Figuratividade na poesia bucólica de Virgílio

Pós-graduação em Estudos Literários - FCLAR

A construção da imagem do imperador Augusto nas obras de Veléio Patérculo, Plutarco e Suetônio

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

O espaço urbano e suas temporalidades: diagnóstico e propostas de intervenção para o patrimônio histórico do centro de Limeira - SP

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

E. T. A. Hoffmann e Jacques Callot: a ficção da imagem

Hoffmann wrote several fairy tales, including "Princess Brambilla" (1821), which has an remarkable pictorial component: when it was published, the text went along with eight illustrations by Carl Friedrich Thiele, which were derived from original prints made by the Frenchman Jacques Callot. While Callot images portray the Italian theater of the Commedia dell'Arte, Thiele's works follow the plot of the narrative, representing the characters of Hoffmann, who disguise themselves because of the carnival that is taking place in Rome. The costumes and masks worn by the characters however do not ensure them full secrecy. Instead of a complete undercover, they lead to double meanings and double identities so that narrative levels and artistic references overlap and create an effect similar to a set of a polyphonic orchestra (which is a metaphor implied in the very subtitle, where the narrative is called a Capriccio).

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.

O cardeal leme e a construção da ordem política católica (1930-1942)

Pós-graduação em História - FCHS

Os elementos religiosos nas sátiras do poeta Juvenal (séculos I e II d.C)

Pós-graduação em História - FCLAS

Habitação social em centros urbanos consolidados: análise dialógica desde o percurso do projeto ao uso social: São Paulo (Brasil) e Roma (Itália)

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Peripheral facial palsy in the past: contributions from Avicenna, Nicolaus Friedreich and Charles Bell

Este estudo apresenta documentos de paralisia facial periférica nas artes plásticas no Egito antigo, Grécia e Roma, Idade Média, Renascimento e também dos últimos 4 séculos. Pensamos que a história da paralisia facial periférica acompanha a história da própria espécie humana. São apresentadas as contribuições de Avicenna e Nicolaus Friedreich, e são mostradas controvérsias sobre a descrição original de Charles Bell.

The effects of sildenafil on rectal sensitivity and tone in patients with the irritable bowel syndrome

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Assessment of chemokine serum levels in epithelial ovarian cancer patients

Aims and background. The study was undertaken to investigate CCL2/MCP-1, CCL3/MIP-l alpha, CCL4/MIP-1 beta, CCL5/RANTES and CXCL8/IL-8 women with epithelial ovarian cancer.Methods and study design. Sixteen patients diagnosed with epithelial ovarian cancer and 18 healthy women with no evidence of malign neoplasia (control group) aged from 23 to 89 years (mean +/- SEM, 58.7 +/- 2.3) were included. The epithelial ovarian cancer patients underwent laparotomy and debulking surgery Chemokines serum levels were measured by cytometric bead array. Statistical analysis was performed using Mann-Whitney and Kendall's tau. P <0.05 was considered statistically significant for all analyses.Results. The tumor staging (FIGO) was classified into: I in 4 cases (25%), III in 5 cases (31.3%) and stage IV in 7 cases (43.8%). Sera chemokine dosages of CCL2 /MCP-1 and CCL4/MIP-1 beta were lower in epithelial ovarian cancer patients than in the control group (P = 0.021 and P = 0.030, respectively). No significant difference between groups was observed in the levels of CCL3/MIP-l alpha, CCL5/RANTES and CXCL8/IL-8. No association between the chemokines analyzed and tumor stage was found. The serum level of CCL4/MIP-1 beta was correlated with CA-125.Conclusions. The study of serum levels of CCL2/MCP-1, CCL3/MIP-l alpha, CCL4/MIP-1 beta, CCL5/RANTES and CXCL8/IL-8 chemokines in epithelial ovarian cancer patients identified a down-regulation in CCL2/MCP-1 and CCL4/MIP-1 beta, which suggests that the two chemokines may play an important role in the pathophysiology of ovarian cancer.