1,721 research outputs found
j-faria/kima: kima-run and several new features
No full textThis is the fourth official release, a bit later than usual.
One major new addition is the kima-run command now included in pykima to compile and run kima jobs.
This replaces the old make; ./run combo, and offers some more functionality.
Other new features:
kima-checkpriors now accepts a column name in addition to a column number
new interface to build models within Python using pykima.KimaModel
implementation of the "known object" mode for Keplerians with individual priors for the orbital parameters
the plot with the posterior for orbital periods now also shows the prior
dedicated test suite using some of the examples
an even bigger list of examples demonstrating most of kima's features
header of sample.txt now matches the number of columns
new option for up to cubic trends (#60)
re-implemented the Student-t likelihood (#61) with automatic outlier "detection"
allow for a quasi-periodic celerite kernel, created by Andrew Collier Cameron
the obs_after_HARPS_fibers has been discontinued as it was error-prone is replaced with the multi-instrument mode (#65)
the kima-gui script is included but still needs further testin
ENSAIO BIOGRÁFICO E REFLEXÕES TEÓRICAS SOBRE A TRAJETÓRIA E A OBRA DE JOSÉ HENRIQUE DE FARIA
No full textJosé Henrique de Faria is an economist, doctor in administration, professor, researcher, and author of works about power, organizations, and labor relations. He is also my father and my three siblings: Alexandre, Anna and Marianna. However, I am writing for this issue of Farol - Journal of Organizational Studies and Society because, besides being his son, I was his student, became his colleague and am part of the research group he leads. The testimonial I present tries, from some biographical efforts, but mainly from my memories about his trajectory, to propose a particular analysis of his theoretical and academic contribution in three aspects: the centrality of the theme of power, the political horizon of emancipation and social justice, and the primacy of the real.José Henrique de Faria es economista, doctor en administración, profesor, investigador y autor de obras sobre el poder, las organizaciones y las relaciones laborales. También es mi padre y mis tres hermanos: Alexandre, Anna y Marianna. Sin embargo, escribo para este número de Farol - Revista de Estudios Organizativos y Sociedad porque, además de ser su hijo, fui su alumno, me convertí en su colega y formo parte del grupo de investigación que dirige. La exposición que presento pretende, a partir de algún esfuerzo biográfico, pero sobre todo de mis recuerdos sobre su trayectoria, proponer un análisis particular de su aportación teórica y académica en tres aspectos: la centralidad del tema del poder, el horizonte político de la emancipación y la justicia social y la primacía de lo real.José Henrique de Faria é economista, doutor em administração, professor, pesquisador e autor de trabalhos sobre poder, organizações e relações de trabalho. Também é meu pai e de meus três irmãos: Alexandre, Anna e Marianna. No entanto, escrevo para esse número da revista Farol porque, além de filho, fui seu aluno, me tornei seu colega de profissão e integro o grupo de pesquisa por ele liderado. O depoimento que apresento procura, a partir de algum esforço biográfico, mas principalmente das minhas memórias sobre sua trajetória, propor uma análise particular da contribuição teórica e acadêmica do homenageado em três aspectos: a centralidade do tema do poder, o horizonte político da emancipação e da justiça social e a primazia do real
FIGURE 1 in Range, sexual dimorphism and bilateral asymmetry of rostral tooth counts in the smalltooth sawfish Pristis pectinata Latham (Chondrichthyes: Pristidae) of the southeastern United States
No full textFIGURE 1. Relative frequency of total rostral tooth counts for Pristis pectinata from the southeastern United States (n=105).Published as part of Wiley, Tonya R., Simpfendorfer, Colin A., Faria, Vicente V. & Mcdavitt, Matthew T., 2008, Range, sexual dimorphism and bilateral asymmetry of rostral tooth counts in the smalltooth sawfish Pristis pectinata Latham (Chondrichthyes: Pristidae) of the southeastern United States, pp. 51-59 in Zootaxa 1810 (1) on page 54, DOI: 10.11646/zootaxa.1810.1.3, http://zenodo.org/record/512508
Faria, um maître do cartaz cinematográfico
No full textThe present work, based on a doctoral thesis of the author, proposes an expanded view of studies focused on cinema by presenting the work of the Brazilian graphic artist Cândido Aragonez de Faria, in the Parisian period of his production (1882–1911), when he became a notable graphic artist specialized in the entertainment industry and as a pioneer of cinematographic posters. Discusses the term petit maître that is usually attributed to it and proposes a review of the history of graphic communication that also contemplates the artists considered by “average” as an object of study. Addresses the valuation of the poster at the end of the nineteenth century, largely anchored in a modernist perspective of construction of its history, a factor that contributed to the later historical erasure of this artist. Emphasizes the role of the photographic image as the main imagery reference in the graphic work of Cândido de Faria and taste for the “realism” of the audiences in this period. Addresses his pioneering production of posters for the film company Pathé, highlighting his protagonism as a collaborator inserted in the strategies of presentation and legitimation of the first cinema adopted by this company, as well as the influence of different instances of the urban visual culture of this period in his work. Finally, it claims the insertion of Cândido de Faria, and other artists who like him were committed to the “business of the printed image”, as deserving of further academic investigation.The present work, based on a doctoral thesis of the author, proposes an expanded view of studies focused on cinema by presenting the work of the Brazilian graphic artist Cândido Aragonez de Faria, in the Parisian period of his production (1882–1911), when he became a notable graphic artist specialized in the entertainment industry and as a pioneer of cinematographic posters. Discusses the term petit maître that is usually attributed to it and proposes a review of the history of graphic communication that also contemplates the artists considered by “average” as an object of study. Addresses the valuation of the poster at the end of the nineteenth century, largely anchored in a modernist perspective of construction of its history, a factor that contributed to the later historical erasure of this artist. Emphasizes the role of the photographic image as the main imagery reference in the graphic work of Cândido de Faria and taste for the “realism” of the audiences in this period. Addresses his pioneering production of posters for the film company Pathé, highlighting his protagonism as a collaborator inserted in the strategies of presentation and legitimation of the first cinema adopted by this company, as well as the influence of different instances of the urban visual culture of this period in his work. Finally, it claims the insertion of Cândido de Faria, and other artists who like him were committed to the “business of the printed image”, as deserving of further academic investigation.The present work, based on a doctoral thesis of the author, proposes an expanded view of studies focused on cinema by presenting the work of the Brazilian graphic artist Cândido Aragonez de Faria, in the Parisian period of his production (1882–1911), when he became a notable graphic artist specialized in the entertainment industry and as a pioneer of cinematographic posters. Discusses the term petit maître that is usually attributed to it and proposes a review of the history of graphic communication that also contemplates the artists considered by “average” as an object of study. Addresses the valuation of the poster at the end of the nineteenth century, largely anchored in a modernist perspective of construction of its history, a factor that contributed to the later historical erasure of this artist. Emphasizes the role of the photographic image as the main imagery reference in the graphic work of Cândido de Faria and taste for the “realism” of the audiences in this period. Addresses his pioneering production of posters for the film company Pathé, highlighting his protagonism as a collaborator inserted in the strategies of presentation and legitimation of the first cinema adopted by this company, as well as the influence of different instances of the urban visual culture of this period in his work. Finally, it claims the insertion of Cândido de Faria, and other artists who like him were committed to the “business of the printed image”, as deserving of further academic investigation.O presente trabalho, baseado numa tese de doutoramento do autor, propõe uma visão ampliada dos estudos voltados ao cinema ao apresentar a obra do artista gráfico brasileiro Cândido Aragonez de Faria, no período parisiense de sua produção (1882–1911), quando este se notabilizou artista gráfico especializado na indústria do entretenimento e como um pioneiro da cartazística cinematográfica. Discorre sobre o termo petit maître que usualmente lhe é atribuído e propõe uma revisão da história da comunicação gráfica que também contemple os artistas tidos por “medianos” como objeto de estudo. Aborda a valoração do cartaz neste final de século XIX, amplamente ancorada numa perspectiva modernista de construção de sua história, fator que colaborou para o apagamento histórico posterior deste artista. Enfatiza o papel da imagem fotográfica como principal referencial imagético na obra gráfica de Cândido de Faria e gosto pelo “realismo” das plateias neste período. Aborda sua produção pioneira de cartazes para a companhia cinematográfica Pathé, destacando seu protagonismo como colaborador inserido nas estratégias de apresentação e legitimação do primeiro cinema adotadas por esta empresa, bem como a influência de diferentes instâncias da cultura visual urbana deste período em sua obra. Por fim, reivindica a inserção de Cândido de Faria, e outros artistas que como ele estiveram comprometidos com o “negócio da imagem impressa”, como merecedores de maior investigação acadêmica
RADUAN NASSAR, LEITOR DE ALMEIDA FARIA: RADUAN NASSAR, AN ALMEIDA FARIA READER
No full textRaduan Nassar is a reader of Almeida Faria, as revealed by the Portuguese author in the preface to the Brazilian edition of A Paixão, published by CosacNaify, in 2014. The same tension between the sacred and the profane that we read in A Paixão, by Almeida Faria, can also be found in Lavoura arcaica, by Raduan Nassar. Family relationships, in both narratives, exude passions, wills. The religious order within the constitution of the two families that have been archaically educated corresponds, in both works, to the obedience they dedicate to their two patriarchs: either to the pure patriarch of Lavoura arcaica, or to the profligate from A Paixão. The patriarchy paradigm maintains control of the primary powers in both families. Parents position themselves stands as moral authorities and control the attitudes of their families. Desire and will reproduce the orders of the patriarchs among family members; to reorder them would be to establish a struggle for emancipation among the oppressed, a movement that transformed Lavoura arcaica into a tragic novel, as we show in this article.Raduan Nassar é leitor de Almeida Faria, conforme revelação do autor português no prefácio da edição brasileira de A Paixão, pela CosacNaify, em 2014. A mesma tensão entre o sagrado e o profano que lemos em A Paixão, de Almeida Faria, também localizamos em Lavoura arcaica, de Raduan Nassar. As relações familiares, nas duas narrativas, exalam paixões, vontades. O ordenamento religioso no interior da constituição das duas famílias educadas com o arcaico corresponde, nas duas obras, à obediência que elas dedicam aos seus dois patriarcas; quer ao puro patriarca de Lavoura arcaica, quer ao devasso de A Paixão. O paradigma do patriarcado mantém o controle dos poderes primários nas duas famílias. Os pais postam-se como autoridades morais e controlam as atitudes das suas famílias. O desejo, a vontade, entre familiares reproduzem as ordens dos patriarcas; reordená-los seria estabelecer uma luta por emancipação entre oprimidos, movimento que transformou Lavoura arcaica numa novela trágica, como mostramos neste artig
Faria e Sousa (ed.): Editorial Mediation and Ostentation of Authorship
No full textFaria e Sousa se presenta como uno de los autores del Siglo de Oro que más estrategias de figuración autorial lleva a cabo a lo largo de su carrera literaria: por ejemplo, el ejercicio de una importante función autobiográfica, la implementación de autocomentarios a su obra, la disposición de retratos, la configuración de un catálogo, o la contienda en varias polémicas. Esto por lo que respecta a su obra original, pero en un corpus que no deja de ser periférico, donde Faria ya no es autor principal sino mediador de los textos, controla la representación de su imagen, operación mediante la que llega a descentrar al verdadero autor, usurpando sus funciones.Faria e Sousa is one of the authors of the Golden Age who carries out the most authorial figuration strategies throughout his literary career. For example, the exercise of an important autobiographical function, the implementation of self-comments to his work, the arrangement of portraits, the configuration of a catalog, or the contest in various controversies. This is the case in his original work, but in a peripheral corpus, where Faria is no longer the main author but mediator of the texts, he controls the representation of his image, operation through the one that gets to decentralize the true author, usurping his functions
O tríptico para órgão de Manuel Faria no contexto do repertório organístico do séc. XX
No full textMestrado em MúsicaO trabalho apresenta uma análise e revisão do Tríptico para Órgão (1963) de Manuel Ferreira
de Faria (1916-1983). Como contextualização é traçado um perfil da trajectória do
compositor e um enquadramento da linguagem desta obra na produção musical de Manuel
Faria e no contexto do repertório organístico do séc. XX. A obra em questão é também
analisada comparativamente com a sua própria versão orquestral – Tríptico Litúrgico (1968).
ABSTRACT: This work presents an analysis of the Tríptico para Órgão by Manuel Ferreira de Faria (1916-
1983) and a review of the original manuscript score. In the contextualization, the author
presents a profile of the composer's career and a framework of the style in the
musical production of Manuel Faria as in the context of the organ repertoire in the 20th
century. A comparative analysis is also made with its own orchestral version – the Tríptico
Litúrgico (1968)
Maria Carolina de Faria Torres’ Story of Rosa
No full textCanadagardenimmigrantNorth Vancouvernursingwidow1920’sEurop
Faria de Vasconcelos e a Escola Nova em Portugal: do self-government à educação científica
No full textThis article addressed the study of educational thinking by a representative of New School in Portugal, António de Sena Faria de Vasconcelos (1880-1939). From 1912, the author ran a school founded by himself in Bierges-Les-Wavre, an experience characterized by contemporaries as one of the main actions of application of renewed principles in education. In an early stage of his production,from the beginning of the century to the 1920s, the emphasis is on the discussion of the active method, what Faria de Vasconcelos prefers to call self-government. From the theoretical-methodological point of view, the study is part of the perspective of the history of mentalities. The methodological procedures adopted are the reading and analysis of the complete works of the author, taking this documentary corpus in parallel with his contemporaries. Este artículo tiene como objetivo tratar sobre el estudio del pensamiento educativo realizado por un representante de la Escuela Nova en Portugal, António de Sena Faria de Vasconcelos (1880-1939). A partir de 1912, el autor dirigirá una escuela fundada por él en Bierges-Les-Wavre, una experiencia caracterizada por los contemporáneos como una de las principales acciones de aplicación de principios renovados en la educación. En una primera etapa de su producción, que se extiende desde el comienzo del siglo hasta la década de 1920, el énfasis está en la discusión del método activo, lo que Faria de Vasconcelos prefiere llamar autogobierno o, más precisamente, self-government. Desde el punto de vista teórico-metodológico, el estudio hace parte de la perspectiva de la historia de las mentalidades. Los procedimientos metodológicos adoptados son la lectura y el análisis de las obras completas del autor, tomando este corpus documental en paralelo con sus contemporáneos. O presente artigo propõe-se a abordar o estudo do pensamento educacional de um representante da Escola Nova em Portugal, António de Sena Faria de Vasconcelos (1880-1939). A partir de 1912, o autor dirigirá uma escola por ele próprio fundada em Bierges-Les-Wavre, experiência caracterizada por contemporâneos como uma das principais ações de aplicação dos princípios renovados em educação. Em uma primeira etapa de sua produção, que vai do início do século aproximadamente aos anos de 1920, a ênfase se dá na discussão do método ativo, daquilo que Faria de Vasconcelos prefere denominar de autogoverno, ou, mais precisamente, self-government. Do ponto de vista teórico-metodológico, o estudo inscreve-se na perspectiva da história das mentalidades. Os procedimentos metodológicos adotados são a leitura e a análise das obras completas do autor, tomando esse corpus documental em paralelo com contemporâneos seus. 
Publication date and author spelling for the hidden angelshark Squatina occulta
No full textTwo dates of publication have been associated with the hidden angelshark Squatina occulta. Additionally, the name of the second author of this species has been cited with different spellings in different publications. Both inconsistencies are addressed in this study. It is suggested that the hidden angelshark be consistently cited as Squatina occulta Vooren & da Silva 1991.Fil: Faria, V. V.. Universidade Federal do Ceará. Instituto de Ciências do Mar; BrasilFil: Chiaramonte, Gustavo Enrique. Consejo Nacional de Investigaciones Científicas y Técnicas. Oficina de Coordinación Administrativa Parque Centenario. Museo Argentino de Ciencias Naturales "Bernardino Rivadavia"; ArgentinaFil: Van Oijen, M. J. P.. Naturalis Biodiversity Center; Países Bajo
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