32 research outputs found
Maria meu amor… Uma leitura d’<em>A Monja de Lisboa</em> de Agustina Bessa-Luís [Elektronisk resurs]
No full textÉ por considerar que a obra A Monja de Lisboa de Agustina Bessa Luís tem um lugar seminal para a compreensão do conjunto da produção historiográfica da autora, que proponho desenvolver uma reflexão à volta do género biográfico, atentando, mais precisamente, nas implicações do acto de biografar e no seu impacto na imagem do sujeito biografado. As reflexões à volta da identidade de género trazidas pelo método metabiográfico definido por Dhúill, servirá para mostrar como a autora procura questionar as “narrativas de género” oferecidas pelos textos biográficos que ela reinveste para as desconstruir e dar um novo rosto à personagem histórica, Maria da Visitação. As I consider the work A Monja de Lisboa by Agustina Bessa Luís has a seminal place for the understanding of the whole historiographical production of this author, I propose to develop a reflection around the biographical genre, paying especial attention to the implications of the act of biographing and its impact on the image of the biographee. The reflections related to gender identity brought by the metabiographical method defined by Dhúill, will be used to show how the author seeks to question the “gender narratives” offered by the biographical texts she reinvests in her work to deconstruct them and be able to draw a new face for the historical figure, Maria da Visitação.</p
Uriel da Costa : reescrita de Agustina Bessa Luís
No full textIn this article, the author analyses the way in which Carolina Michaelis approaches the biography of the Oporto Jew Uriel da Costa, using style which is at oncc precise, but which curiously does not scorn fabrication, even if she States it openly, as in the case of iconic representation. This discourse, often modalized by dubitative expressions, led Agustina Bessa Luís, in a novel written sixty years later (in 1984), Um Bicho da Terra, to rework the figure of the figure of the tormented thinker and to transform him into a typical character of her novelistic gallery. This article studies this difference in perspective, thereby demonstrating the undeniable differences and the no less important similarities
Agustina Bessa Luís et l’écriture de l’Histoire
No full textWhen Agustina Bessa-Luís rewrites History she is guided by the will to show the absence of women in History. Our reading will show the reintroduction of women in Portuguese History through the “descontruction” of its discourse. It’s through questioning the historic objectivity, by the variety of points of view and by an intertextual work with written sources, which reveal that they are human constructions, that the novels become postmodern historiographics metafictions. They elaborate through parody and ambivalence en carnival History, giving a different picture of Portugal. Then the novelist contrasts the official History with a Herstory in order to document the feminine experience and identity in all their multiplicities. The question of memory and phases that are inseparable from woman conditions, reveals a process of identical construction, which gives a report of two ways of feminine inscription into History, one authorize, the other transgressive. Then the principle of masculine domination is questioned through the matter of virility as an impossible model to attain. The men become ambiguous figures, who represent the disorder and decay of society. Fleing but reconciled they reform the masculinity and sign the death of patriarchate. Finally, the last foundations that govern the relation the relation between men and women, and the question of obligatory heterosexuality and the couple, are examined. The writer shows the end of radical otherness between the Other and the One which provokes a resemblance between sexes and questions the notion of the couple. Thus, if the author has shown in her novels, that we can be a man and a woman in different ways, she also shows that in a couple the union is impossible.</p
Author Correction: the BrainLat project, a multimodal neuroimaging dataset of neurodegeneration from underrepresented backgrounds
No full textIn this article the author name Maria Isabel Behrens was incorrectly written as Maria Isabel Beherens. The original article has been corrected.Versión Publicad
Agustina Bessa-Luís et l'écriture de l'Histoire
No full textLorsqu Agustina Bessa-Luís (1922-) réécrit l Histoire elle est guidée par la volonté de dénoncer l absence des femmes dans l historiographie traditionnelle. Notre lecture envisage la réinscription des femmes dans l Histoire portugaise, ceci à travers le prisme de la déconstruction de son discours. C est à travers une remise en question de l objectivité historique, par la subjectivité et la multiplicité des points de vue, ainsi que par un travail intertextuel sur les textes sources révélant qu ils sont des constructions, que les romans deviennent des métafictions historiographiques postmodernes. Elles élaborent à travers la parodie et l ambivalence une Histoire carnavalesque, dessinant une image peu commune du Portugal. Ensuite, la romancière oppose à la vision officielle, une histoire au féminin, ceci pour documenter l expérience et l identité des femmes dans leurs multiplicités. La question de la mémoire et des jalons inhérents à la condition des femmes révèle un processus de construction identitaire dégageant deux modes d inscription féminins dans l Histoire, l un autorisé, l autre transgressif. Puis, le principe de la domination masculine est remis en cause à travers la question de la virilité comme un impossible modèle à atteindre. Dans les romans de l écrivaine, les hommes deviennent des figures ambigües, représentant le désordre et la ruine dans la société hégémonique. Fuyants mais réconciliés, ils reformulent la masculinité et signent la mort du patriarcat. Enfin, sont examinés les derniers fondements régissant la relation homme/femme : la question l hétérosexualité obligatoire et celle du couple. L auteure montre la fin de l altérité radicale entre l Autre et l Un, provoquant une ressemblance entre les sexes et remettant en cause la notion même de couple. Ainsi, si elle a démontré au long de son oeuvre que l on peut être femme et homme de diverses manières, elle soulignera aussi que dans le couple l union est impossible.When Agustina Bessa-Luís rewrites History she is guided by the will to show the absence of women in History. Our reading will show the reintroduction of women in Portuguese History through the descontruction of its discourse. It s through questioning the historic objectivity, by the variety of points of view and by an intertextual work with written sources, which reveal that they are human constructions, that the novels become postmodern historiographics metafictions. They elaborate through parody and ambivalence en carnival History, giving a different picture of Portugal. Then the novelist contrasts the official History with a Herstory in order to document the feminine experience and identity in all their multiplicities. The question of memory and phases that are inseparable from woman conditions, reveals a process of identical construction, which gives a report of two ways of feminine inscription into History, one authorize, the other transgressive. Then the principle of masculine domination is questioned through the matter of virility as an impossible model to attain. The men become ambiguous figures, who represent the disorder and decay of society. Fleing but reconciled they reform the masculinity and sign the death of patriarchate. Finally, the last foundations that govern the relation the relation between men and women, and the question of obligatory heterosexuality and the couple, are examined. The writer shows the end of radical otherness between the Other and the One which provokes a resemblance between sexes and questions the notion of the couple. Thus, if the author has shown in her novels, that we can be a man and a woman in different ways, she also shows that in a couple the union is impossible.PARIS4-Bib. électronique (751059905) / SudocSudocFranceF
Agustina Bessa-Luís’s Historical Fiction
No full textLorsqu’Agustina Bessa-Luís (1922-) réécrit l’Histoire elle est guidée par la volonté de dénoncer l’absence des femmes dans l’historiographie traditionnelle. Notre lecture envisage la réinscription des femmes dans l’Histoire portugaise, ceci à travers le prisme de la « déconstruction » de son discours. C’est à travers une remise en question de l’objectivité historique, par la subjectivité et la multiplicité des points de vue, ainsi que par un travail intertextuel sur les textes sources révélant qu’ils sont des constructions, que les romans deviennent des métafictions historiographiques postmodernes. Elles élaborent à travers la parodie et l’ambivalence une Histoire carnavalesque, dessinant une image peu commune du Portugal. Ensuite, la romancière oppose à la vision officielle, une histoire au féminin, ceci pour documenter l’expérience et l’identité des femmes dans leurs multiplicités. La question de la mémoire et des jalons inhérents à la condition des femmes révèle un processus de construction identitaire dégageant deux modes d’inscription féminins dans l’Histoire, l’un autorisé, l’autre transgressif. Puis, le principe de la domination masculine est remis en cause à travers la question de la virilité comme un impossible modèle à atteindre. Dans les romans de l’écrivaine, les hommes deviennent des figures ambigües, représentant le désordre et la ruine dans la société hégémonique. Fuyants mais réconciliés, ils reformulent la masculinité et signent la mort du patriarcat. Enfin, sont examinés les derniers fondements régissant la relation homme/femme : la question l’hétérosexualité obligatoire et celle du couple. L’auteure montre la fin de l’altérité radicale entre l’Autre et l’Un, provoquant une ressemblance entre les sexes et remettant en cause la notion même de couple. Ainsi, si elle a démontré au long de son oeuvre que l’on peut être femme et homme de diverses manières, elle soulignera aussi que dans le couple l’union est impossible.When Agustina Bessa-Luís rewrites History she is guided by the will to show the absence of women in History. Our reading will show the reintroduction of women in Portuguese History through the “descontruction” of its discourse. It’s through questioning the historic objectivity, by the variety of points of view and by an intertextual work with written sources, which reveal that they are human constructions, that the novels become postmodern historiographics metafictions. They elaborate through parody and ambivalence en carnival History, giving a different picture of Portugal. Then the novelist contrasts the official History with a Herstory in order to document the feminine experience and identity in all their multiplicities. The question of memory and phases that are inseparable from woman conditions, reveals a process of identical construction, which gives a report of two ways of feminine inscription into History, one authorize, the other transgressive. Then the principle of masculine domination is questioned through the matter of virility as an impossible model to attain. The men become ambiguous figures, who represent the disorder and decay of society. Fleing but reconciled they reform the masculinity and sign the death of patriarchate. Finally, the last foundations that govern the relation the relation between men and women, and the question of obligatory heterosexuality and the couple, are examined. The writer shows the end of radical otherness between the Other and the One which provokes a resemblance between sexes and questions the notion of the couple. Thus, if the author has shown in her novels, that we can be a man and a woman in different ways, she also shows that in a couple the union is impossible
A Quinta Essência de Agustina Bessa-Luís : la saveur aigre-douce de Macao
No full textIn the narrative A Quinta Essência Agustina Bessa-Luís proposes an original reading of the Portuguese postcolonial History, by reinvesting the topics of the intercultural relation and the meeting with the Other. In fact, in the troubled context of April 1974, the character of Jose Carlos Pessanha expatriates towards the East, more precisely towards Macao, one of the last Eastern colonies of the Portuguese colonial Empire. However, the characteristic of this tour of rediscovery of the East is that it makes the destiny of a character in search of himself coincide with the questioning of a country still looking for its own identity. Thus, in this voyage backwards into the Luso-Eastern History, the Author draws the portrait of a Nation-Empire split between the desire of incarnating this “genetic superiority of the Occident” and the fascination for the culture of the Other, symbolizing an “excess of otherness” (B. of Sousa Santos) in the Portuguese identity. Macao, will be the territory of an “entre-deux” and an intercultural circulation, as well as an emblematic ground to the expression of the “ambivalent and hybrid” position (colonizing/colonized) of Portugal in the Occident. As a consequence, the uncomfortable “non-inscription” (J. Gil) and the “nomadism” (Deleuze/Guattari) which characterizes José Carlos Pessanha, would be a reflection of yesterday’s and today’s Lusitanian epopee
A Quinta Essência de Agustina Bessa-Luís : la saveur aigre-douce de Macao [Elektronisk resurs]
No full textIn the narrative A Quinta Essência Agustina Bessa-Luís proposes an original reading of the Portuguese postcolonial History, by reinvesting the topics of the intercultural relation and the meeting with the Other. In fact, in the troubled context of April 1974, the character of Jose Carlos Pessanha expatriates towards the East, more precisely towards Macao, one of the last Eastern colonies of the Portuguese colonial Empire. However, the characteristic of this tour of rediscovery of the East is that it makes the destiny of a character in search of himself coincide with the questioning of a country still looking for its own identity. Thus, in this voyage backwards into the Luso-Eastern History, the Author draws the portrait of a Nation-Empire split between the desire of incarnating this “genetic superiority of the Occident” and the fascination for the culture of the Other, symbolizing an “excess of otherness” (B. of Sousa Santos) in the Portuguese identity. Macao, will be the territory of an “entre-deux” and an intercultural circulation, as well as an emblematic ground to the expression of the “ambivalent and hybrid” position (colonizing/colonized) of Portugal in the Occident. As a consequence, the uncomfortable “non-inscription” (J. Gil) and the “nomadism” (Deleuze/Guattari) which characterizes José Carlos Pessanha, would be a reflection of yesterday’s and today’s Lusitanian epopee.</p
Effects of dietary synbiotic supplementation on digestive enzyme, total Vibrio count, and hepatopancreas of Pacific white shrimp, Penaeus vannamei challenged with Vibrio parahaemolyticus
No full textThis study evaluated the effects of dietary synbiotics on enhancing digestive enzymes, reducing the overall bacterial count of Vibrio, and minimizing hepatopancreatic histological damage caused by V. parahaemolyticus in shrimp (Penaeus vanamei). The experiments involved administering different treatments, namely Bacillus NP5 (SBM), Pseudoalteromonas piscicida1Ub (SPM), and Bacillus NP5 and P. piscicida 1Ub (SBPM), incombination with the prebiotic mannan oligosaccharide (MOS). This study was conducted for 60 days, followed by a challenge test with Vibrio parahaemolyticus for 7 days. The results of the experiments showed that dietary synbiotic supplementation demonstrated better digestive enzyme activity and histology of the hepatopancreas compared to controls (p < .05). After the challenge test, it was found that the damage to the hepatopancreatic tissue of shrimps was less severe and the total vibrio count was lower in the synbiotic treatment, indicating a protective effect compared to the positive controls (p < .05). In conclusion, the use of dietary synbiotics had the potential to enhance digestive enzyme function and provide disease protection for Penaeus vannamei shrimp
Tradução comentada para o espanhol da obra O Medo, de Monteiro Lobato
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2015.Este trabalho apresenta uma retradução (comentada) da obra brasileira lobatiana O Medo (2012), composta pelos quatro contos: O Medo; Boitatá; O Negrinho; Meia-Noite, para o espanhol argentino e a sugestão de um paratexto (GENETTE, 2009) ilustrativo embasado nos seres folclóricos presentes na obra, tema predominante no corpus desta pesquisa. Ademais, analisa a trajetória do autor brasileiro Monteiro Lobato enquanto escritor e tradutor, além de sua relação com a Argentina e sua contribuição para a literatura infantojuvenil. Esta dissertação está dividida em três capítulos: o primeiro capítulo apresenta Monteiro Lobato e trata da sua contribuição no âmbito da literatura infantojuvenil brasileira e argentina; apresenta o corpus deste trabalho, a obra O Medo (2012), e disserta sobre o principal tema contido no objeto de estudo: o folclore. Ademais, analisa as obras envolvidas nesta dissertação, O Saci (1921 e 1947) e El Genio del Bosque (1945) e esclarece suas relações com o corpusdo trabalho. O segundo capítulo apresenta a tradução da obra O Medo ao espanhol argentino. Por fim, o terceiro capítulo apresenta a retradução comentada, fundamentada nos estudos de Antoine Berman, e a contribuição e proposta de um paratexto ilustrativo.Abstract : This paperpresents a new translational motion (commented) of the lobatiana Brazilian work O Medo(2012)in argentinean Spanish and the suggestion of a paratext (GENETTE, 2009) illustrative grounded in Brazilian folklore, this theme mainly present in the corpusof this research.Moreover, it analyzes the history of the brazilian author Monteiro Lobato as a writer and translator, as well as his relationship with Argentina and his contribution to the children's literature. We divided this research in three chapters: the first chapter begins with the introduction of Monteiro Lobato and his contribution with the brazilian and argentinean children and youth literature; it also presents the corpus of this work, Fear (2012) and discusses about the main theme contained in the study object: the folklore. Besides, analyze the works involved in this dissertation, O Saci (1921 and 1947) and El Genio del Bosque (1945) and clarify their relations with thecorpus work. The second chapter, presents the translationof the O Medowork to argentinean Spanish.Finally, the third chapter presents our translational proposal commented, based on studies of Antoine Berman and our contribution and proposal for an illustrative paratext
