Effect of ball milling on the physicochemical characteristics of Peruvian carrot and cassava starches

Peruvian carrot and cassava starches were ground in a ball mill for 4, 8, 16, and 32 h and their structural and physicochemical characteristics were determined. Results obtained from HPAEC-PAD, GPC, and amylose content indicated a breaking of hydrogen bounds and α-(1 [RIGHTWARDS ARROW] 6) linkages of the starch molecules after treatment. X-ray diffractograms showed that the milling provided a reduction in the crystalline area of the starch granules. Most of the starch granules displayed agglomeration after 4 h of milling, when observed under a scanning electron microscope, and after 16 h a shapeless mass was observed for Peruvian carrot starch. Solubility and water absorption capacity of the starches increased with an increase in the milling time, while RVA profiles showed a progressive reduction of peak, breakdown, and final viscosities, as well as the development of initial viscosity. Gelatinization temperatures and enthalpies were reduced. Prolonged ball milling accelerated the enthalpy relaxation in both starches. These results confirmed a partial gelatinization of the starches, which was 82.6% for Peruvian carrot and 65.4% for cassava starches after 32 h of milling. The Peruvian carrot starch was more affected by the ball milling because of both its lower amylose content and the defects in its crystalline structure

Behavior of Peruvian carrot (Arracacia xanthorrhiza) and cassava (Manihot esculenta) starches subjected to the heat-moisture treatment

Peruvian carrot and cassava starches were isolated, adjusted to 30 and 35% moisture, and heatedat 90°C for 8 h. Structural and physicochemical characteristics of the treated starches wereevaluated and compared. High performance anion exchange chromatography with pulsedamperometric detector (HPAEC-PAD), gel permeation chromatography (GPC), and amylosecontent, revealed that the HMT did not change the chemical structures of the starches. A largeagglomeration of granules was observed from SEM, particularly in the Peruvian carrot starch.Crystalline patterns in Peruvian carrot and cassava starches changed from B to C and CAto A,respectively. Relative crystallinity decreased from 30 to 25% in Peruvian Carrot starch, andincreased from 35 to 37% in cassava starch adjusted to 30% moisture. SF and peak viscositydecreased, breakdown was almost completely eliminated (particularly in the Peruvian carrotstarch), and final viscosity increased. WAI and WSI increased as moisture levels of bothstarches increased. Gelatinization temperatures increased and enthalpy decreased. Degrees ofgelatinization increased as the moisture level increased, reaching 33 and 72% in the cassavaand Peruvian carrot starches, respectively. HMT strengthened the intra- and intermolecularinteractions of starches and increased their stability during heating and shearing, but also causeda partial gelatinization in the starches, particularly in Peruvian carrot starch.

The independence of adaptations: the metanarrativity and metafictionality of Ian McEwan´s Atonement adapted for the cinema

Conceiving of cinematographic adaptations as being independent of their source material has come to be the standard approach for most specialists in this area. The stress on fidelity has made way for many other approaches, such as those focused on intertextuality, on the dilemma of form v. content, or on questions of genre and gender. The objective of this article is to present an overview of the principal theories which have been developed in the area as from 2000 in order to support this notion of independence, which will be exemplified by an exposition of the strategies used to adapt the metafictional and metanarrative elements in Atonement (2001) for the cinema.

Imagens escritas, letras desenhadas : literatura e cinema em Ilka B. Laurito e João Antônio. -

Pós-graduação em Letras - FCLAS

A intersemiose texto-história-cinema na minissérie ROMA da HBO

From August 2005 to March 2007, the two seasons (with 12 and 10 episodes respectively) of the award winning miniseries HBO‟s ROME were aired by the Home Box Office (HBO) channel. With screenplay signed by various writers and directors, the TV series was a coproduction of HBO (USA) and BBC (UK) with support from RAI (Italy), and the show was filmed in multiple locations, but mainly in Cinecittà Film Studios in Rome, very famous for having been headquarters also for Federico Fellini‟s movies. In the first season, the miniseries depicts the conquest of Gaul, made by the military genius of Gaius Julius Caesar, and the political trajectory that made him accumulate power to such an extent that this divided Roman citizens into two factions, one supporting and the other opposing him, the latter focused mainly on the historic figure of General Gnaeus Pompey Magnus. The second season shows the period of civil war following the assassination of Caesar, and the future rise to power of his nephew, adopted son and sole heir, Gaius Octavian Augustus, who was destined to overcome his rivals as well as their allies in the triumvirate that had been formed to pursue and punish Caesar‟s assassins. These facts are well known and usually crowd the mind and imagination of every minimally educated person. The HBO series broke new ground not only for the talent of its writers, directors and actors, not only for its visual effects and locations nor for the vibrancy and grandeur of historical scenes – after all, “historical movies” in general do the same – but it has done so also by the (re)construction of historical events from the perspective of a pair of protagonists of whom too little is known: the centurions Titus Pullo and Lucius Vorenus, who are the only low-rank soldiers mentioned by Caesar in his book Commentaries on the Gallic War (Commentarii de Bello Gallico V.44). Thus, the fictionalization of events also took into account several Roman civilization data which were scattered through historical sources and also those that belong to the modern knowledge of material culture, resulting in a TV series whose filmic aesthetics has rare beauty and creativity. From the survey of textual, historical and cultural data put together in this film, as well as the distance featuring the creative space in the dimension of the gap between them, this paper aims to highlight two pivotal moments of visual and narrative strategies of the show: the opening credits footage and the final scenes of the first season of HBO's Rome.

A palavra que faz o passado: narrativa e tradição na literatura e no cinema brasileiros dos últimos anos

This work analysesthe way by which the shortstories“O que veio de longe” and “Faca”, by Ronaldo Correia de Brito, and the movie A festa da menina morta, directed by Matheus Nacthergaele, incorporate regional thematic matrix in contemporary narratives that take again tradition and give it a new meaning.

Teatro, cinema e literatura: confluências

Esta coletânea traz 14 estudos apresentados durante dois encontros acadêmicos realizados na Faculdade de Ciências e Letras da Unesp, em Araraquara, em 2011. Os artigos, produzidos por especialistas de diversas áreas, tiveram como foco principal, o tema proposto para os eventos: as confluências entre teatro, cinema e literatura. Na primeira parte do livro, os estudos têm por denominador comum as relações entre peças de teatro, obras cinematográficas e textos literários. Entre os artigos, há uma análise comparativa das características literárias-políticas do alemão Bertold Brecht, a partir de duas de suas peças, e de um filme, de cujo roteiro foi autor, além de uma reflexão sobre o peta e romancista francês Jules Romains, com foco naquilo que o poeta tomou de empréstimo à arte do cinematógrafo, e um texto sobre a técnica cinematográfica do close-up no filme Vagas estrelas da Ursa, de Luchino Visconti, que tem a personagem principal baseada em Electra. “Ato II – Peças, pessoas, personagens”, a segunda parte do livro, tem seu foco no teatro. Entre os artigos, estão uma análise de duas coletâneas de ensaios do crítico teatral Décio de Almeida Prado, um estudo sobre a peça Esperando Godot, de Samuel Beckett, que aborda uma estética do absurdo, modernamente trágica, uma representação critica da ideologia norte-americana em peças de Tennessee Wiliams e uma discussão sobre a religiosidade católica na peça A Revolução dos Beatos, de Dias Gomes.

Cinema hollywoodiano no século XXI: o ritmo em abordagem semiótica e os filmes mais vistos de 2001 a 2010

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Maquiagem e a construção de personagens no cinema moderno: estudo do caso Benjamin Button

The o bjective of this dissertation is to present a theoretical essay on the importance of makeup in the creation of characters through the review of The Curious Case of Benjamin Button, a movie directed by David Fincher based on a short-story by F. Scott Fitzgerald. This thesis makes an historica loverview of makeup, including a discussion on its evolution and importance to visual arts, as a background to the analyses of the proposed movie

Guerra conjugal: o cinema antropofágico de Joaquim Pedro de Andrade

Pós-graduação em Estudos Literários - FCLAR

O herói clássico e a indústria cultural: a abordagem dos mitos pelo cinema

Esse trabalho aborda a forma como os heróis são retratados atualmente no cinema pela indústria cultural e como se dá a divergência em relação aos heróis clássicos dos mitos gregos. O mito grego adotado como parâmetro para comparação e análise é o que narra a trajetória de Ulisses de volta para a ilha de Ítaca. O filme atual sobre o qual se desenvolve o estudo comparativo do herói no cinema é Capitão América - O Priemiro Vingador, adaptação dos quadrinhos da Marvel para o cinema em 2011, pelo diretor Joe Johnston. O mito surge nos começos de toda civilização, sendo visto como uma história sagrada, da qual tomaram parte os deuses ou seres sobrenaturais que participaram desses acontecimentos. O mito surge nos começos de toda civilização, sendo visto como uma história sagrada, da qual tomaram parte os deuses ou seres sobrenaturais que participaram desses acontecimentos

Parasitic infections in ornamental cichlid fish in the Peruvian Amazon

The aim of this study was to evaluate the prevalence and seasonal distribution of the main parasite species in Amazonian ornamental cichlids that affect their trade. The study was conducted from August 2007 to September 2009. We sampled 3042 specimens from 9 different species, of which 9.47% had at least one type of external parasite. 81.25% of the cases occurred in the dry season. Crenicichla anthurus (28.57%) was the most parasitized, followed by Aequidens diadema (26.32%), Pterophyllum scalare (22.69%), Cichlasoma sp. (9.52%), Apistogramma sp. (3.88%) and Symphysodon aequifasciatus (3.66%). Monogenea was the most abundant group of parasites, occurring in 66.67% of the cases, of which 96.88% occurred in the dry season. This parasite infested 95.68% of Pterophyllum scalare, 76.67% of Apistogramma sp, 33.33% of Cichlasoma sp. and 23.81% of Symphysodon aequifasciatus cases. Ichthyophthirius multifiliis infested 100% of Aequidens diadema, 76.19% of Symphysodon aequifasciatus, 66.67% of Cichlasoma sp, 41.67% of Crenicichla anthurus and 23.33% of Apistogramma sp cases. Myxosporidia infested 58.33% of Crenicichla anthurus. Trichodina infested 4.32% of Pterophyllum scalare. The prevalence of these parasites is related to the season, preferred habitat, fish behavior, individual susceptibility and handling of animals during transportation by fishermen.

Os primeiros oitenta anos do cinema espanhol: una mirada nostálgica

Panoramic vision of the Spanish Cinema, from 1895 to 1970, rethinking its meaningful periods and directors. Going throw the censured post war cinema, coming to the scene young directors like Carlos Saura, Ivan Zulueta, Pedro Almodóvar and recovering names like: Segundo de Chomón, Luis García Berlanga, Pere Portabella.

Les liaisons dangereuses na Tela: ligações 'perigosas' entre cinema e literatura

The purpose of this article is to comment on the film adaptation by director Stephen Frears of the 18th-century novel Les liaisons dangereuses (in English, Dangerous Liaisons) by Choderlos de Laclos. It compares the film composition to the basic formal aspects of the novel. If, on one hand, Frears’ 1988 film adaptation breaks away from Laclos’ epistolary novel for being aligned with the standard elements of the classical cinema, on the other, it reveals a surprising affinity to the literary work: the relation with the theatrical language.