Propostes d’aula per a un enfocament motivador de la literatura

Els textos literaris, a banda de ser un terreny molt òptim per a desenvolupar la sensibilitat i ensenyar a sentir, són un recurs útil també per a millorar la competència lingüística de l’alumnat de manera motivadora i divertida. Aquests textos, junt a altres, formen part del treball diari a l’aula del Portafolis de Valencià on l’alumnat reflexiona sobre com millorar el seu nivell en aquesta llengua. La nostra proposta presenta seqüències didàctiques d’activitats on es desenvolupen tant les habilitats productives com receptives a traves del treball de textos literaris com l’endevinalla, les nadaletes, els textos narratius amb imatge (curt, fotonovel·la, còmic), el rap, els contes, la poesia...

Wale watu

"Paul and Mary are two people who are from different tribes and deeply in love. Their families share a close relationship and everything looks well for their wedding. However, with the out break of the post-election violence. Dr. Sawega, Paul's father, loses his clinic and his brother through arson. Stoked by politicians and tribalists, things get tense between the two families and the entire nation."--Spaceyangu.com.ar

Abandoned and forgotten: the sad story of Kenya's internally displaced persons

This documentary is about the internal displacement of ethnic minorities brought about by politically instigated post-election violence towards ethnic minorities in all eight provinces, namely, Coast, Rift Valley, Western, Eastern, North Eastern, Central Kenya, Nairobi, and Nyanza. During the years of 1991 to 1996, over 15,000 people died and almost 300,000 were displaced in the Rift Valley, Central, Nyanza and Western provinces. Before the 1997 elections, violence erupted. Again, following the disputed presidential elections in December 2007 politically and ethnically instigated displacements resulted in human rights violations against 600,000 people in 8 provinces of Kenya.

Introduction: the media, animal conservation and environmental education

Natural History filmmaking has a long history but the generic boundaries between it and environmental and conservation filmmaking are blurred. Nature, environment and animal imagery has been a mainstay of television, campaigning organisations and conservation bodies from Greenpeace to the Sierra Club, with vibrant images being used effectively on posters, leaflets and postcards, and in coffee table books, media releases, short films and viral emails to educate and inform the general public. However, critics suggest that wildlife film and photography frequently convey a false image of the state of the world’s flora and fauna. The environmental educator David Orr once remarked that all education is environmental education, and it is possible to see all image-based communication in the same way. The Media, Animal Conservation and Environmental Education has contributions from filmmakers, photographers, researchers and academics from across the globe. It explores the various ways in which film, television and video are, and can be, used by conservationists and educators to encourage both a greater awareness of environmental and conservation issues, and practical action designed to help endangered species. This book is based on a special issue of the journal Environmental Education Research.

The media, animal conservation and environmental education

Natural History filmmaking has a long history but the generic boundaries between it and environmental and conservation filmmaking are blurred. Nature, environment and animal imagery has been a mainstay of television, campaigning organisations and conservation bodies from Greenpeace to the Sierra Club, with vibrant images being used effectively on posters, leaflets and postcards, and in coffee table books, media releases, short films and viral emails to educate and inform the general public. However, critics suggest that wildlife film and photography frequently convey a false image of the state of the world’s flora and fauna. The environmental educator David Orr once remarked that all education is environmental education, and it is possible to see all image-based communication in the same way. The Media, Animal Conservation and Environmental Education has contributions from filmmakers, photographers, researchers and academics from across the globe. It explores the various ways in which film, television and video are, and can be, used by conservationists and educators to encourage both a greater awareness of environmental and conservation issues, and practical action designed to help endangered species. This book is based on a special issue of the journal Environmental Education Research.

Critical practice and the public pedagogy of environmental and conservation media

Natural History filmmaking has a long history but the generic boundaries between it and environmental and conservation filmmaking are blurred. Nature, environment and animal imagery has been a mainstay of television, campaigning organisations and conservation bodies from Greenpeace to the Sierra Club, with vibrant images being used effectively on posters, leaflets and postcards, and in coffee table books, media releases, short films and viral emails to educate and inform the general public. However, critics suggest that wildlife film and photography frequently convey a false image of the state of the world’s flora and fauna. The environmental educator David Orr once remarked that all education is environmental education, and it is possible to see all image-based communication in the same way. The Media, Animal Conservation and Environmental Education has contributions from filmmakers, photographers, researchers and academics from across the globe. It explores the various ways in which film, television and video are, and can be, used by conservationists and educators to encourage both a greater awareness of environmental and conservation issues, and practical action designed to help endangered species. This book is based on a special issue of the journal Environmental Education Research.

Studying green spectacular environmentalisms group

Natural History filmmaking has a long history but the generic boundaries between it and environmental and conservation filmmaking are blurred. Nature, environment and animal imagery has been a mainstay of television, campaigning organisations and conservation bodies from Greenpeace to the Sierra Club, with vibrant images being used effectively on posters, leaflets and postcards, and in coffee table books, media releases, short films and viral emails to educate and inform the general public. However, critics suggest that wildlife film and photography frequently convey a false image of the state of the world’s flora and fauna. The environmental educator David Orr once remarked that all education is environmental education, and it is possible to see all image-based communication in the same way. The Media, Animal Conservation and Environmental Education has contributions from filmmakers, photographers, researchers and academics from across the globe. It explores the various ways in which film, television and video are, and can be, used by conservationists and educators to encourage both a greater awareness of environmental and conservation issues, and practical action designed to help endangered species. This book is based on a special issue of the journal Environmental Education Research.

La música como reivindicación de género en "Margarita y el lobo", de Cecilia Bartolomé

El carácter innovador y feminista del mediometraje Margarita y el lobo (1969) supuso la censura total de la película y el ostracismo hacia su directora, la entonces estudiante de la EOC, Cecilia Bartolomé. En este artículo repasamos sus anteriores cortometrajes para desgranar los primeros matices de protesta así como la utilización de la expresión musical como vehículo del discurso feminista en Margarita y el lobo. A través de los planteamientos de la musicóloga Susan McClary que abordan sexualidad, género y feminismo concluimos con una visión del análisis de género en las obras musicales, al vincular sus es­tudios al film de Bartolomé. Del mismo modo, analizamos la función que cumple la música en el medio­metraje. Para ello, examinamos el repertorio de canciones presente en Margarita y el lobo para terminar reconociendo la función discursiva y referencial como piezas claves en la película de la directora.

Víctor Erice en la Escuela Oficial de Cinematografía. Elogio de la incomunicación

Aunque Víctor Erice es uno de los directores españoles más estudiados del cine español, sus trabajos en el Instituto de Investigaciones y Experiencias Cinematográficas, que más tarde pasará a llamarse Escuela Oficial de Cinematografía, no se han analizado en profundidad. Salvo su práctica de tercer curso, Los días perdidos, el resto de los cortometrajes y los guiones escritos se han considerado obras menores, piezas sin importancia relevante o directamente títulos extraviados. Sin embargo, estos trabajos se encuentran en buen estado en el archivo de la Escuela Oficial de Cine custodiado por la Filmoteca Española. De Víctor Erice se conservan cuatro cortometrajes y cinco guiones cinematográficos para piezas breves. En este artículo, resumen de una investigación realizada sobre dicho material inédito, se quiere mostrar cómo estas obras presentan un valor en sí mismas y deben ser analizadas como parte importante de la filmografía de este autor. En todos estos trabajos, sin dejar de ser ejercicios de escuela, se muestra la mirada de un cineasta pleno. Así, existen elementos que serán clave en el posterior universo temático y estético de Víctor Erice. Además, el creador aborda como problemática central de sus prácticas el tema de la comunicación humana, o más propiamente el de la incomunicación. En los guiones y los cortometrajes cata­logados de la etapa en la EOC se observa cómo Erice, influenciado en parte por Michelangelo Antonioni, investiga estéticamente el modo de narrar y mostrar los procesos que conducen a la incomunicación y al aislamiento de sus protagonistas.

La traduzione audiovisiva per Concorto Film Festival: proposta di sottotitolaggio di due cortometraggi

The idea behind this thesis stems from the internship in translation and subtitling performed from April to August 2021 for the international short film festival Concorto Film Festival. This internship program provides selected students with the opportunity to put the translation skills acquired in their bachelor’s degree to the test, by adapting them to the needs of audiovisual translation. Film directors provide files with English subtitles, which interns turn into new, bilingual (ita-eng) subtitle files with the software Subtitle Workshop. The new bilingual files are eventually used for the screening of the films and need therefore to comply with the guidelines established by Concorto Film Festival. Using as a case study the subtitles created for the two German short films “Der natürliche Tod der Maus” (“The Natural Death of a Mouse”) (2020) by Katharina Huber and “Wenn ich tanze, wackelt die Welt” (“When I Dance, the Earth Trembles”) (2020) by Otto Lazić-Reuschel, this thesis examines subtitling as an application of the practice of translation. The first chapter introduces Concorto Film Festival, the two selected short films and their directors. The second chapter briefly introduces audiovisual translation and describes the needs and features of subtitling. The third chapter analyses the strategies that have been adopted to solve the technical problems mentioned in the second chapter and the translative problems posed by linguistic and cultural elements. Finally, the file attached to this thesis includes the Italian and English subtitles of the two short films and the transcript of the original German audio.

Electrode poling of cellular polypropylene films with short high-voltage pulses

Recently, piezoelectric cellular polypropylene (PP) was proposed as a new type of quasi-ferroelectric. The observed hysteresis of the charge density as a function of the electric field could be explained as field-dependent charging inside the gas-filled voids. Interestingly enough, the measurable poling behavior of the macroscopic dipoles formed by charges that are trapped at the internal void surfaces is phenomenologically completely identical to the cooperative poling behavior of microscopic molecular dipoles in ferroelectric polymers. Therefore, it can be assumed that charge separation (or charge redistribution) and subsequent trapping in cellular PP is a rather fast switching process. In order to examine the poling dynamics, we developed an experimental setup for pulsed poling. High-voltage pulses with a duration of 45 μs (FWHM) were applied in direct contact to two-side metallized cellular PP films. The pulsed poling yields piezoelectricity in the cellular PP. We study and discuss the dependence of the resulting piezoelectricity on the poling field. We also characterize the charge separation during application of higher electric poling fields of up to -10 kV in direct contact to the two-side metallized films for longer times.

Comparison of crystalline thin poly(vinylidene (70%)–trifluoroethylene (30%)) copolymer films with short chain poly(vinylidene fluoride) films

We compare the photoemission and electron energy loss spectra of crystalline poly(vinylidene-fluoride with trifluoroethylene: 70%: 30%), P(VDF–TrFE), films, fabricated by the Langmuir–Blodgett technique and annealed in vacuum, with in situ thermally evaporated films of poly(vinylidene-fluoride) (PVDF) in vacuum. The electronic structure and vibrational modes of the short chain PVDF films compare well with the crystalline P(VDF–TrFE) films indicating that vacuum annealed films prepared ex situ are free of significant surface contamination once vacuum annealed. The electronic structure for the short chain PVDF films exhibits, however, different temperature dependence than the crystalline P(VDF–TrFE) films. PACS: 68.47.Mn; 71.20.Rv; 63.22.+m; 73.22.-f

Structural and morphological studies on SiOxNy thin films

In this work, the structure and morphology of silicon oxynitride films deposited by the PECVD technique were studied. The films were deposited under two different conditions: (a) SiOxNy with chemical compositions varying from SiO2 to Si3N4 via the control of a N2O + N-2 + SiH4 gas mixture, and (b) Si-rich SiOxNy films via the control of a N2O + SiH4 gas mixture. The analyses were performed using X-ray near edge spectroscopy (XANES) at the Si-K edge, transmission electron microscopy (TEM) and Rutherford backscattering spectroscopy (RBS). For samples with chemical composition varying from SiO2 to Si3N4, the diffraction patterns obtained by TEM exhibited changes with the chemical composition, in agreement with the XANES results. For silicon-rich silicon oxynitride samples, the formation of a-Si clusters was observed and the possibility of obtaining Si nanocrystals after annealing depending on the composition and temperature was realized. (C) 2007 Elsevier B.V. All rights reserved.

Observation of a cubic phase in mesoporous silicate films grown at the air/water interface

X-Ray diffraction is reported from mesoporous silicate films grown at the air/water interface. The films were studied both as powdered films, and oriented on silicon or mica sheets. At early stages of growth we observe Bragg diffraction from a highly ordered cubic phase, with both long and short d-spacing peaks. We have assigned this as a discontinuous micellar Pm3n phase in which the silica is partly ordered. Later films retain only the known hexagonal p6m peaks and have lost any order both at short d-spacings and the longer d-spacing Bragg peaks characteristic of the cubic structure. The silica framework is considerably expanded from that in bulk amorphous silica, average Si Si distances are some 30% greater. Incorporation of glycerol or polyethylene glycol preserves the earlier cubic structure. To be consistent with earlier, in situ, X-ray and neutron reflectivity data we infer that both structures are produced after a phase transition from a less-ordered him structure late in the induction phase. The structural relations between the film Pm3n and p6m phase(s) and the known bulk SBA-1 and MCM-41 phases are briefly discussed.

The structures of Langmuir-Blodgett films of fatty acids and their salts

Recent advances in several experimental techniques have enabled detailed structural information to be obtained for floating (Langmuir) monolayers and Langmuir-Blodgett films. These techniques are described briefly and their application to the study of films of fatty acids and their salts is discussed. Floating monolayers on aqueous subphases have been shown to possess a complex polymorphism with phases whose structures may be compared to those of smectic mesophases. However, only those phases that exist at high surface pressures are normally used in Langmuir-Blodgett (LB) deposition. In single LB monolayers of fatty acids and fatty acid salts the acyl chains are in the all-cans conformation with their long axes normal to the substrate. The in-plane molecular packing is hexagonal with long-range bond orientational order and short-range positional order: known as the hexatic-B structure. This structure is found irrespective of the phase of the parent floating monolayer. The structures of multilayer LB films are similar to the structures of their bulk crystals, consisting of stacked bilayer lamellae. Each lamella is formed from two monolayers of fatty acid molecules or ions arranged head to head and held together by hydrogen bonding between pairs of acids or ionic bonding through the divalent cations. With acids the acyl chains are tilted with respect to the substrate normal and have a monoclinic structure, whereas the salts with divalent cations may have the chains normal to the substrate or tilted. The in-plane structures are usually centred rectangular with the chains in the trans conformation and packed in a herringbone pattern, Multilayer films of the acids show only a single-step order-disorder transition at the malting point, This temperature tends to rise as the number of layers increases. Complex changes occur when multilayer films of the salts are heated. Disorder of the chains begins at low temperatures but the arrangement of the head groups does not alter until the melting temperature is reached, Slow heating to a temperature just below the melting temperature gives, with some salts, a radical change in phase. The lamellar structure disappears and a new phase consisting of cylindrical rods lying parallel to the substrate surface and stacked in a hexagonal pattern is formed, In each rod the cations are aligned along the central axis surrounded by the disordered acyl chains. (C) 2001 Elsevier Science B,V. All rights reserved.