“Do You Want to See My Hornpipe?”: The Traditional Irish Dancing Body at Play in the Work of Jean Butler and Colin Dunne.

This chapter considers the radical re-imaginings of traditional Irish step dance in the recent works of Jean Butler and Colin Dunne. In Butler's Does She Take Sugar (2007) and Dunne's Out of Time (2008), the Irish step dancing body is separated from its historical roots in nationalism, from the exhibitionism required by the competitive form, and from the spectacularization of the commercialized theatrical format. In these works, which are both solo pieces performed by the choreographers themselves, the traditional form undergoes a critical interrogation in which the dancers attempt to depart from the determinacy of the traditional technique, while acknowledging its formation of their corporealities; the Irish step dance technique becomes a springboard for creative experimentation. In order to consider the importance of the creative potential revealed by these works, this chapter will contextualize them within the dance background from which they emerged, outlining the history of competitive step dancing in Ireland, the "modernization" of traditional Irish dance with the emergence of Riverdance (1994), and the experiments of Ireland's national folk theatre, Siamsa Tíre.

Hygrothermal Features of Laterite Dimension Stones for Sub-Saharan Residential Building Construction

The building sector is widely recognized as having a major impact on sustainable development. Both in developed and developing countries, sustainability in buildings approaches are growing. Laterite dimension stone (LDS) is a building material that was traditionally used in sub-Saharan Africa, but its technical features still need to be assessed. This article presents some results of a study focused on the characterization of LDS exploited in Burkina Faso for building purposes. The measured average thermal conductivity is 0.51  W/mK, which increases with water content and evolves with the specific gravity and with porosity. Rock mineral phases (quartz, goethite, hematite, magnetite) are cemented by kaolinite. The porosity of the material is high (30%), with macropores visible on the surface and found in the rock inner structure as well. Results from the hygrothermal monitoring of a pilot building are also presented.

Voyage(s) to Sarajevo: Jean-Luc Godard and the Image of War

This essay discusses Jean-Luc Godard’s artistic response to the Bosnian War (1992-95), and its representations in the Western mass media. For Godard, the reluctance of Europe’s advanced liberal democracies to intervene meaningfully in Bosnia – their insistence that 'humanitarianism' rather than protective intervention was the order of the day – was tantamount to supporting Serbian fascism, and – a fortiori – regressing to a policy of appeasement reminiscent of the days of the Munich Agreement. Although Godard's stance set him against some of his former compatriots on the left, speculating on his ideological motivations is beside the point. Rather, it is is in his filmmaking, in his vision of cinema, and how it relates to other histories of the image, that Godard’s sensibility can be most keenly felt and understood. As the essay points out, even his recent contribution to Jean-Michel Frodon's compilation film, Bridges of Sarajevo/Les ponts de Sarajevo (2014, 114 mn.), persists in posing questions about how the past continues to shape the present, and how Sarajevo and its contemporary history still delineates the identity of Europe. 

Enchytraeid worms retard polycyclic aromatic hydrocarbon degradation in a coniferous forest soil

In this study the fate of naphthalene, fluorene and pyrene were investigated in the presence and absence of enchytraeid worms. Microcosms were used, which enabled the full fate of ¹⁴C-labelled PAHs to be followed. Between 60 and 70% of naphthalene was either mineralised or volatilised, whereas over 90% of the fluorene and pyrene was retained within the soil. Mineralisation and volatilisation of naphthalene was lower in the presence of enchytraeid worms. The hypothesis that microbial mineralisation of naphthalene was limited by enchytraeids because they reduce nutrient availability, and hence limit microbial carbon turnover in these nutrient poor soils, was tested. Ammonia concentrations increased and phosphorus concentrations decreased in all microcosms over the 56 d experimental period. The soil nutrient chemistry was only altered slightly by enchytraeid worms, and did not appear to be the cause of retardation of naphthalene mineralisation. The results suggest that microbial availability and volatilisation of naphthalene is altered as it passes through enchytraeid worms due to organic material encapsulation. © 2004 Elsevier Ltd. All rights reserved.

Francisco Fernandes Lopes (1884-1969), historiador do Algarve: contributo para a historiografia henriquina

São ainda muito incipientes os estudos sobre a vida e obra do médico olhanense Francisco Fernandes Lopes (1884-1969), uma das figuras mais interessantes do quadro cultural português da primeira metade do século XX. Na verdade, dificilmente poderemos caracterizá-lo apenas como “médico”, pois era um intelectual multifacetado e interessado nas mais diversas áreas do saber, assim como também é impossível descrevê-lo apenas como “olhanense”, pois a sua actividade intelectual extravasou largamente o âmbito local, regional e mesmo nacional. A presente dissertação, intitulada Francisco Fernandes Lopes (1884-1969), historiador do Algarve: contributo para a historiografia henriquina, tem dois objectivos principais, patentes no próprio título: compreender o homem, ou seja, elaborar um estudo biográfico sobre Fernandes Lopes, e analisar uma das suas facetas, a de historiador, mais concretamente no que concerne à sua obra acerca do Infante D. Henrique e a sua relação ao Algarve. No que respeita à biografia, pretende-se compreender a vida e obra de Francisco Fernandes Lopes através de uma análise concertada do seu percurso de vida, dos seus principais interesses e da sua actividade cultural e intelectual. Neste âmbito, é essencial ter em consideração que a vida de Fernandes Lopes se desenrolou mormente em Olhão, vila algarvia singular devido ao seu panorama arquitectónico único de açoteias, e que ele tanto se empenhou em divulgar, procurando que Olhão ocupasse um lugar de destaque no mapa do Algarve e, também, de Portugal. Relativamente à produção historiográfica tem particular destaque a temática henriquina, que foi a que mais ocupou Francisco Fernandes Lopes entre as décadas de 30 a 60 do século XX. Os seus estudos devem ser entendidos no âmbito de um período histórico muito específico – o Estado Novo – e tendo por base a evolução do pensamento historiográfico, assim como outros estudos similares e coetâneos que permitam formular uma comparação.

Compte rendu: Cyril Trimaille et Jean-Michel Éloy (dir.) (2013), Idéologies linguistiques et discriminations, Paris, L’Harmattan, coll. « Carnets d’atelier de sociolinguistique, 6 », 268 p. [ISBN : 978-2-336-29083-6]

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ANNUAL REPORT OF THE State Board of Health OF SOUTH CAROLINA FOR THE PERIOD BEGINNING JULY I, 1943, AND ENDING JUNE 30, 1944

This annual report from the South Carolina State Board of Health includes reports from its various divisions, statistical data concerning health issues and a list of board members.

A Program of Original Compositions, May 6, 1943

Concert Program for A Program of Original Compositions, May 6, 1943

O auteur a ver-se a si mesmo ao espelho: as alegorias do enunciador em Jean Cocteau

ABSTRACT - Jean Cocteau, French cinema auteur avant la lettre, has consecrated his uniqueness to the defense of the “poet” and the promotion of its artistic ideals, before the French Nouvelle Vague inspired the break away from the filmic tradition and ahead of the eulogistic tendency to consider the director the undisputed creative entity of the filmmaking process. The Orphic trilogy expresses Cocteau’s cinematic philosophy in action. In other words, it reveals the way by which the creative entity affirms itself as the major filmic enunciator, through an allegorical relationship with vision. Therefore, Cocteau’s self-reflexive metacinema conjoins, in a fertile attunement, the starting point and the ultimate goal, the creation and the reception. Without being exactly a cinema about the cinema, this artistic practice is, nonetheless, very much with the cinema, feeding as it does on its essence. The films Le Sang d’un poète (“The Blood of a Poet”, 1932), Orphée (“Orpheus”, 1950) and Le Testament d’Orphée, ou ne me demandez pas pourquoi! (“Testament of Orpheus”, 1960) recreate, in allegorical form, the double creative function: the look of the directing entity reflects the gaze of the observer, just as this one always restores the presence of the creator. In short: Cocteau’s films, more than anyone else’s, deliberately reflect its auteur as enunciator.

O fantástico em Fialho de Almeida e Jean Lorrain pessimismo e decadentismo finisseculares

Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em Estudos Portugueses - Estudos Comparatistas