor
autentikus színterét. | The study discuss Lola Arias’ Theater of War (2018), a film based on re-enactments with
the participation of veterans of the Falkland/Malvinas War, as a variation of the “rehearsal
documentaries” that appeared in the second half of the 2010s. This type of film follows
theater rehearsal processes involving survivors of trauma stories, turning the stage of
the performance into the film’s playground, and the rehearsal into the intimate terrain
of trauma work. Using the Freud inspired concepts of acting-out and working-through
of Dominick LaCapra’s critical trauma theory, the study examines three practices of
“in-person re-enactments” highlighted by the author (body archive, repetition-mirroring
and double exposure of theatrical and filmic performativity), and the way these practices
contribute to the creation of an artificial and at the same time authentic environment for
representing war traumas
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