Una lectura de Baldomera (Del Fabulador)

El autor realiza un análisis sociológico de la novela de Pareja, amparado en los criterios del crítico Lucien Goldmann. Las categorías narratológicas que sirven de pauta son: el narrador, el espacio, el tiempo y los personajes. Se detiene en el análisis de los tres espacios que Pareja proyecta en la novela: campo, ciudad (ámbito identificado con la pobreza, el robo y el abuso de las autoridades) y mundo exterior (apenas referencial, pero gravitante en los inicios de modernización del país). Revisa los personajes y la estructura mental del autor. Concluye que el texto plantea una concepción diferente del arte de novelar, a tono con la vanguardia europea, a pesar de que muestra una realidad social que no cambia (Baldomera nació pobre, se desplaza entre el burdel, la cantina, el hospital y, finalmente, la cárcel). El texto se aleja del simple documento testimonial gracias al diseño del personaje: pese a su descomunal físico ya que personifica la desgracia, Baldomera expresa, al mismo tiempo, los valores de fidelidad, amor maternal y solidaridad.

Del otro lado de las cosas: regreso al pasado y al Quito colonial (Homenaje)

La autora analiza el desplazamiento, en dos niveles, realizado por el protagonista de esta novela de Proaño Arandi. El primero, un recorrido en el espacio físico, consiste en el regreso al Quito colonial, el segundo, un viaje simbólico, tiene que ver con la búsqueda –y recuperación– de la propia identidad a través de la reconstrucción de la memoria, tanto en sus aspectos colectivos como en aquellos que atañen directamente al personaje. Para que este ejercicio de recuperación del pasado pueda realizarse, Quito se presenta ante el lector como una ciudad dividida entre el sector moderno y el Centro Histórico, la ciudad real se manifiesta como algo totalmente lejano de la ciudad ideal, esto es, como el testimonio vivo de su fracaso y, en consecuencia, del fracaso del proyecto modernizador. La lucha de los individuos por un espacio al cual pertenecer se convierte en un asunto vital dentro de la esfera urbana: estar en un lugar equivale a hallarse a salvo del infierno. Ahí está la motivación que anima los esfuerzos del protagonista creado por Proaño Arandi. La pérdida de la memoria desemboca, indefectiblemente, en la pérdida del espacio –real y simbólico– que los seres humanos necesitamos para construir identidad.

Poderes de la narrativa oral quechua: Layqas, suq’as y “condenados” (Estudios)

La autora analiza tres ejemplos de la actual narrativa oral quechua del distrito de Chinchero, en Perú. En ellos muestra cómo la incorporación del simbolismo culinario es una herramienta para inculcar y reforzar ciertas costumbres o la historia sociocultural del ayllu. En esta narrativa, la presencia de personajes que violan la etiqueta culinaria de la comunidad presagia, con frecuencia, eventos funestos, anticiparían la llegada de la muerte o de un personaje malévolo (el “condenado”, la layqa, la suq’a), o la desintegración de relaciones familiares. Por otro lado, si en la trama algún personaje ofrece comida bajo circunstancias inusuales o misteriosas, esta llega a causar daño o es, incluso, mortal. Para aumentar la tensión, los narradores quechuas utilizan la mímica, los efectos sonoros, las alusiones culinarias a comidas adulteradas, la creación de la estructura paralela y la repetición de los conceptos e ideas clave. La autora concluye que los relatos de advertencia cumplen dos funciones: entretener y enseñar, fortaleciendo en ambos casos la cohesión social en el ayllu.

Neural network feature maps for Chinese phonemes

It has been shown through a number of experiments that neural networks can be used for a phonetic typewriter. Algorithms can be looked on as producing self-organizing feature maps which correspond to phonemes. In the Chinese language the utterance of a Chinese character consists of a very simple string of Chinese phonemes. With this as a starting point, a neural network feature map for Chinese phonemes can be built up. In this paper, feature map structures for Chinese phonemes are discussed and tested. This research on a Chinese phonetic feature map is important both for Chinese speech recognition and for building a Chinese phonetic typewriter.

Cinnamate ester containing liquid crystalline side chain polymers

The synthesis of methacrylate esters of 4-cyanophenyl-(4-(ω-hydroxyalkyloxy)) cinnamates, with spacer lengths of 2 and 6 methylene units and the synthesis of the corresponding acrylate ester with a spacer of 2 methylene units are described. The methacrylate monomers were polymerized by free radical polymerization, both as homopolymers and as copolymers with the analogous benzoate monomer of spacer length 6. The acrylate ester could not be polymerized successfully under the same reaction conditions. Polymers were characterized by NMR spectroscopy, gel permeation chromatography, differential scanning calorimetry, and thermo-optic observations. Of the monomers prepared, only the cinnamate with a hexamethylene spacer shows a mesophase, seen on supercooling of the melt. All of the polymers prepared were liquid crystalline, with smectic behavior predominating in the polymethacrylates with the longer spacer group. A narrow nematic region is seen just below the clearing temperature with a range of 3–9°C, nematic character is increased in the copolymer series with the degree of incorporation of the cinnamate monomer with the spacer group of length 2.

Place making in Hellenistic Athens: beyond decline and foreign patronage

The study of cities is integral to the study of the Hellenistic Age, the period bounded by the deaths of two legendary rulers: Alexander in 323 BC and Kleopatra in 30 BC. Modern scholarship has followed in the footsteps of Johann-Gustav Droysen, who coined the term 'Hellenistic' in the nineteenth century and associated it with the diffusion of Greek culture through the founding of new cities in the East by Alexander and his successors. Hellenistic Athens, traditionally discussed under the rubric of its Classical legacy and/or in contrast with thriving cities, such as Pergamon, has been presented as a backwater exemplifying the demise of the 'polis'. My objective in this paper is to criticise these negative sentiments by exploring how the built environment of Hellenistic Athens could potentially become an indicator of city vitality.

Alverata: Latin, Greek and Cyrillic typeface

Alverata: a typeface design for Europe This typeface is a response to the extraordinarily diverse forms of letters of the Latin alphabet in manuscripts and inscriptions in the Romanesque period (c. 1000–1200). While the Romanesque did provide inspiration for architectural lettering in the nineteenth century, these letterforms have not until now been systematically considered and redrawn as a working typeface. The defining characteristic of the Romanesque letterform is variety: within an individual inscription or written text, letters such as A, C, E and G might appear with different forms at each appearance. Some of these forms relate to earlier Roman inscriptional forms and are therefore familiar to us, but others are highly geometric and resemble insular and uncial forms. The research underlying the typeface involved the collection of a large number of references for lettering of this period, from library research and direct on-site ivestigation. This investigation traced the wide dispersal of the Romanesque lettering tradition across the whole of Europe. The variety of letter widths and weights encountered, as well as variant shapes for individual letters, offered both direct models and stylistic inspiration for the characters and for the widths and weight variants of the typeface. The ability of the OpenType format to handle multiple stylistic variants of any one character has been exploited to reflect the multiplicity of forms available to stonecutters and scribes of the period. To make a typeface that functions in a contemporary environment, a lower case has been added, and formal and informal variants supported. The pan-European nature of the Romanesque design tradition has inspired an pan-European approach to the character set of the typeface, allowing for text composition in all European languages, and the typeface has been extended into Greek and Cyrillic, so that the broadest representation of European languages can be achieved.

“There’s something very familiar about all this”: generic play and performance in the Back to the Future trilogy (Robert Zemeckis, 1985, 1989, 1990)

The Back to the Future Trilogy incorporates several different generic elements, including aspects of the fifties teen movie, science fiction, comedy and the western. These different modes playfully intertwine with each other creating a complex world of repetitions, echoes and modulations. This essay seeks to interrogate the construction of generic elements and the play between them through a close analysis of a repeated performance. Genre is signalled through various strategies employed within the construction of mise-en-scène, a significant portion of this, as I would like to argue, is transmitted through performance. The material detail of a performance – incorporating gesture, movement, voice, and even surrounding elements such as costume – as well as the way it its presented within a film is key to the establishment, invocation and coherence of genre. Furthermore, attention to the complexity of performance details, particularly in the manner in which they reverberate across texts, demonstrates the intricacy of genre and its inherent mutability. The Back to the Future trilogy represents a specific interest in the flexibility of genre. Within each film, and especially across all three, aspects of various genres are interlaced through both visual and narrative detail, thus constructing a dense layer of references both within and without the texts. To explore this patterning in more detail I will interrogate the contribution of performance to generic play through close analysis of Thomas F. Wilson’s performance of Biff/Griff/Burford Tannen and his central encounter with Marty McFly (Michael J. Fox) in each film. These moments take place in a fifties diner, a 1980s retro diner and a saloon respectively, each space contributing the similarities and differences in each repetition. Close attention to Wilson’s performance of each related character, which contains both modulations and repetitions used specifically to place each film’s central generic theme, demonstrates how embedded the play between genres and their flexibility is within the trilogy.

Antarctic Peninsula ice sheet evolution during the Cenozoic Era

The Antarctic Peninsula region is currently undergoing rapid environmental change, resulting in the thinning, acceleration and recession of glaciers and the sequential collapse of ice shelves. It is important to view these changes in the context of long-term palaeoenvironmental complexity and to understand the key processes controlling ice sheet growth and recession. In addition, numerical ice sheet models require detailed geological data for tuning and testing. Therefore, this paper systematically and holistically reviews published geological evidence for Antarctic Peninsula Ice Sheet variability for each key locality throughout the Cenozoic, and brings together the prevailing consensus of the extent, character and behaviour of the glaciations of the Antarctic Peninsula region. Major contributions include a downloadable database of 186 terrestrial and marine calibrated dates; an original reconstruction of the LGM ice sheet; and a new series of isochrones detailing ice sheet retreat following the LGM. Glaciation of Antarctica was initiated around the Eocene/Oligocene transition in East Antarctica. Palaeogene records of Antarctic Peninsula glaciation are primarily restricted to King George Island, where glacigenic sediments provide a record of early East Antarctic glaciations, but with modification of far-travelled erratics by local South Shetland Island ice caps. Evidence for Neogene glaciation is derived primarily from King George Island and James Ross Island, where glaciovolcanic strata indicate that ice thicknesses reached 500–850 m during glacials. This suggests that the Antarctic Peninsula Ice Sheet draped, rather than drowned, the topography. Marine geophysical investigations indicate multiple ice sheet advances during this time. Seismic profiling of continental shelf-slope deposits indicates up to ten large advances of the Antarctic Peninsula Ice Sheet during the Early Pleistocene, when the ice sheet was dominated by 40 kyr cycles. Glacials became more pronounced, reaching the continental shelf edge, and of longer duration during the Middle Pleistocene. During the Late Pleistocene, repeated glacials reached the shelf edge, but ice shelves inhibited iceberg rafting. The Last Glacial Maximum (LGM) occurred at 18 ka BP, after which transitional glaciomarine sediments on the continental shelf indicate ice-sheet retreat. The continental shelf contains large bathymetric troughs, which were repeatedly occupied by large ice streams during Pleistocene glaciations. Retreat after the LGM was episodic in the Weddell Sea, with multiple readvances and changes in ice-flow direction, but rapid in the Bellingshausen Sea. The late Holocene Epoch was characterised by repeated fluctuations in palaeoenvironmental conditions, with associated glacial readvances. However, this has been subsumed by rapid warming and ice-shelf collapse during the twentieth century.

Polymorphism and optical properties in [NH4][InSe2]

The solvothermal synthesis and characterization of two indium selenides with stoichiometry [NH4][InSe2] is described. Yellow [NH4][InSe2] (1), which exhibits a layered structure, was initially prepared in an aqueous solution of trans-1,4-diaminocyclohexane, and subsequently using a concentrated ammonia solution. A red polymorph of one-dimensional character, [NH4][InSe2] (2), was obtained using 3,5-dimethylpyridine as solvent. [NH4][InSe2] (1) crystallizes in the non-centrosymmetric space group Cc (a=11.5147(6), b=11.3242(6), c=15.9969(9) Å and β=100.354(3)°). The structural motif of the layers is the In4Se10 adamantane unit, composed of four corner-linked InSe4 tetrahedra. These units are linked by their corners, forming [InSe2]− layers which are stacked back to back along the c-direction, and interspaced by [NH4]+cations. The one-dimensional polymorph, (2), crystallizes in the tetragonal space group, I4/mcm (a=8.2519(16), c=6.9059 (14) Å). This structure contains infinite chains of edge-sharing InSe4 tetrahedra separated by [NH4]+ cations.

Making: the invisible visible

In this book essay I argue that modern and contemporary works of art (i.e. paintings, photographs, films, and videos) really ought to retrieve something of their auratic-character, which turns the physical toward the metaphysical, the material toward the immaterial, the visible toward the invisible - making artworks, ‘things among things, something other than [a] thing’ (Theodor W. Adorno, Aesthetic Theory, 86). There is, perhaps, an aura to art or art is a medium or a conduit or a technology for rediscovering and reproducing aura, which makes it something other than a mere thing. Such works of art are constitutively enigmatic, a certain form of magic making: they (re-)distribute the visible and the invisible, they (re-)configure appearance and disappearance. Such works of art may become visual events, which begin an education in and through (dis-)appearances. To achieve this end, I detail Theodor W. Adorno’s and Walter Benjamin’s respective theories of (art’s) aura in the age of technological reproducibility, which I relate to Jacques Rancière’s more recent discussion of the ‘pensive image,’ and I focus my reading on a number of works by Susan Hiller (photographs), John Constable (paintings), Alfred Stieglitz (photographs), and Tacita Dean (photograph and 16mm film).

Cassava bagasse cellulose nanofibrils reinforced thermoplastic cassava starch

Cellulose cassava bagasse nanofibrils (CBN) were directly extracted from a by-product of the cassava starch (CS) industry, viz. the cassava bagasse (CB), The morphological structure of the ensuing nanoparticles was investigated by scanning electron microscopy (SEM), transmission electron microscopy (TEM), atomic force microscopy (AFM), presence of other components such as sugars by high performance liquid chromatography (HPLC), thermogravimetric analysis (TGA), and X-ray diffraction (XRD) experiments. The resulting nanofibrils display a relatively low crystallinity and were found to be around 2-11 nm thick and 360-1700 nm long. These nanofibrils were used as reinforcing nanoparticles in a thermoplastic cassava starch matrix plasticized using either glycerol or a mixture of glycerol/sorbitol (1:1) as plasticizer. Nanocomposite films were prepared by a melting process. The reinforcing effect of the filler evaluated by dynamical mechanical tests (DMA) and tensile tests was found to depend on the nature of the plasticizer employed. Thus, for the glycerol-plasticized matrix-based composites, it was limited especially due to additional plasticization by sugars originating from starch hydrolysis during the acid extraction. This effect was evidenced by the reduction of glass vitreous temperature of starch after the incorporation of nanofibrils in TPSG and by the increase of elongation at break in tensile test. On the other hand, for glycerol/sorbitol plasticized nanocomposites the transcrystallization of amylopectin in nanofibrils surface hindered good performances of CBN as reinforcing agent for thermoplastic cassava starch. The incorporation of cassava bagasse cellulose nanofibrils in the thermoplastic starch matrices has resulted in a decrease of its hydrophilic character especially for glycerol plasticized sample. (C) 2009 Elsevier Ltd. All rights reserved.

L'Homme sous le masque : Une étude du personnage principal dans Le Fantôme de l'Opéra

L’objet de la présente étude est le personnage principal dans l’oeuvre Le Fantôme de l’Opéra de Gaston Leroux. Le but de cette analyse littéraire est de mettre en évidence l'ambiguïté et la complexité psychologique et morale de ce personnage.L’analyse est basée sur les théories de Vincent Jouve à propos de la perception du personnage romanesque. Le résultat de l'analyse montre que l'ambiguïté du personnage principal peut être déduite de ce que Jouve appelle le « système de la sympathie » constitué de trois codes : le code narratif, le code affectif et le code culturel.

Recursos da tecnologia da informatica no ensino / aprendizagem : a visao dos professores das escolas estaduais de ensino medio de Porto Alegre

Frente às transformações advindas do impacto das tecnologias na sociedade e nas organizações, bem como as novas habilidades e competências a serem adquiridas pelos profissionais no disputado mercado de trabalho atual, faz-se relevante atualizar os processos de ensino/aprendizagem, de forma a qualificar a formação profissional do egresso de ensino médio. O presente estudo tem por objetivo analisar a visão dos professores sobre as implicações da introdução dos recursos de informática nas organizações estaduais de ensino médio de Porto Alegre. Sua investigação tem como dimensão predominante uma abordagem quantitativa, de caráter exploratório sobre as percepções dos professores. Uma segunda dimensão - contextual - identifica as principais políticas educacionais para a área de informática no ensino médio. A dimensão do professor tem, por sua vez, duas subdimensões: o papel do professor frente ao processo de ensino-aprendizagem e suas percepções quanto à introdução dos recursos da tecnologia da informática no ensino médio. A base empírica desta dimensão adveio de dez escolas, selecionadas através de amostragem por cotas, tendo como instrumento de coleta de dados um questionário. Na dimensão contextual, foram realizadas pesquisa documental e entrevistas junto aos ór gãos oficiais responsáveis pelas políticas de informática educacional e direções de escolas e professores. Os resultados mostram que os professores do ensino médio das escolas estaduais de Porto Alegre concordam e percebem como prioritária a introdução dos recursos da tecnologia da informática nas escolas e que, para usufruir adequadamente destes recursos, os docentes devem assumir uma nova postura frente aos métodos de ensino-aprendizagem. Esta postura vem permitir e incentivar que o discente seja o sujeito do processo de construção do seu conhecimento. Esta pesquisa também identificou diretrizes para a formação de professores subsidiando, assim, políticas públicas para a área de educação no Estado.

Using an animated pedagogical agent to interact affectively with the student

This work proposes an animated pedagogical agent that has the role of providing emotional support to the student: motivating and encouraging him, making him believe in his self-ability, and promoting a positive mood in him, which fosters learning. This careful support of the agent, its affective tactics, is expressed through emotional behaviour and encouragement messages of the lifelike character. Due to human social tendency of anthropomorphising software, we believe that a software agent can accomplish this affective role. In order to choose the adequate affective tactics, the agent should also know the student’s emotions. The proposed agent recognises the student’s emotions: joy/distress, satisfaction/disappointment, anger/gratitude, and shame, from the student’s observable behaviour, i. e. his actions in the interface of the educational system. The inference of emotions is psychologically grounded on the cognitive theory of emotions. More specifically, we use the OCC model which is based on the cognitive approach of emotion and can be computationally implemented. Due to the dynamic nature of the student’s affective information, we adopted a BDI approach to implement the affective user model and the affective diagnosis. Besides, in our work we profit from the reasoning capacity of the BDI approach in order for the agent to deduce the student’s appraisal, which allows it to infer the student’s emotions. As a case study, the proposed agent is implemented as the Mediating Agent of MACES: an educational collaborative environment modelled as a multi-agent system and pedagogically based on the sociocultural theory of Vygotsky.