4,840 research outputs found
Senior Recital: Rodrigo Suarez
No full textSenior Recital: Rodrigo Suarez, guitarhttps://digitalcommons.kennesaw.edu/musicprograms/2443/thumbnail.jp
Junior Recital: Rodrigo Suarez, Jazz Guitar
No full textThis recital I presented in partial fulfillment of requirements for the degree Bachelor of Music in Music Performance. Mr. Suarez studies jazz guitar with Trey Wright.https://digitalcommons.kennesaw.edu/musicprograms/2278/thumbnail.jp
A new species of Eremotylus Forster, 1869 (Hymenoptera: Ichneumonidae) from Peru, with a key to the Neotropical species
No full textSuarez, Rodrigo, Alvarado, Mabel (2020): A new species of Eremotylus Forster, 1869 (Hymenoptera: Ichneumonidae) from Peru, with a key to the Neotropical species. Zootaxa 4758 (2): 397-400, DOI: https://doi.org/10.11646/zootaxa.4758.2.1
Excellentissimae allegationes et consilia quaedam singularia B. Roderici Suarez ... eiusdem exactissima in aliquas fori leges lectura ...
No full textEncuadernado con: Dilucida commentaria B. Roderici Suarez..; y Ad volumen repetitionum... Roderici Suarez.CCBE S.XVI S. 2122.2123Texto en latín y españolReclamos. - Sign.: []4, *10, A-X8, Y10 . - El primer cuadernillo [] 4 es el único impreso en Valladolid. - Port. con grab. xil. - La fecha consta en colofón. - Texto a dos col. - Cap. grab. xil
Eremotylus pukayana Suarez & Alvarado 2020, sp. nov.
No full textEremotylus pukayana sp. nov. Diagnosis. This species can be distinguished from the other Neotropical species by the following combination of features: (1) lateral ocellus separated from compound eye by about 0.3× maximum ocellar diameter (vs. continuous to the compound eyes), (2) mesopleuron dark brown or black (vs. orange-brown in E. tropicus and green in E. vitripennis), and (3) posterior transverse carina of mesosternum complete (vs. present only laterally in E. tropicus). Material examined: Holotype ♀ “ PERÚ. LL. Otuzco 7°42’56.7”S / 78°45’52.68”W 2114m 15–25.iv.2019 T. Neyra” (MUSM). Paratype ♀ “ PERÚ: AR. Caylloma, Tapay, 15.59369°S / 71.94807° W 2300 m, 17. iii. 2018, trampa de luz, E. Olanda, H. Quispe, A. Aspur y S. Chambi ” (MUSM). 45+ flagellomeres (antennae broken) Description of female holotype. Fore wing length 12.6 mm. Head: Mandibles stout, long, weakly tapered and with upper tooth slightly longer; outer mandibular surface with a distinct proximal concavity; face coarsely punctate and weakly polished, 0.5× as long as wide; clypeus in frontal view 2.9× as broad as long, apically slightly protuberant and with margin thin; malar space 0.3× as long as basal mandibular width; lateral ocellus (Fig. B) separated from compound eye by about 0.4× maximum ocellar diameter; distance between ocelli 0.5× maximum ocellar diameter; occipital carina complete, ventrally joining hypostomal carina at distance from base of mandible of 0.5× as long long as basal mandibular width; antenna with 50 flagellomeres, second to fourth flagellomeres: 2.2:1.9:1.8× as long as wide, central flagellomeres 1.1× as long as wide. Mesosoma: Notaulus distinct near anterior scutal margin; scutellum lateral longitudinal carinae 0.5× as long as scutellum length; mesopleuron coarsely and rather sparsely punctate, epicnemial carina present laterally, between epicnemial carina and pronotum striate; posterior transverse carina of mesosternum complete; metapleuron weakly convex and coarsely and sparsely punctate; propodeum with anterior transverse carina present (faint laterally), posterior transverse carina present and well define, longitudinal carinae only distinguishable behind posterior transverse carina; fore wing with cu-a proximal to the base of Rs & M by about 0.1× as its own length; hind wing with 7 hamuli on R 1, first abscisa of Rs strongly curved. Metasoma: Tergite II 4.4× as long as posteriorly deep; thyridia elliptical, separated from anterior margin by about 1.2×it is own length; tergite III 1.3× as long as posteriorly deep. Colour: Orange-brown species with frons, propleuron, mesopleuron (except for a transversal stripe and subalar prominence orange-brown), pronotum dorsally and laterodistally, scuto-scutellar groove, metanotum, metapleuron, propodeum laterally and distally, and metasomal tergites V–VIII dark brown; wings weakly infuscate with brown veins. Variation: The paratype (fore wing length 11.1 mm) presents some variation in the coloration in relation to the holotype, it differs in having the vertex, occiput, malar space (Fig. C), and propleuron dark brown (Fig. E); scuto-scutellar groove, mesopleuron (Fig. D), metapleuron, and propodeum blackish, and metasomal sternites V–VII (centrally and distally off-yellow) black. Male. Unknown. Comments. The specimens herein described was collected in two semi-arid localities (Fig. F shows the paratype collection site) in the western slopes of the Peruvian Andes, between 2100 and 2300 m. Both specimens were collected during the rainy season but in subsequent years. In Arequipa survey that included 16 localities ranging from sea level to 4300 m and dry and rainy seasons, 254 Ophioninae individuals were collected (200 Alophophion, 6 Enicospilus Stephens, and 47 Ophion Fabricius) with only one Eremotylus; suggesting that the species may be rare, with small populations and/or highly seasonal. Etymology. The species epithet “ pukayana ” is formed by two Quechua words puka, that means red, and yana, that means black, in relation to the color of the species. It is treated as a noun in apposition.Published as part of Suarez, Rodrigo & Alvarado, Mabel, 2020, A new species of Eremotylus Forster, 1869 (Hymenoptera: Ichneumonidae) from Peru, with a key to the Neotropical species, pp. 397-400 in Zootaxa 4758 (2) on pages 398-399, DOI: 10.11646/zootaxa.4758.2.13, http://zenodo.org/record/373440
Entrevista com Rodrigo Pederneiras, coreógrafo do Grupo Corpo (MG - Brasil)
No full textEntrevista realizada em 21 e 22 de setembro de 2012, quando da vinda do Grupo Corpo a Porto Alegre, como parte de sua turnê nacional. Constituiu instrumento de pesquisa na dissertação de mestrado do Programa de Pós-Graduação em Artes Cênicas da Universidade Federal do Rio Grande do Sul: “COREOGRAFIA ‘21’ DO GRUPO CORPO: 21 percepções sobre o processo de criação cênica”. Acomodados nas poltronas da plateia do Teatro do SESI, enquanto os bailarinos faziam aula no palco, o entrevistado e a autora aprofundam o objeto de estudo (o processo coreográfico do balé “21”) e visitam outros temas que mostram alguns pontos de vista do coreógrafo do Grupo Corpo, Rodrigo Pederneiras. A entrevista foi editada para fins de adequação ao espaço editorial, sem prejuízo ao conteúdo.Interview conducted on 21 and 22 September 2012, when Grupo Corpo came to Porto Alegre (south of Brazil), as part of its national tour. This interview constituted a research instrument in the master’s degree dissertation of the Performing Arts Program at the Federal University of Rio Grande do Sul: “CHOREOGRAPHY ‘21’ BY GRUPO CORPO: 21 insights into the process of scenic creation.” Taking place in the seats of Teatro do SESI, while dancers were on stage class, the respondent and the author deepen the object of study (the choreographic process of “21”) and visit other issues that show some views of Grupo Corpo’s choreographer, Rodrigo Pederneiras. (Edited in order to be appropriated to editorial rules, no prejudice to the content)
Entrevista com Rodrigo Pederneiras, Coreógrafos do Grupo Corpo (MG – Brasil)
No full textEntrevista realizada em 21 e 22 de setembro de 2012, quando da vinda do Grupo Corpo a Porto Alegre, como parte de sua turnê nacional. Constituiu instrumento de pesquisa na dissertação de mestrado do Programa de Pós-Graduação em Artes Cênicas da Universidade Federal do Rio Grande do Sul: “COREOGRAFIA ‘21’ DO GRUPO CORPO: 21 percepções sobre o processo de criação cênica”. Acomodados nas poltronas da plateia do Teatro do SESI, enquanto os bailarinos faziam aula no palco, o entrevistado e a autora aprofundam o objeto de estudo (o processo coreográfico do balé “21”) e visitam outros temas que mostram alguns pontos de vista do coreógrafo do Grupo Corpo, Rodrigo Pederneiras. A entrevista foi editada para fins de adequação ao espaço editorial, sem prejuízo ao conteúdo.Interview conducted on 21 and 22 September 2012, when Grupo Corpo came to Porto Alegre (south of Brazil), as part of its national tour. This interview constituted a research instrument in the master’s degree dissertation of the Performing Arts Program at the Federal University of Rio Grande do Sul: “CHOREOGRAPHY ‘21’ BY GRUPO CORPO: 21 insights into the process of scenic creation.” Taking place in the seats of Teatro do SESI, while dancers were on stage class, the respondent and the author deepen the object of study (the choreographic process of “21”) and visit other issues that show some views of Grupo Corpo’s choreographer, Rodrigo Pederneiras. (Edited in order to be appropriated to editorial rules, no prejudice to the content)
Entrevista com Rodrigo Pederneiras, coreógrafo do Grupo Corpo (MG - Brasil)
No full textEntrevista realizada em 21 e 22 de setembro de 2012, quando da vinda do Grupo Corpo a Porto Alegre, como parte de sua turnê nacional. Constituiu instrumento de pesquisa na dissertação de mestrado do Programa de Pós-Graduação em Artes Cênicas da Universidade Federal do Rio Grande do Sul: “COREOGRAFIA ‘21’ DO GRUPO CORPO: 21 percepções sobre o processo de criação cênica”. Acomodados nas poltronas da plateia do Teatro do SESI, enquanto os bailarinos faziam aula no palco, o entrevistado e a autora aprofundam o objeto de estudo (o processo coreográfico do balé “21”) e visitam outros temas que mostram alguns pontos de vista do coreógrafo do Grupo Corpo, Rodrigo Pederneiras. A entrevista foi editada para fins de adequação ao espaço editorial, sem prejuízo ao conteúdo.Interview conducted on 21 and 22 September 2012, when Grupo Corpo came to Porto Alegre (south of Brazil), as part of its national tour. This interview constituted a research instrument in the master’s degree dissertation of the Performing Arts Program at the Federal University of Rio Grande do Sul: “CHOREOGRAPHY ‘21’ BY GRUPO CORPO: 21 insights into the process of scenic creation.” Taking place in the seats of Teatro do SESI, while dancers were on stage class, the respondent and the author deepen the object of study (the choreographic process of “21”) and visit other issues that show some views of Grupo Corpo’s choreographer, Rodrigo Pederneiras. (Edited in order to be appropriated to editorial rules, no prejudice to the content)
Carotid body paragangliomas: a systematic study on management with surgery and radiotherapy
No full textGrant support: Carlos Suarez is supported by grants from the FIS (PI08/0531 and PI11/00929)and Red Tematica de Investigacion Cooperativa en Cancer (RD12/0036/0015).Suarez, C., Rodrigo, J.P., Mendenhall, W.M., Hamoir, M., Silver, C.E., Gregoire, V., Strojan, P., Neumann, H.P.H., Obholzer, R., Offergeld, C., Langendijk, J.A., Rinaldo, A., Ferlito, A
Ad volumen repetitionum ... Roderici Suarez locupletissimae: colecte ex variis auctoribus ... : additis legibus regni ...
No full textEncuadernado con: Dilucida commentaria B. Roderici Suarez...; y Excellentissimae allegationes et consilia quaedam singularia B. Roderici....Contiene además con pág. sign. propias y colofón : "In commentaria ad proemium fori ... additiones"Reclamos. - Sign.: []2, A-M6, N4 ; A-H6, Ia, A-B4, C5. - Texto a dos col. - Cap. grab. xil
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