The last fight of the Revenge,: and The death of Sir Richard Grenville. (A.D. 1591) Related by Sir Walter Raleigh, Sir Richard Hawkins, Jan Huygen van Linschoten, Lord Bacon, and Sir W. Monson. Together with the most honorable tragedie of Sir Richard Grinuile, ... To which is added Sir R. Grenville's Farewell.

"This reprint is limited to 275 small-paper and 75 large-paper copies."

The landlords̕ revenge; or, Uncle Tom up to date. A farce in two scenes,

Mode of access: Internet.

God's revenge against murder; or, The drown's wife, a tragedy, as lately performed ...

Mode of access: Internet.

Matanzas; or, A brother's revenge : a tale of Florida /

Selling a green 'un; or, A sight at Louis Philippe: p. 98-100.

Woman's revenge; or, The tribunal of blood. A romance. Microform

Mode of access: Internet.

MUSICAL ANALYSIS OF THE PRELUDE N.1, LA COLOMBE, BY OLIVIER MESSIAEN

This work proposes an association between musical analysis techniques developed during the twentieth and the twenty-first centuries, presented by authors like Felix Salzer and Joseph Straus, and the musical theory concepts presented by Olivier Messiaen, for the analysis of Prelude n(o) 1, La Colombe. The analysis contributes to broaden the theory concepts presented by the composer. In the Conclusion we trace lines of an authorial sonority by Olivier Messiaen.

The politics and ethics of relocated art

At the end of Word War II, Soviet occupation forces removed countless art objects from German soil. Some of them were returned during the 1950s, but most either disappeared for good or were stored away secretly in cellars of Soviet museums. The Cold War then covered the issue with silence. After the collapse of the Soviet Union, museums in St Petersburg and Moscow started to exhibit some of the relocated art for the first time in half a century. The unusual quality of the paintings-mostly impressionist masterpieces-not only attracted the attention of the international art community, but also triggered a diplomatic row between Russia and Germany. Both governments advanced moral and legal claims to ownership. To make things even more complicated, many of the paintings once belonged to private collectors, some of whom were Jews. Their descendants also entered the dispute. The basic premise of this article is that the political and ethical dimensions of relocated art can be understood most adequately by eschewing a single authorial standpoint. Various positions, sometimes incommensurable ones, are thus explored in an attempt to outline possibilities for an ethics of representation and a dialogical solution to the international problem that relocated art has become.

Conciliação entre formação esportiva e formação escolar : um estudo das seleções brasileiras masculinas de basquetebol de base

A pesquisa se caracteriza pela abordagem plurimetodológica do tipo qualitativa/quantitativa, e tem como objetivo investigar de que maneira se constroem as estratégias de conciliação entre a formação esportiva e escolar em atletas de elite que servem às seleções brasileiras masculinas de basquetebol Sub 17 e Sub 19. O estudo se organizou em três capítulos. Do tipo “estado do conhecimento”, o primeiro capítulo tem por objetivo mapear as produções acadêmicas que tratam da conciliação entre formação escolar e formação esportiva. Utiliza como fonte a base de dados Scielo para busca nacional e o Portal Periódicos Capes para busca internacional. Foram encontrados 17 artigos distribuídos em 13 periódicos. Os dados foram classificados/analisados por meio de indicadores bibliométricos, como distribuição anual, distribuição por revista, relação autoral e origem demográfica. Para análise também foram levados em consideração uma tese de doutorado, três dissertações de mestrado e três trabalhos apresentados em congresso, além de um número especial de periódico, não localizado nas bases escolhidas. Mostra que a preocupação com o tema surge na Europa e nos Estados Unidos, na década de 70, e que, no Brasil, essa questão passa a ser abordada nos anos 2000. Demonstra tentativas de conciliação entre as formações realizadas em países da Europa, Estados Unidos e Brasil, além da importância da família e do pertencimento de classes sociais na possibilidade de priorização a uma das formações envolvidas. O segundo capítulo, de natureza quali-quantitativa, investiga as estratégias utilizadas pelos atletas convocados em 2013 para as seleções brasileiras de basquetebol masculinas de base Sub 17 e Sub 19 anos, quanto às possíveis conciliações entre formação esportiva e escolar. Busca, ainda, compreender a influência das convocações para as seleções nacionais nos índices de escolaridade desses atletas de elite, como abandono, atraso e repetência escolar. A pesquisa mostra que esse grupo de atletas de elite apresenta médias de repetência, abandono e atraso escolar maiores que as médias nacionais. O terceiro capítulo analisa o entendimento desse grupo de jovens atletas em relação à formação escolar ou, ainda, se um possível desinteresse do grupo pelo modelo atual de escola se daria apenas pelo fato de serem esportistas de elite. Para isso, recorre às possibilidades de investigação oriundas da segunda metade do questionário utilizado como instrumento para adotar uma metodologia de livre associação de palavras direcionadas a partir de quatro palavras indutoras (estruturas semânticas), a saber: “treinar”, “estudar”, “ir a escola” e “competir”. Essa associação livre é usualmente utilizada como suporte teórico/metodológico em pesquisas que investigam representação social (ACOSTA, 2005). Ao dar visibilidade a essas questões nota-se que a posição desses atletas, em relação à escola, não difere das encontradas em outras pesquisas que tratam de jovens inseridos no ensino médio. A falta de significado do que se aprende na escola em relação ao que eles desejam desenvolver como atividade laboral, faz com que a escola seja entendida como monótona, mas, ao mesmo tempo, necessária, caso seus projetos de formação esportiva não aconteçam.

LEARNING ENVIRONMENTS IN THE CONTEXT OF A MASTER DEGREE IN ANIMATION AND ILLUSTRATION

This paper aims to describe the processes of teaching illustration and animation, together, in the context of a masters degree program. In Portugal, until very recently, illustration and animation higher education courses, were very scarce and only provided by a few private universities, which offered separated programs - either illustration or animation. The MA in Illustration and Animation (MIA) based in the Instituto Politécnico do Cávado e Ave in Portugal, dared to join these two creative areas in a common learning model and is already starting it’s third edition with encouraging results and will be supported by the first international conference on illustration and animation (CONFIA). This masters program integrates several approaches and techniques (in illustration and animation) and integrates and encourages creative writing and critique writing. This paper describes the iterative process of construction, and implementation of the program as well as the results obtained on the initial years of existence in terms of pedagogic and learning conclusions. In summary, we aim to compare pedagogic models of animation or illustration teaching in higher education opposed to a more contemporary and multidisciplinary model approach that integrates the two - on an earlier stage - and allows them to be developed separately – on the second part of the program. This is based on the differences and specificities of animation (from classic techniques to 3D) and illustration (drawing the illustration) and the intersection area of these two subjects within the program structure focused on the students learning and competencies acquired to use in professional or authorial projects.

Pluralidade, mudança e produção de valor na edição de livros: notas sobre a edificação social da cultura impressa

Habitando um campo de intermediação, filtragem e interpretação, o editor assume um papel de legitimação, ordenação e prescrição do mundo pela via tipográfica. O esforço de realização de um livro não se restringe à génese autoral do texto. O livro resulta de um trabalho que implica acrescento simbólico e viabilidade de circulação, sem os quais o objecto se perde enquanto objecto de desejo, factor de aval de conteúdos ou elemento de alarde identitário. A existência de um livro corresponde em grande parte à acção editorial de o instituir socialmente como obra conhecida e reconhecida pelos seus receptores finais. Produtor de valor e materialidade, o editor inscreve o projecto do livro num espaço social colaborativo de trabalho, o campo da edição. Esta apresentação procura sistematizar teoricamente alguns tópicos relativos à articulação do editor com a construção social do campo editorial e a edificação da cultura impressa. Empreender semelhante exploração é abdicar forçosamente de uma visão linear, unidimensional e a-histórica do mundo social e cultural do livro, cuja morfologia e suportes conhecem crescentemente os desafios da desmaterialização.

Transvase : quando a ficção invade a realidade

ABSTRACT: Adopting the concept of metalepsis, as explained by Gérard Genette, I intend to tackle the miscegenation of ontological worlds as practiced in metacinematic films dealing either with the creator or the spectator and made famous with Woody Allen’s film The Purple Rose of Cairo (1985, EUA). Assuming the existence of two adjoining fictional universes, one of them intrafilmically projected onto a screen and the other positioned in front of it so as to create or observe the other, one realizes that, in fact, they both communicate in a more intense way. That is, they both can cross the barrier that separates them and function, literally, as communicating vessels thrusting themselves onto the other side of fiction. The use of this screen passage technique – which I call ‘spilling narrative’ – although it takes place inside the film, at an intradiegetic level, cannot be considered a simple comic effect. In actuality, it is a very serious affair, denoting the authorial intervention as a reflexive practice of écriture by means of a mise en abyme, according to Lucien Dällenbach. Therefore, the fictional spilling over of worlds which totally blends together both sides of the twice artificial universe of the fabula, represents the emotional and intellectual involvement of the creator with his/her creation and of the spectator with the world watched. Both illustrate the desire of fusion inherent in the acts of creation and reception. My approach will be based on Gabriele Salvatores’ Happy Family (2010) and Wojciech Marczewski’s Escape from the ‘Liberty’ Cinema (1990).

Os (in)sofismáveis caminhos do storytelling : Woody Allen e o documentário ficcionado

ABSTRACT: Between pure documentary and pure fiction there are, more and more, a reasonable number of cinematic alternatives that convey a dimension of non-reality. Between the pointedly factual discourse and the irrational belief in an entirely narrative world, there intervenes an informed conviction in a truthful but nonexistent universe, in which the formal enunciation sells an image of objectivity. In a path that leads us from the forms and contents of reflexive and performative documentaries, according to Bill Nichols, and ends up in fake documentary itself, we will have the opportunity to stress the filmic construction and its inherent narrative purpose, be it a fictional story or the creator himself as character (others would say subject) of the cinematic construct. In a boomerang kind of logic, the more the objects direct us to a referent, the more they restore us a creative/authorial reference and, along with it, the narrative idea that instills it. In Woody Allen’s case, this storytelling manifests itself in the fake documentary genre, which works as if it is the reality, only to better manifest the sole reality that interests the director: that of the metacinema, or the cinema as self-referencial reality. The practical examples will be derived from the following films: Take the Money and Run (1969) e Husbands and Wives (1992).

Vraisemblance et 'illusion auctoriale' dans le roman contemporain

Les romans contemporains – dont ceux de Jean Echenoz et de Jean-Philippe Toussaint – attirent constamment l'attention sur le caractère construit et artificiel du récit et ont recours à des procédés de réécriture qui fonctionnent comme des clins d'oeil au lecteur, chez qui ils produisent une sensation de complicité avec l'auteur. L'accent y est donc mis sur la présence de l'autorité romanesque plutôt que sur le caractère vraisemblable du monde fictionnel: c'est cette voix qui s'adresse directement au lecteur et la situation d'énonciation qui deviennent vraisemblables et qui assurent ce que l'on appellera une "illusion auctoriale", c'est-à-dire une croyance en un contact ou une relation directe entre lecteur et auteur.

Twin Peaks como alegoria daimónica cinematográfica

For a long time the allegorical activity was considered dogmatic and equated with artistic fossilization, archaic religious propensity and lack of creativity. However, Walter Benjamin (1928) and Paul De Man (1969), among other illustrious thinkers, came to its defense, exalting, instead, its cryptic, hybrid and abstract nature, which, incidentally, are the main characteristics of modern art. “Twin Peaks – Fire Walk with Me” (David Lynch, 1992) is a wonderful object of analysis, despite being one of the most misunderstood films in the history of cinema. The fact that its narrative is a prequel to the cult television series “Twin Peaks” and incorporates many of the characters of that show, explicitly denigrating the moral image of the protagonist, Laura Palmer, brought about an intense rejection by the fans of the series, as well as the indifference of the cinephilic community in general. However, one must go deeper, in order to understand Lynch’s brave accomplishment and its artfulness. Indeed, the opus is a powerful cinematic allegory because it contains a double layer of metaphorical meaning, one of them being explicitly metacinematic. Thus, besides assuming itself as a filmic daimonic allegory, occurring in a spiritual universe of Good versus Evil, the film is also an authorial discourse on cinema itself. More specifically, it is an allegory of spectatorship, according to Robert Stam’s definition, where the existence and crossing over to “another side” duplicates the architecture of movie theatres and the psychic processes involved in film viewing.