Writing and living on the stage of history

This article studies the intercultural trajectory of a Portuguese female aristocrat of the eighteenth to nineteenth centuries. Her trajectory of intercultural transition from a Portuguese provincial lady into an independent owner of a sugar mill in tropical Bahia is documented through family letters, which provide a polyphonic representation of a movement of personal, family, and social transculturation over almost two decades. Maria Bárbara began her journey between cultures as a simple spectator-reader, progressively becoming a commentator-actor-protagonist-author in society, in politics, and in history. These letters function as a translation that is sometimes consecutive, other times simultaneous, of the events lived and witnessed. This concept of intercultural translation is based on the theories of Boaventura de Sousa Santos (2006, 2008), who argues that cultural differences imply that any comparison has to be made using procedures of proportion and correspondence which, taken as a whole, constitute the work of translation itself. These procedures construct approximations of the known to the unknown, of the strange to the familiar, of the ‘other’ to the ‘self’, categories which are always unstable. Likewise, this essay explores the unstable contexts of its object of study, with the purpose of understanding different rationalities and worldviews.

Wuthering heights on the screen: exploring the relations between film adaptation and subtitling

This essay aims to confront the literary text Wuthering Heights by Emily Brontë with five of its screen adaptations and Portuguese subtitles. Owing to the scope of the study, it will necessarily afford merely a bird‘s eye view of the issues and serve as a starting point for further research. Accordingly, the following questions are used as guidelines: What transformations occur in the process of adapting the original text to the screen? Do subtitles update the film dialogues to the target audience‘s cultural and linguistic context? Are subtitles influenced more by oral speech than by written literary discourse? Shouldn‘t subtitles in fact reflect the poetic function prevalent in screen adaptations of literary texts? Rather than attempt to answer these questions, we focus on the objects as phenomena. Our interdisciplinary undertaking clearly involves a semio-pragmatic stance, at this stage trying to avoid theoretical backdrops that may affect our apprehension of the objects as to their qualities, singularities, and conventional traits, based on Lucia Santaella‘s interpretation of Charles S. Peirce‘s phaneroscopy. From an empirical standpoint, we gather features and describe peculiarities, under the presumption that there are substrata in subtitling that point or should point to the literary source text, albeit through the mediation of a film script and a particular cinematic style. Therefore, we consider how the subtitling process may be influenced by the literary intertext, the idiosyncrasies of a particular film adaptation, as well as the socio-cultural context of the subtitler and target audience. First, we isolate one of the novel‘s most poignant scenes – ‗I am Heathcliff‘ – taking into account its symbolic play and significance in relation to character and plot construction. Secondly, we study American, English, French, and Mexican adaptations of the excerpt into film in terms of intersemiotic transformations. Then we analyze differences between the film dialogues and their Portuguese subtitles.

Recycling old screen-printed electrodes with newly designed plastic antibodies on the wall of carbon nanotubes as sensory element for in situ detection of bacterial toxins in water

Using low cost portable devices that enable a single analytical step for screening environmental contaminants is today a demanding issue. This concept is here tried out by recycling screen-printed electrodes that were to be disposed of and by choosing as sensory element a low cost material offering specific response for an environmental contaminant. Microcystins (MCs) were used as target analyte, for being dangerous toxins produced by cyanobacteria released into water bodies. The sensory element was a plastic antibody designed by surface imprinting with carefully selected monomers to ensure a specific response. These were designed on the wall of carbon nanotubes, taking advantage of their exceptional electrical properties. The stereochemical ability of the sensory material to detect MCs was checked by preparing blank materials where the imprinting stage was made without the template molecule. The novel sensory material for MCs was introduced in a polymeric matrix and evaluated against potentiometric measurements. Nernstian response was observed from 7.24 × 10−10 to 1.28 × 10−9 M in buffer solution (10 mM HEPES, 150 mM NaCl, pH 6.6), with average slopes of −62 mVdecade−1 and detection capabilities below 1 nM. The blank materials were unable to provide a linear response against log(concentration), showing only a slight potential change towards more positive potentials with increasing concentrations (while that ofthe plastic antibodies moved to more negative values), with a maximum rate of +33 mVdecade−1. The sensors presented good selectivity towards sulphate, iron and ammonium ions, and also chloroform and tetrachloroethylene (TCE) and fast response (<20 s). This concept was successfully tested on the analysis of spiked environmental water samples. The sensors were further applied onto recycled chips, comprehending one site for the reference electrode and two sites for different selective membranes, in a biparametric approach for “in situ” analysis.