305,569 research outputs found
Dona Lecy\'s daughter: a study of Leci Brandão\'s trajectory
No full textEsta pesquisa debruça-se sobre a trajetória de Leci Brandão, mulher, negra, de origem humilde, politicamente de esquerda. Ela percorreu um caminho bastante peculiar se comparada aos seus pares. Leci foi a primeira mulher a entrar na Ala de compositores da Mangueira, rompeu contrato com uma gravadora multinacional por ter tido suas músicas lidas como críticas demais, e, posteriormente, se tornou a segunda mulher negra a ser deputada estadual de São Paulo, hoje no segundo mandato. Sua trajetória foi construída, nesta pesquisa, sob a perspectiva dos marcadores sociais da diferença, como raça, gênero, classe social e geração. Para tanto, foram realizadas entrevistas semiestruturadas que ocorreram no decorrer de três anos e a análise de letras de suas composições, falas políticas e material produzido por seu mandato. Pensando-a em comparação com outras pessoas negras que ascenderam socialmente, percebi que Leci não abriu mão de sua origem social, movendo-se de forma contínua do local de origem para locais mais centrais na sociedade, que são ocupados majoritariamente por pessoas de classes sociais diferentes da sua. Foi habitando, portanto, uma espécie de fronteira que Leci estabeleceu-se como uma exceção ou uma figura ímpar.This research focuses on the trajectory of Leci Brandão, woman, black, of humble social background, and politically aligned with the left/politically left-oriented. She has a peculiar life course when compared to her peers. Leci was the first woman to join Mangueiras Ala dos Compositores (composers section), she broke contract with a multinational record company for having had her songs considered as too critical to social structure, and she became the second black woman ever to be elected as a state representative in São Paulo (she is currently on her second term in office). In this research, her life course was written from the perspective of social markers of difference such as gender, race, social class and generation. To this, I used semi-structured interviews that took place during three years at different times, the analysis of lyrics, political discourses and other materials produced by staff while in office. Placing Leci Brandão in comparison to other black people who rose socially, I observed that she did not let go of her social background. She steadily moved from her place of origin to more central places in society, which are occupied mostly by people of different social classes of than hers. Leci thus was placed on a kind of border and she has established herself as an exception or peculiar individual
Leci e Januário: escrevivências negras contemporâneas na música e fotografia
No full textO trabalho em questão propõe articulações entre diferentes linguagens do campo artístico brasileiro no século XX. Para isso, realiza diálogo entre a produção cancional e fotográfica de Leci Brandão e Januário Garcia, pontuando elementos de escrevivências (EVARISTO, 2003; 2008). Por fim, aponta para as narrativas cancionais e fotográficas compostas para os discos Coisas do meu pessoal (Polydor/Polygram, 1977) e Essa tal criatura (Polydor, 1980) como produtos artísticos que abrigam poéticas narrativas reveladoras de subjetividades e lugares de memória vinculados às trajetórias e relações sociais de seus produtores, desnudando sentidos importantes para a construção de saberes, fazeres e artes com foco no prisma étnico-racial e de gênero.</jats:p
Coisas do meu pessoal : samba e enredos de raça e gênero na trajetória de Leci Brandão
No full textDissertação (mestrado)—Universidade de Brasília, Instituto de História, 2010.Na consideração do samba como gênero musical brasileiro por onde desfilam lutas de representações entre o que é identidade negra e identidade nacional, a presente pesquisa dedica-se a desvelar propostas identitárias de raça e gênero no repertório da sambista Leci Brandão, disposto entre 1975 e o tempo presente. Tal período abarca os movimentados anos dispostos entre 1960 e 1980 onde, por um lado, a música popular brasileira representou um espaço privilegiado para o debate de temas tocantes ao interesse nacional àquele período. De outro, estas três décadas revelaram pressupostos artísticos e críticos da MPB signatários de uma tradição cultural brasileira gestada a partir da tipificação racial como eixo de atribuição de valores sociais. As décadas de 1990 e 2000 ajudam-nos a localizar a dimensão estritamente popular que o repertório de Leci irá tomar, bem como, a conseqüente apropriação do mesmo pelos diversos movimentos sociais, em especial o movimento negro e de mulheres negras. Outrossim, ao debruçar-se sobre a trajetória pessoal e o trabalho acústico de uma artista negra brasileira, a presente pesquisa intenta revelar subjetividades, formas de manejo social e contra-narrativas encampadas pela sambista Leci Brandão da Silva. _______________________________________________________________________________ ABSTRACTConsidering samba as a Brazilian musical style that embraces conflicted representations of what black identity and national identity are, this research aims to uncover identity proposals of race and gender in the repertoire of samba composer Leci Brandão in the period between 1975 and the present time. Such period covers the agitated decades of 1960 until 1980 when, on one hand, the Brazilian popular music represented a privileged space for the discussion of relevant issues to the national social context. On the other hand, these decades showed outbreaks of artistic and critical assumptions associated to discriminatory practices under an ethnic-racial perception. The decades of 1990 and 2000 help to understand the strictly popular dimension that Leci’s repertoire will take, as well as, its consequent appropriation by various social movements, in particular the black and the black women’s movements. Therefore, analyzing the biography and the musical production of a Brazilian black artist, this research reveal subjectivities, forms of social organization and revolutionary narratives produced by Leci Brandão da Silva.Instituto de Ciências Humanas (ICH)Departamento de História (ICH HIS)Programa de Pós-Graduação em Históri
Going Beyond Counting First Authors in Author Co-citation Analysis
No full textThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Dispelling the Myths Behind First-author Citation Counts
No full textWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
Cantando e escutando amores : as obras intelectuais de Dona Ivone Lara e de Leci Brandão sobre relações afetivo-sexuais
No full textThis research aims to explore how Dona Ivone Lara’s and Leci Brandão’s intellectual works on love theorize about Black women’s shared experiences in their affective and sexual lives. We combine our perspective on Communication, which focuses on communicative interactions between subjects, to the intersectional paradigm and other contributions from Black feminist thought, elevating music as an expression of Black intellectual tradition. Among the songs composed and sung by the authors, we selected those that approach love and affective-sexual relations, listening to them alongside works from scientific research and other intellectual production about the issue, privileging Black female perspectives in order to value this epistemic position in accordance with the empirical material.
The method for analyzing Dona Ivone Lara’s and Leci Brandão’s musical-poetical works approaches the conception of love and the sung communicative interactions according to three axes: 1) the lyrical subject’s elaboration, concerning the forms of subjectivation; 2) the practice of love, desire and relationships, regarding the constitution of the relationship with the loved or desired subject; 3) the position of love, desire and the relationship in society, referring to its social place and its broader political dimension.
Our analysis shows that Dona Ivone Lara and Leci Brandão elaborate different conceptions of love: while the first tackles the marks of “banzo” and melancholy in love’s transience, the latter approaches the contradictions between heterosexual models and the struggle against homophobia, elevating the pleasure and truth present in homoaffective love. Both authors take the practice of love as a starting point to constitute themselves as subjects in their songs, materializing, in their artistic-political work, actions which are consistent with their professional lives. Both engage in Black female self-valuation, stating themselves as worthy of respect and the right to love and be loved. Their songs converge in the functions of offering relationship advice and establishing criteria to differentiate desirable love from unhappy relationships, singing love through life-affirming practices such as fondness, reciprocity, respect and happiness. Faith and religious beliefs emerge in different ways: although both approach love as a divine gift, in Lara’s songs the divine entity is associated with the notions of justice, reward and punishment, while in Brandão’s the sacred happiness of love is realized in its carnal, sexual fulfillment. Both challenge the romantic notion of eternal love, proposing alternatives to relationships characterized by devaluation, in which Lara treats love’s ending as natural and inevitable and Brandão advocates the search for a love that matches her own way of loving.
Finally, the analysis shows that, although they do not name the oppression of race, gender and social origin in the same terms as scientific research on the subject, the songs position themselves as resistance against power structures and their impacts on Black women’s social lives, in close relation to central issues for Black feminist thought. Therefore, our method for listening and analyzing the songs allowed us to hear the silent in-between spaces that connect them to Black women’s shared experiences in their affective-sexual relationships.O objetivo desta tese é investigar como as obras intelectuais de Dona Ivone Lara e Leci Brandão sobre o amor teorizam sobre experiências compartilhadas por mulheres negras no campo afetivo-sexual. Aliamos nossa perspectiva comunicacional, focada nas interações comunicativas entre os sujeitos, ao paradigma interseccional e outras contribuições do pensamento feminista negro, valorizando a música como expressão da intelectualidade negra.
Dentre as canções compostas e cantadas pelas autoras, selecionamos as que abordam o amor e as relações afetivo-sexuais, ouvindo-as junto a pesquisas científicas e outras produções intelectuais sobre o tema, privilegiando perspectivas femininas negras para valorizar esse lugar epistêmico em consonância com a empiria.
A metodologia de análise das obras poético-musicais de Dona Ivone Lara e Leci Brandão aborda a concepção do amor e as interações comunicativas cantadas segundo três eixos: 1) a construção da sujeita eu lírica, referente às formas de subjetivação; 2) a prática do amor, desejo ou relacionamento, relativo às formas de constituição do relacionamento com a(o) sujeita(o) amada(o) ou desejada(o); 3) o lugar do amor, desejo ou relacionamento na sociedade, pertinente à inserção social e à dimensão política mais ampla.
Nossa análise evidencia que Dona Ivone Lara e Leci Brandão elaboram concepções distintas do amor: a primeira traz marcas do banzo e melancolia na transitoriedade dos amores, enquanto a última aborda contradições entre modelos heterossexistas e a luta contra a homofobia, afirmando o prazer e a verdade dos amores homoafetivos. As duas autoras tomam a prática do amor como ponto de partida para se constituírem como sujeitas em suas canções, concretizando em seu trabalho artístico-político ações coerentes com suas trajetórias profissionais. Ambas se engajam na autovalorização feminina negra, afirmando-se dignas de respeito e do direito de amar e serem amadas. Suas canções convergem nas funções de oferecer conselhos afetivos e de estabelecer critérios para diferenciar amores desejáveis de relações infelizes, cantando o amor por meio de práticas de afirmação da vida, como o bem-querer, reciprocidade, respeito e felicidade. A fé e a religiosidade emergem de maneiras distintas: embora ambas afirmem o amor como dádiva divina, nas canções de Lara, a divindade é associada às noções de justiça, recompensa e punição, enquanto nas de Brandão, a felicidade sagrada do amor é concretizada em sua realização carnal, sexual. Ambas contestam a noção romântica de amor eterno, propondo alternativas para relacionamentos marcados pela desvalorização, em que Lara trata o fim dos amores como natural e inevitável e Brandão defende a busca por um amor à altura da sua própria forma de amar.
A análise demonstra, por fim, que, ainda que não nomeiem a opressão de raça, gênero e origem social nos mesmos termos que as pesquisas científicas sobre o tema, as canções se posicionam como resistência contra as estruturas de poder e seus impactos nas vidas sociais de mulheres negras, aproximando-se de questões centrais para o pensamento feminista negro. Desse modo, nosso método de escuta e análise permitiu ouvir os entrelugares silenciosos que conectam as canções às experiências compartilhadas por mulheres negras em suas relações afetivo-sexuais.CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superio
Author, publisher and bookseller : a tripartite synergy in Nigerian book industry
No full textThis work is about the roles of Author, Publisher and Bookseller in Book development in
Nigeria. The paper started by delving into the history of Book Publishing in Nigeria after
which it proceeded by defining who an author, a publisher, and a bookseller is and
expatiated on the indispensable roles of these key actors in Nigerian Book Industry and in
the emerging Information Society. Furthermore, the various constraints to book
development were identified while the paper advised on how the Book Industry can be
further promoted in Nigeria. However, the paper concluded and made recommendations
on how the Book sector can help in enhancing scholarship in the country
L. Negro, M. Zavatta, C. Bachetti, E. Beciani, M. Palazzini, S. Romanazzi, E. Leci, M. Grossi, A. Marinelli, S. Gambetti, A. Manes, N. Galiè, A. Branzi
No full textCurrent therapeutic approaches to pulmonary arterial hypertension.
No full textPulmonary hypertension is a heterogeneous hemodynamic and pathophysiological state that is observed in a number of clinical conditions, which have been divided into six diagnostic groups. Although the increase in pulmonary pressure observed in these clinical groups may be similar, underlying disease mechanisms, diagnostic methods, and prognostic and therapeutic consequences are completely different. Pulmonary arterial hypertension is associated with several rare conditions that have comparable clinical and hemodynamic characteristics and exhibit virtually identical anatomical and pathological alterations in the lung microcirculation. These conditions include idiopathic and familial forms of the disease and disease forms associated with connective tissue disease, congenital heart defects involving systemic-to-pulmonary arterial shunts, portal hypertension, and HIV infection. It has been shown that treatment with specific drugs (e.g. prostanoids, endothelin-receptor antagonists and phosphodiesterase type-5 inhibitors) is effective in these patients and that these drugs can also be administered in various combinations. An evidence-based treatment algorithm has been developed for these patients. In patients with pulmonary hypertension due to left heart disease or lung disease, treatment focuses on the underlying condition and there is no convincing evidence that agents approved for pulmonary arterial hypertension are effective. For patients with chronic thromboembolic pulmonary hypertension, the treatment of choice is pulmonary endarterectomy. However, drugs intended specifically for the treatment of pulmonary arterial hypertension may be considered in inoperable cases or after suboptimal surger
- …
