The Connecticut magazine : an illustrated monthly.

Title from cover.

Illinois Transportation Enhancement Program /

"ITEP is a three year program. Projects funded through the Illinois Transportation Enhancement Program include: scenic/historic highways; historic transportation structure rehabilitation; pedestrian and bicycle facilities; landscaping; transportation museums; outdoor advertising control."

Annual report of the Joint Legislative Committee on Natural Resources.

Report year ends Mar.

Rio Chama management plan.

"November 1990."

A IDENTIDADE DA MULTIDÃO NO CULTO CELESTIAL NO APOCALIPSE DE JOÃO

João de Patmos, através de elementos literários e dramáticos e da estrutura cênica e litúrgica, criou no Apocalipse um universo simbólico específico. As imagens deste universo são protagonizadas tanto por seres divinos como também por pessoas humanas que se encontram exaltadas entre os seres celestiais, cantando e louvando a Deus. Durante o processo da composição, o autor da obra se inspirou na tradição apocalíptica e escatológica das tradições visionárias merkavah presentes em Ezequiel, Daniel e 1 Enoque, e fez uma leitura própria destas tradições que obedece aos seus próprios objetivos literários e às necessidades dos leitores / ouvintes do escrito. Os seres celestiais e humanos destacados nas imagens, e a presença de várias confluências de tradições merkavah indicam que o Apocalipse se insere numa vertente da literatura apocalíptica contemporânea do escrito. É notável que, tanto na apocalíptica, em Qumran, na literatura hekhalot como no Apocalipse, há indícios de uma intensa experiência extática de grupos de culto celestial. O cenário de visões é prioritariamente litúrgico, dentro de um templo celestial. As imagens geradas pela leitura das experiências místicas de Ezequiel, 1 Enoque e outros escritos místicos eram contempladas e enriquecidas pelas experiências de viagens celestiais de grupos proféticos durante cultos terrestres. Nas experiências místicas registradas nos fragmentos analisados do Apocalipse de João podem ser percebidas certas feições dos viajantes celestiais. Nos seus discursos sobre a visão do mundo que contemplam e definem, eles revelam suas crenças, desafios e expectativas, a sua auto-compreensão religiosa. Além da identidade dos protagonistas dos cultos celestiais percebe-se também o caráter e a função altamente criadores do fenômeno extático em geral, como também, em particular, no Apocalipse de João. O escrito revela e promove uma estrutura do mundo divino-humano completo e perfeito que está num movimento contínuo, um mundo que, com toda a simbologia inerente, expressa a idéia de criar, recriar e governar o universo inteiro. Os seres humanos participam ativamente deste universo e cooperam com a função reconstituinte dele. Essa cooperação na reconstituição do mundo tem um caráter presente e atual, embora a plenitude desta reconstituição esteja reservada para o futuro.

Crueldad, simulacion, absurdo y amenaza: Barbarie del drama moderno y tradicion hermetica en los esperpentos de Ramon del Valle-Inclan

The purpose of this dissertation is to demonstrate that the esperpentos by the Spanish playwright Ramón del Valle-Inclán (1866–1936), represent a culminating moment of theatrical precepts of modern European drama, while perpetuating the ancient esoteric traditions of the Iberian Peninsula. Focusing on four plays—Los cuernos de Don Friolera (1920), Luces de Bohemia (1921), Las galas del difunto (1926) y La hija del Capitán (1927)—the research elucidates how this interpretation furthers understanding of the process that embraces the anti-realistic clamours during the initial decades of the XX century, up to the subsequent climax of the aesthetics of Cruelty, Absurdity, Simulation, and Menace. ^ In search for an ideal scenic language capable of reflecting the grotesque character and mystical essence of the esperpentos, this project examines the most significant works of philosophers from the hermetic tradition such as Plato, Pithagoras, Aquinas, and Flamel. Other important authors are Éliphas Lévy and H. P. Blavatsky, two personalities of great preponderance in the spiritual effervescence and occultist apotheosis at the turn of the 20th century. Finally, the mystical ideas of Spanish philosopher Roso de Luna and the psychological works on alchemy and magic by Jung find their conceptual correspondence in Valle-Inclán's aesthetic manifesto, La lámpara maravillosa. ^ The ultimate objective of this dissertation is to provide a proposal for a mise en scène of the esperpentos, aesthetically based on the simultaneous scenarios of the New Stagecraft and conceptually inspired by the mystical principles of the hermetic tradition. The comparative approach of this study establishes a dialogue between modernity and the esoteric tradition that results in a new Koncept for their representation, providing a simultaneous scenario, far from realistic theatre, and more coherent to house the magical substance of the esperpentos. ^

Revaloracion de la comedia de Pedro Munoz Seca: Un teatro menospreciado

The comedies of Pedro Muñoz Seca (1879-1936) received extraordinary public acclaim for over thirty years, yet critics rejected them. Although several experts have recently begun to study his plays in an objective manner, this author has generally either been underrated or omitted from theater histories. This study identifies the merit, contributions and relevance of Muñoz Seca's works so that the unwarranted void that now exists in Spanish theater annals is justly filled. Historical and biographical backgrounds and a brief sketch of the development of comedy in Spain serve to introduce the literary, political and social contexts in which the author develops the subgenre known as "astracán" and introduces the "fresco" character type. ^ This analysis illustrates Muñoz Seca's verbal comic techniques---the use of regional dialects and individuals' speech peculiarities, double entendres, incongruence, periphrasis, and ingenious plays on words. It also explores the author's profound theatrical sense manifested in inter-textual references and self-reflexivity within the content of his plays. In addition, it identifies the scenic creativity he displays through the use of cinematography, the removal of color from stage decor (or the elimination of scenery altogether), and the original application of music to create comic effect. Furthermore, this study comments the satirical tone projected in Muñoz Seca's characters' idiolect and barbarisms as socio-political conditions worsen. Finally, it brings forth the author's use of parody to criticize his society and to deride other theatrical genres in vogue during his time. ^ While the polarization between Muñoz Seca's popular success and the critics' rejection can be explained by esthetic and ideological prejudices, this dissertation ascertains that the true nature of the author's plays has not been properly identified. The "astracán" is a double parody; however, since it caricaturizes a comic subgenre that is already burlesque, its defining parodic features have been consistently misinterpreted as mere exaggerations and defects. What is more, as its critical content is not recognized, its renewing function goes unnoticed. Muñoz Seca's "astracán" illustrates an era of the Spanish comic stage and paves the way for the theater of the absurd. Its merit and relevance must be recognized. ^

Web Based Bicycle Trip Planning for Broward County, Florida

To promote the use of bicycle transportation mode in times of increasing urban traffic congestion, Broward County Metropolitan Planning Organization funded the development of a Web-based trip planner for cyclists. This presentation demonstrates the integration of the ArcGIS Server 9.3 environment with the ArcGIS JavaScript Extension for Google Maps API and the Google Local Search Control for Maps API. This allows the use of Google mashup GIS functionality, i.e., Google local search for selection of trip start, trip destination, and intermediate waypoints, and the integration of Google Maps base layers. The ArcGIS Network Analyst extension is used for the route search, where algorithms for fastest, safest, simplest, most scenic, and shortest routes are imbedded. This presentation also describes how attributes of the underlying network sources have been combined to facilitate the search for optimized routes.

Web Based Bicycle Trip Planning for Broward County, Florida

To promote the use of bicycle transportation mode in times of increasing urban traffic congestion, Broward County Metropolitan Planning Organization funded the development of a Web-based trip planner for cyclists. This presentation demonstrates the integration of the ArcGIS Server 9.3 environment with the ArcGIS JavaScript Extension for Google Maps API and the Google Local Search Control for Maps API. This allows the use of Google mashup GIS functionality, i.e., Google local search for selection of trip start, trip destination, and intermediate waypoints, and the integration of Google Maps base layers. The ArcGIS Network Analyst extension is used for the route search, where algorithms for fastest, safest, simplest, most scenic, and shortest routes are imbedded. This presentation also describes how attributes of the underlying network sources have been combined to facilitate the search for optimized routes.

Investimentos internacionais e a valorização imobiliária dos municípios de Maxaranguape e Rio do Fogo

Since the middle of 1970´s the world has been undergoing significant transformations, comes in a new era of global capital accumulation, and starts the called productive restructuring. This restructuring is materialized spatially through the reconfiguration of territory, redefining its uses and providing a new spatial structure. With regard to native of Rio Grande do Norte territory, there is, from the 1980s, the emergence of new economic activities, among which stand out tourism, which become stimulated from government policies. In this context, has stood the east coast of the state, because its beaches have recognized scenic appeal and environmental quality. Therewith business opportunity, international investors ended up investing in this portion of Rio Grande do Norte´s territory, especially over the last decade. The expansion of this process, to the north coast, resulted in the emergence of intense property dynamics in the municipalities of Maxaranguape and Rio do Fogo. The low value of the property and buildings, compared to the European market and the availability of real property, were the main factors that explain the attraction of such investors, who are now seen as new business opportunities with high rates of profitability, in tropical areas, hitherto remote geographical location of the economic system. Therefore, the objective of the research is to analyze to what extent the International Investment promoted the appreciation of property in the municipalities of Maxaranguape and Rio do Fogo. The time frame covers the period among 2000- 2013. The methodology consisted of the following proceedings: surveys and analysis of data collected in the property registry office of the Maxaranguape and Rio do Fogo municipalities; interviews with public and private officials that were important for the analysis of spatial transformations and the recovery of the property that occurred in the municipalities studied; collection of secondary data from official bodies, such as IBGE, MTUR, SETUR, BNB etc. Analyzing the information and data that have been cataloged, it was concluded that this investments are reinforcing old leisure and tourism practices existing in the past in those territories and, shifted (creating new territorial arrangements) a significant part of the eastern coast zone areas of the state. Another consequence connected to this recent phenomenon refers to property’s increase in value that has occurred in this part of the state, episode which is directly connected to that event. Therefore, it is realize that the expansion and the incorporation of the capital territories reveal, in part, the strategies of the capitalist mode of production, which are evident in the search for better conditions of accumulation, expanding the alternative of use of the properties which occurs in selective way and uneven in the geographic space form. It is observed that the mechanisms that capital makes use to impose their practices can happen through the property’s increase in value market, meaning, thereby, that the reproduction of imbalances happens, often, through the marked property speculation with the fast increase in value of properties.

Um retrato do marginal brasileiro mediante o trabalho do ator com as personagens de Plínio Marcos em “Navalha na carne"

This thesis presented is to research the actor's work in the construction of physical actions, according to the methodology developed by Constantin Stanislavski in his analysis of dramatic action, called "method of physical action", applied to questions of scenic representation of the Brazilian marginal, according to the look "cruel" and realistic / naturalistic Plinio Marcos playwright. Based on the circumstances given by Pliniano universe, the intention is to contribute to the reflection on the actor's work on the scene with the marginal characters in "Razor in the Flesh", highlighting some important aspects, to assist in the construction of this fictional world. You want to create conditions for the formation of an actor that leverages the scene the contradictions and conflicts of this work. The research aims from the theoretical and practical study as a methodological hypothesis, producing critical reflection from the creative process of the agent with the realization of a scenic experiment focused on psychophysical technique of this Russian pedagogue. Thus, we intend to have a look at the method of physical actions focusing on his last great contribution to the work, especially the procedure of active analysis by doing a reading from "Razor in the Flesh" through this creative scenic exercise, extending the studies concerning the actor's art. This research is a general explanation about the trajectory of Stanislavski to his encounter with the physical action, while, highlights the inconsistencies of understanding of his work around the world. Stanislavski initially developed the "method" having as a backdrop, the realist aesthetic - a dialogue relationship between reality and the scene - through a style which creates a theatrical reality, and consequently, artistic, not literally naturalistic way through an integral mimicry. That is, the representation of work in realistic theater aesthetics should be developed in order to create a theatrical reality. Stanislavski believes that theater is convention, since the actor's work on himself should encourage this second nature, scenic.

A poética do corpo não-verbal: um olhar para a comicidade em cena

Throughout our history as an actor, director and teacher, we appreciate comedic performances they proposed a dialogue with the public through the body language of the performers whose performances abdicate the use of speech of the actors. This way of representing, in the silence of the stage, caught our attention and sparked our curiosity about the subject, which is directly related to the poetic constructions of the body on the scene. Before initial readings on the subject, we begin to understand that for a long time in human history, especially in the West, understanding body was constructed from various epistemological looks disregarded the body as a unit, an incarnation of the subject in all . This kind of thinking, reflecting the philosophy of modernity, reverberated strongly about the aesthetic issues of art making, here specifically in Theatre. For several centuries the theatrical make up molded from various aesthetic elements, but ignoring the potential of embodiment of the artist, ie the theatrical text, for example, was considered for a long time, as the main element of the scene and gave little emphasis on dramaturgy elaborate body. With the emergence of reflections on the subject, brought especially from the early twentieth century, the perception of the body as a creative element and creator, also began to gain ground. Over time artistic practices began to glimpse the creative possibilities of the body, including rethinking its relationship with the text written with the spoken word. And as part of these new reflections on the body in the creation process, we proposed this research, we have entitled "A poetics of non-verbal body: a look at the comic on the scene." In our research on this subject, also seek to understand how the corporeality of the actor may give us clues to realize / build nonverbal body and comical scene. From this perspective we can analyze how could the construction of a comical and non-verbal dramaturgy from the phenomenology of laughter. And with that look, we want to point out some aspects and procedures, arising from reflections on corporeality and comedy, that constitute, among other possible, non-verbal construction methodology scenic.

Processos criativos com alunos-atores idosos: caminhos de uma dramaturgia de pertencimento

The present work is to present an experience artistic and pedagogical means of a laboratory-developed with senescent students from their memory files. Unlike other works developed with students of the third age, we make use of the archives of memory, where the drama takes from improvisations developed memories, in other words, the text is built not just recollected by students. Our work, however, is built by a look from the outside. The affective memories narrated by students serve as an engine for text construction and spectacle titled Vamos Falar de Amor. In this experiment the teacher-director also becomes an dramaturgista, and uses her imagination, that also comes filled with her own memories, in order to complete the gaps of the narrative, in a hybrid process in which the collective memory interlace the individual memory, transforming epic into dramatic. Here the route designed to get to the construction of the text and left the text for the second scripture, the spectacle. We want to show that old age is comprised of various hues, and that this phase of human development brings aspects that differ from old to old, and that education and theater can be a resumption of the social role of the elderly in contemporary surroundings. Therefore, the dramaturgy of memory creates the dramaturgy of belonging, facilitating in many aspects the Scenic Play with the elderly ones.

Vestimentas em performance: composições em modos do corpo

This research deals with the possible relationships between the body and the garment in performative scenic states across the contemporary scene, the philosophy of fashion and the philosophical arguments of profanity and dispositive. Some works were observed and cited in this dissertation, for this I conducted structured interviews with eight artists of performance, as a methodological strategy that could bring data about the experiences of this dresses and/or naked bodies on the scene, in addition to literature and revealing the action of clothing on the body as well as its influence on the subjectivities of that whom performes and the public. These relationships can be experienced in the process of creating costumes in contemporary scene naming the possibility of modes of the body, as ways that emerge and constitute as creative, discursive and aesthetic alternatives.

Atuações e papéis femininos: o corpo a corpo da atriz no teatro pernambucano durante a ditadura militar

This research investigated the female performance in Pernambuco theater during the Brazilian military dictator ship in the 1970s, analyzing the works of four actresses of theater groups Hermilo Borba Filho, Experiential and Expression, who acted in the period. Launches a look at the female body in the theater from a body scenic transgression: the conscience of a body insubordination in response to a given context. However, before delineated an overview of the artistic and socio - cultural position of women in the theater, in the periods prior to the dictatorship in Brazil and Pernambuco, covering theatrical and historical references, in order to reflect on how these settings interfered in the picture Social actr ess under the dictatorship. The groups are revisited by the looks of interpreters, which was perceived that female targeted search relationships, and in this context, relations with other theater groups of the time, with other artists of the groups that we re inserted with the dictatorial context with censorship, with the offender engaged and theater, with the body. In parallel, it develops a reflection on the scenic body that opposed the dictatorship, a body that violates the established norms, the Transgre ssor Body. The research also discusses an analogy between the work of the actresses who opposed the military regime and militant women. Starting from analyzes with interviews with the actresses from the methodologies of Oral History and Discourse Analysis, the study is developed by building up connections between the testimonies of the artists and the philosophical assumptions of Henri Bergson, on the body and memory. It is also designed to reflect on the changes of the female body in the theater in history , also in line with the philosophical concept of Becoming Woman Felix Guattari. It was found, therefore, that the actresses from the nineteenth century, were a group of female social actors who changed the position of women in history; the stigmatization o f the actress by profession, considered indecent in previous centuries, left traces in some areas today and the idea of the liberation of the female body propagated by feminism in the 1970s, was configured at the time as the best way to protest and will influence, in some contexts, the representation of women in their theatrical make.