30,416 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
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
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
Paramycetophylax bruchi Klingenberg & Brandão, 2009, new combination
No full textParamycetophylax bruchi (Santschi, 1916) new combination (Figs. 5, 7 c) Sericomyrmex bruchi Santschi, 1916: 383, (worker) Holotype, Argentina: Puerto Madryn (Biraben) (NHMB, examined); Santschi 1922: 355 combination in Myrmicocrypta (Mycetophylax); Santschi 1923: 268 combination in Mycetophylax; Kusnezov 1956: 24 combination in Paramycetophylax; Weber 1958: 262 combination in Mycetophylax; Kempf, 1972: 145 (catalogue); Bolton 1995: 268 (catalogue) new combination. Mycetophylax bruchi var. pauper Santschi, 1923: 268 replacement name, junior secondary homonym of Mycetophylax bruchi var. simplex Santschi, 1922: 355 (worker) Type, Argentina: Neuquen, (Dr. Carette col.) (MZSP, NHMB examined); Kempf 1972: 145 (catalogue); Bolton 1995: 269 (catalogue); new synonym. Myrmicocrypta (Mycetophylax) cristulata Santschi 1922: 356 (worker, queen, male) Syntypes, Argentina: Tucuman, El Banado, Valle Santa Maria, Ing. Weiser col. (NHMB, examined); Santschi 1929: 304 combination in Mycetophylax; Bucher, 1974: 63, Kempf 1972: 145 (catalogue), Bolton 1995: 268 (catalogue); new synonym. Mycetophylax cristulatus var. emmae Santschi 1929: 304 (worker) Syntypes, Argentina, Catamarca, Nacimientos, (Weiser col.) (NHMB, MZSP examined); Kempf 1972: 145 (catalogue), Bolton 1995: 268 (catalogue), Klingenberg & Brandao, 2005: 45 (syntype worker in MZSP); new synonym. Worker (Figs. 5 a, b, g, 7 c) Range of measurements (in mm) and indices of examined specimens (N = 13): IOD 0.88-1.18; HL 0.82-1.10; CI 101-113; SL 0.67-0.87; SI 57-80; ML 0.47-0.58; MI 47-58; WL 1.25-1.73; PrW 0.53-0.70; PL 0.25-0.37; PPL 0.23-0.37; GL 0.90-1.18; FL 0.93-1.39; TL 3.93-5.82. Measurements (in mm) and indices of Holotype (worker without gaster): IOD 1.00, HL 0.91, CI 110, SL 0.76, SI 76, ML 0,53, M 58, WL 1.48, PrW 0.62, PL 0.30, FL 0.93. Color yellow to reddish-brown. Masticatory and external borders of mandible, margins of clypeus and carinae brownish. Under optical microscope, body sculpture densely reticulate with exception of dorsal discs of mandibles, where sculpture is finely striate. Whole body sparsely covered by golden shiny appressed hairs. Anterior margin of clypeus with five to nine fine, stiff, and long setae, reaching half the length of the mandibles; three median setae longer than lateral ones. Head wider than long (see CI). Compound eyes set close to the middle of the head, with eleven ommatidia at maximum width and eight ommatidia at maximum length. Mandibles with eight to ten teeth, the two most apical teeth bigger than the others, followed by five to seven smaller triangular teeth and a last denticle. Anterior margin of clypeus slightly concave, almost straight, which bears a 6-8 long setae psamophore. In frontal view, clypeus attaining posteriorly the level of half the frontal lobes, in a rounded suture, followed by a weakly impressed triangular frontal area. Triangular shaped frontal lobes fully covering the antennal insertions. Glabrous area between antennal insertions and lateral carinae ending posteriorly at the level of posterior margin of the compound eyes. Sharp lateral carinae, almost vertical, marginate the anterior border of compound eyes. Vertexal margin concave, with a median impression and forming two lobes. Antennal scapes flattened, slightly curved; depending on degree of curving, reaching or slightly surpassing the posterolateral corners of the head. Apical end of funiculus with a three segmented club, wider than preceeding segments. The apical segment of funiculus as long as previous two segments together. Ventral face of head conspicuously flat. Mesosoma. Pronotum with a pair of anterior blunt and low spines, and a pair of inferior spines, square in lateral view. Dorsal face of mesonotum with a small blunt low median protuberance anteriorly. Inferior margin of mesosoma bordered by a sharp translucent carina. In side view, dorsal face of mesonotum slightly concave in the middle, metapropodeal suture straight; propodeum with a pair of triangular anterior protuberances at the basal face, a pair of divergent, short, blunt narrow triangular spines at the meeting of basal and declivous faces, and declivous face almost vertical. Petiole compact; in lateral view peduncle very short, and dorsal margin of node gently sloping until two posterior low triangular corner-like protuberances, with a weakly developed ventral process. Postpetiole in dorsal view subquadrate, with rounded margins. In lateral view, sternite of postpetiole well defined, covering 2/3 of tergite surface. Gyne (Figs. 5 c, d, h, 7 c) Measurements (in mm) and indices of examined specimen (N = 1): IOD 1.50; HL 1.36; CI 110; SL 1.01; SI 67; ML 0.57; MI 42; WL 2.05; PL 0.52; PPL 0.49; GL 2.10; TL 7.09. Color, pilosity and main morphological character traits of head, propodeal spiracle, petiole, postpetiole and gaster conspecific with the workers. Mandibles with nine teeth; apical tooth bigger than all others, followed by a smaller second apical tooth, six equally developed triangular teeth and a small basal denticule. Compound eyes with 16 ommatidia at maximum width and 21 ommatidia at maximum length. Posterior fourth of head with three equally developed ocelli. Most apical funicular segment slightly shorter than the two anterior together. Mesosoma. In lateral view anterior margin of pronotum and anterior face of scutum almost vertical, dorsal face of scutum flat almost concealing the pronotum in dorsal view, anterior margin of scutum rounded. In dorsal view, posterior margin almost straight, slightly rounded. Parapsidial lines visible due to the darker color of the parapsidial region and median portion of scutum. Notaulices obsolete. Prescutum narrow, at middle portion anterior and posterior margin not touching, axillae subtriangular. Scutum-scutellar sulcus impressed, convex and rounded. Scutellum trapezoid, anterior margin double the width of the slightly convex posterior margin. Metanotum reduced, appearing only as small, flattened disc in dorsal view. Katepisternum subquadrate to subtriangular; anepisternum two thirds of size of katepisternum, subquadrate, both divided by a distinct groove and ending posteriorly in a carina. Propodeum basal face straight in lateral view, oblique, with a sharp and produced triangular spine. Petiole, postpetiole and gaster as in the workers. Spiracle of first gastral segment indistinct. Male (Figs. 5 e, f, i, 7 c) Range of measurements (in mm) and indices of examined specimens (N = 3, in two speciemens it was not possible to measure the mandible length, therefore range for mandible length, mandibular index and total length are not given): IOD 0.7-0.71; HL 0.68-0.74; CI 101; SL 0.77-0.86; SI 108-123; ML 0.31; MI 42; WL 1.6-1.77; PL 0.37-0.43; PPL 0.26-0.29; GL 1.59-1.73; TL 5.05. Color dark brown. Funiculus, mandibles, pretarsi and tarsi brownish to yellowish. Integument and pilosity like in the conspecific workers. Integument of gaster shiny, with an almost vestigial reticulation. Head slightly wider than long (see CI), with the postero-lateral angles almost straight. Compound eyes with 21 ommatidia at maximum length and 20 ommatidia at maximum width. Mandibles slender and elongated with only two apical teeth, followed by a straight margin. Anterior margin of clypeus straight with three long setae. Clypeus posterior area attaining the level of half the antennal insertions, ending in a distinct triangular suture, followed by a narrow, impressed triangular area. Frontal lobes reduced, covering only half the antennal insertions. Lateral carinae barely surpassing the level of the posterior margin of compound eyes. Vertexal margin almost straight, posterolateral corners of the head almost rectangular. Antennal scapes straight, with half the length of all other antennal segments together. First funicular segment as long as the two next segments together. Ventral portion of head convex behind the buccal cavity, ending postero-ventrally in a sharp angle. Mesosoma. In lateral view scutum fully covering the pronotum. Scutum dorsal margin rounded in lateral view; in dorsal view with a middle shallow impression. Anterior margin of scutum rounded in dorsal view. Posterior margin convex. Parapsidial lines parallel to the median body axis. Median portion of prescutum narrow but anterior and posterior margin not touching, axillae subtriangular. Scutum-scutellar sulcus distinct. Scutellum bulging, strongly rounded in lateral view; scutellum anterior margin slightly convex, posterior margin rounded. Anepisternum and katepisternum divided by a sinous groove, development varies among the specimens. Anepisternum subtriangular with four to five transversal rugae dorsally. Katepisternum subquadrate and antero-ventral margin sinuous. Propodeum basal face slightly convex in lateral view, with a pair of small blunt spines; declivous face slightly concave. Petiolar dorsal margin rounded in side view, without spines, only two lobes in dorsal view. Ventral process vestigial. Postpetiole almost twice as wide as petiole in dorsal view, wider posteriorly; posterior margin of postpetiole with a median depression. Examined material: ARGENTINA: Neuquen, no coll. data 2 w (NHMB), v.1925 (Dr. Carette), [#1425], 1 w (MZSP); Nacimientos, 2.xii.1922 (Weiser), 3 w (NHMB) 1 w (MZSP) (Cotype); Puerto Madryn (Biraben), 1 w (NHMB); El Banado, Valle Sta. Maria (Weiser), 3 w, 3 m, 1 g (NHMB); Tucuman, Siete de Abril, Depto. Burruyacu, 2.vi.1965 (E. Bucher), 2 w (MZSP). Comments. The shape of the workers antennal scapes varies among individuals; it was not possible to determine a typical shape for the species: some specimens have straight scapes, surpassing the posterolateral corners of the head while others have curved scapes, only reaching the posterolateral corners. Santschi (1922) commented on the variation in P. simplex (= Mycetophylax bruchi var. pauper Santschi, 1923) with some individuals with slightly longer antennal scapes and without greyish powder covering ("pruinosite"). We suspect that he actually observed the symbiont bacteria Streptomyces covering the Attini ants in some individuals, which can cause such an appearance. Currie et al. (1999) described this phenomenon in Acromyrmex ants. In his description of Myrmicocrypta (Mycetophylax) cristulatus, Santschi (1922) mentioned larger dimensions in comparison with M. bruchi. But he was not able to define any clear morphological difference between the species, except for the shape of the postpetiole. In 1929 Santschi published the description of Mycetophylax cristulatus var. emmae. Again he justified the description of the variety because of its different dimensions and color. In his key, published in 1922, Santschi recognized similarities between M. bruchi and M. cristulatus, as well as differences and based his arguments for distinguishing them on the dimensions of the postpetiole. In M. cristulatus Santschi argued that the postpetiole seems to be wider than long, whereas in M. bruchi the postpetiole seems to be as long as wide. From our measurements of all available specimens we find that this character is not efficient for species separation. The same is true for the separation of M. bruchi from its variety M. bruchi var. simplex flatter renamed as pauper). However, Santschi was never able to show distinct morphological differences between the species bruchi and cristulatus and among their variations. Our observations show that the examined individuals present variations in body dimensions and color, especially in the length and shape of the antennal scape. These variations are gradual, so that the recognition of distinct forms is not possible. We propose then the synonymy of M. cristulatus and all varieties under P. bruchi. In two of the three examined males, the inferior vein of the radial cell does not touch the costa of the forewing. So the apicalmost part of the radial cell appears as not fully closed. There is no recent information published about the natural history of the species. Only Bucher (1974) briefly commented on the nest architecture of P. bruchi and K. emeryi; both species nesting in sandy soil, in places clear of vegetation. The species P. bruchi is known only from continental Argentina. A detailed map of distribution records is given in Fig. 7 c.Published as part of Klingenberg, C. & Brandão, C. R. F., 2009, Revision of the fungus-growing ant genera Mycetophylax Emery and Paramycetophylax Kusnezov rev. stat., and description of Kalathomyrmex n. gen. (Formicidae: Myrmicinae: Attini)., pp. 1-31 in Zootaxa 2052 on pages 27-2
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
Maria José ao encontro de Tchekov
No full text“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
No full textTried 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
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