57,741 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
SAMPLING Data Release 1
No full textDR1 of the SAMPLING survey.
12CO/13CO(2-1) cubes of 124 fields, nominal map size 5arcmin x 5 arcmin.
Resolution 36 arcsec, channel width 0.3 km/s, rms 0.2 K. Calibrated to main beam temperature Tmb.
Data quality assurance
QA1: remote observations
by Ke Wang, Jinjin Xie, Tie Liu, Viktor Toth, Xing Lu, Yuan Wang, Shen Wang, Giuliana Cosentino, Ren-Shiang Sung, Maria Cunningham, Vlas Sokolov, Sarolta Zahorecz, and Yuwei Wang.
QA2: data reduction
by Ke Wang.
QA3: manual inspection
by Sarolta Zahorecz.
Acknowledgments
We encourage the community to contact us for collaboration and to make use of the data. Please credit the survey by including the following sentence in your publication:
The data presented in this paper are based on the ESO-ARO programme ID 196.C-0999(A).
<p
SAMPLING Data Release 1
No full textDR1 of the SAMPLING survey.
12CO/13CO(2-1) cubes of 124 fields, nominal map size 5arcmin x 5 arcmin.
Resolution 36 arcsec, channel width 0.3 km/s, rms 0.2 K. Calibrated to main beam temperature Tmb.
Data quality assurance
QA1: remote observations
by Ke Wang, Jinjin Xie, Tie Liu, Viktor Toth, Xing Lu, Yuan Wang, Shen Wang, Giuliana Cosentino, Ren-Shiang Sung, Maria Cunningham, Vlas Sokolov, Sarolta Zahorecz, and Yuwei Wang.
QA2: data reduction
by Ke Wang.
QA3: manual inspection
by Sarolta Zahorecz.
Acknowledgments
We encourage the community to contact us for collaboration and to make use of the data. Please credit the survey by including the following sentence in your publication:
The data presented in this paper are based on the ESO-ARO programme ID 196.C-0999(A).
<p
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
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
From a young Bolshevik to a professional writer : A critical study of Wang Meng 's novels with reference to his writing from the 1950s to the 1990s
No full textWang Meng is one of China's most high profile and prolific writers, having produced a substantial body of fictional work since the 1950s, much of which has surprised readers and critics alike because of its high level of innovation, and because of its challenge to the dominant Chinese traditional literary discourse. Wang Meng is significant for employing new fictional forms and styles as vehicles for examining the contentious issues that arise in Chinese society. His works are often regarded as a mirror to reflect developments in society during different stages, and in different political situations. In recent years, Wang Meng has continued to explore universal themes and unique representational modes, but prefers to locate them within the Chinese tradition in his writing. It would be hard to think of another writer in China that could compare with Wang Meng, in terms of his rich and highly productive literary works; his complex and unusual personal life experiences; his consummate writing skill; his writing techniques; his wellplanned literary structures; his colourful use of narrative voice; his talent in using his own style of fictional language; his ability to appropriate literary styles from a diverse range of sources, both traditional and modem, Chinese and foreign, and synthesise them into something uniquely his own; his courage and his liberal values; his close attention to developments in society; his tumultuous political life; his setbacks and successes as a professional writer.
This thesis focuses on an analysis of Wang Meng's major literary works from the early 1950s to the 1990s. It utilizes established Western critical theories such as: realism, Socialist Realism, modernism, postmodemism and "stream-of-consciousness". It provides a focused textual analysis of a number of Wang Meng's stories that emerged in the broad context of contemporary Chinese literature. It aims to decode a selection of Wang Meng's major representative works published between the 1950s and the 1990s, and attempts to interpret the characteristics of Wang Meng's writing at different stages. By doing so, the thesis attempts to enrich and develop the established Western theories referred to above by means of an analytical rereading of the selected texts.
The thesis consists of five chapters, with an introduction and a conclusion. The introduction provides some preliminary remarks, and outlines some general but fundamental issues, as well as a brief note on Wang Meng's life. Chapter one begins with an examination of fictional writing as the main form in contemporary Chinese literature, followed by a further comparative discussion of Wang Meng's novels and short stories, to locate his place in the Chinese literary world. Chapter two applies realism, in particular, Socialist Realism, as one of the literary theories to examine Wang Meng's early works. Chapter three mainly attempts to evaluate the narrative technique in Wang Meng's stories, with special reference to his experimental works which were published in the late 1970s and early 1980s. Chapter four studies the influence of Western stream-of-consciousness in Wang Meng's fiction writing, with detailed reference to his two short stories: Eyes of the Night and Dream of the Sea. Chapter five makes a close reading of Wang Meng's Bolshevik Salute, which revolves around a basic theme-the quest for the self as an individual entity with a degree of coherence and intelligibility. The final chapter draws together some concluding remarks pertaining to the thesis as a whole
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