321 resultados para Walt Disney
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This study aims to conduct a comparative analysis of the cover stories of magazines Atrevida, published by Escala, Capricho, published by Abril, and Todateen, published by AltoAstral, published between 2008 and 2012, which give prominence to the phenomena with more recurring presence on the covers. The objective of the research is to analyze the criteria for newsworthiness adopted by publications targeting a teenage audience, relating them to cover highlights involving idols of that audience. As object, we study the press coverage given to four magazines phenomena of cultural industry: the actors in the Twilight saga, the actors of the Disney Channel series, singer Justin Bieber and actors of Brazilian soap opera Rebelde. The work begins with a history of magazine journalism, from its origin to the journalism geared toward teenage readers, through the history of women's magazines and variety. Then, we present the theoretical concepts from the Theory News (Traquina) in confrontation with the notions of consumption (Canclini) and behavior (Featherstone). Finally, analysis of the corpus, which was defined by a cutout thematic within this period, divided into two major groups of news reports: those in which the idol is the news, and those in which he serves as a guide for the reader
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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The objective of this work was to evaluate the effects of three plant growth inhibitors on the development and emission of floral rachis of Saint Augustine grass [Stenotaphrum secundatum (Walt.) Kuntzel] plants. The study was carried out in a 15 month old lawn with the experimental plots being distributed in accordance with a complete randomized block design with four replications. The treatments consisted of sole application of trinexapac-ethyl (113, 226, 452, 678, and 904 g ai ha(-1)), prohexadione-calcium (100 and 200 g ai ha(-1)), and bispyribac-sodium (40 and 60 g ai ha(-1)) plus a check treatment in which the plants were not submitted to any of the plant growth inhibitors. The effects of those products were evaluated in terms of visual signs of plant intoxication, plant height, emission and height of floral rachises, and chip total dry matter production. All the plant growth inhibitors resulted in visible injury to the plants but these intoxication signs practically disappeared 28 days after the application. Trinexapac-ethyl at the dose of 904 g ai ha(-1) reduced plant height by 59.7%, the emission of floral rachis by 96.4%, and the amount of chip dry matter production by 87.7%. Plant growth inhibitors may reduce the number of times of lawn plants cutting up to 119 days after their application with no harmful effects on the plants visual aspect.
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Charles Adams (Faculty Advisor), Delbert Kuhlman, John Klingenberg, Ardyce Haring, Harvey Jorgensen, Roy Volzke, Billie Reed, Paul Yeutter Prof. Loeffel, Carolyn Hall, Byron Kort, Larry Paul, Elwin Mosier, Charles Corkle, Kay Robohm, Daniel Stilwell Duane Stokebrand, Gary Briggs, Walt Patterson, Wendell Mousel, Keith Smith, Darrel Zessin, Richard Bonne, Donald Kasbohm, Bruce Skinner Bob Discoe, Doyle Hulme, Jim Smith, Carl Lorenzen, Jay Cook, Gary Berke, Bob Volk, Roger Hild Donald Kuhl, Russell Person, Ray Cada, Ray DeBower, Bob Dannert, Phil Starck, Kay Knudsen, Jerry Brownfield, Allan McClure, Wally Bierman Morris Ochsner, Warren Mitchell, Ed McReynolds, Gerald Dart, Arza Snyder, Mervy Schliefert, Arley Waldo, Tom Hoffman, John Wink, Virgil Gellermann, Duane Neuman
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In the mid-1820s, Anglo-American fur trappers, known as "mountain men," entered Arizona and began trapping beaver (Castor canadensis). In Arizona there have been a number of famous mountain men such as Sylvester and James Pattie, Ewing Young, Jededia Smith, and Bill Williams who trapped along the waterways in northern and southern Arizona. Although the heyday of mountain men lasted only a few decades due to a population decline of beaver, management of these animals continues to this day. The purpose of managing beavers shifted from monetary gain to controlling wildlife damage. During the late 1900s, beaver were still widely distributed in limited numbers throughout much of the state. We provide a historical overview of beaver management in Arizona with emphasis on the mountain men, recreational trapping, wildlife damage management, and beaver research in Arizona.
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Coexistence of sympatric species is mediated by resource partitioning. Pumas occur sympatrically with jaguars throughout most of the jaguar's range but few studies have investigated space partitioning between both species. Here, camera trapping and occupancy models accounting for imperfect detection were employed in a Bayesian framework to investigate space partitioning between the jaguar and puma in Emas National Park (ENP), central Brazil. Jaguars were estimated to occupy 54.1% and pumas 39.3% of the sample sites. Jaguar occupancy was negatively correlated with distance to water and positively correlated with the amount of dense habitat surrounding the camera trap. Puma occupancy only showed a weak negative correlation with distance to water and with jaguar presence. Both species were less often present at the same site than expected under independent distributions. Jaguars had a significantly higher detection probability at cameras on roads than at off-road locations. For pumas, detection was similar on and off-road. Results indicate that both differences in habitat use and active avoidance shape space partitioning between jaguars and pumas in ENP. Considering its size, the jaguar is likely the competitively dominant of the two species. Owing to its habitat preferences, suitable jaguar habitat outside the park is probably sparse. Consequently, the jaguar population is likely largely confined to the park, while the puma population is known to extend into ENP's surroundings. (C) 2011 Deutsche Gesellschaft fur Saugetierkunde. Published by Elsevier GmbH. All rights reserved.
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Un'analisi dove si possono riscontrare le problematiche della traduzione dei film d'animazione comparando le soluzioni traduttive degli adattatori delle versioni del film Frozen in inglese, italiano, spagnolo e spagnolo sudamericano. Nello specifico tratta della presenza di riferimenti culturali, della tradizione linguistica del doppiaggio italiano, della scelta delle voci e dello stile del canto nei lungometraggi Disney.
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Anna Walt-Kammerer
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Anna Walt-Kammerer
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A. Walt
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Von Walt. Voigt
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Los dibujos animados norteamericanos, sigilosamente, han ido ocupando un lugar cada vez más relevante en la industria cultural. Tanto es así, que hoy se pueden discriminar canales específicamente destinados a la animación y, a su vez, series de animaciones producidas para diversos públicos: niños, adolescentes y adultos. Frente a esta gran cantidad y diversidad de textos llama especialmente mi atención la convivencia de contrapuestos sistemas de valor. Numerosas tiras de dibujos animados, dirigidos especialmente a los niños, ayudan a conformar el gusto infantil contemporáneo (en el sentido de Calabrese) que no responde a un único sistema unificador de valores. Es decir, lo feo o lindo, lo malo o bueno, lo conforme o informe, lo disfórico o eufórico no está dictaminado hoy por un solo discurso axiológico imperante. En este escrito pretendo describir, desde una perspectiva semiótica, las particularidades que resultan de la coexistencia de morfologías, éticas y tímicas distintas. Para ello, me detendré en un grupo de cartoons que se presentan como las antípodas de los tradicionales y conocidos textos audiovisuales de Disney y de las clásicas y exitosas series animadas de la Warner Bross o la Metro Goldywn Mayer. Estas creaciones buscaron exhibir, desde su nacimiento, estabilidad en las formas, armonía cromática y uniformidad de comportamientos. Contrariamente, los mundos posibles que hoy también integran el universo de dibujos animados, evidencian lo que Calabrese denomina el placer de lo impreciso, lo indefinido, lo vago y lo ambiguo. Estas representaciones sincréticas exaltan notorias diferencias en sus homologaciones axiológicas liberándose de las pretensiones de perfección, tanto de sus escenarios como de sus actores figurativos: seres híbridos, animales aversivos, niños nefastos, criaturas deformes y escenarios difusos son algunas de las características que definen a los últimas producciones animadas para televisión.