The Summer Concert Band, 5th Festival of Contemporary Works, July 18, 1951

Concert program for The Summer Concert Band, 5th Festival of Contemporary Works, July 18, 1951

Hollywood and world cinema influences: tracing intertextuality in the works of two contemporary filmmakers from Francophone Africa; Mahamat Saleh Haroun and Abderrahmane Sissako

Don’t tell me the moon is shining; show me the glint of light on broken glass Anton Chekhov Representations of Africa in cinema are almost as old as cinema itself and date back to Hollywood’s silent era. Most early examples feature the continent as a mere exotic backdrop and include The Sheik (Melford 1921), soon followed, in 1926, by George Fitzmaurice’s Son of the Sheik starring Rudolph Valentino. The next decade brought Van Dyke’s Tarzan movies, Robert Stevenson’s King Solomon’s Mines (1937), and, on the European side, Duvivier’s Pépé le Moko (1936). For representations of Francophone Africa by Africans themselves, the viewing public more or less had to wait, however, until decolonisation in the 1960s (with, for example, Sembene Ousmane’s Borom Sarret and La Noire de…, both released in 1966 and, in 1968, Mandabi). Since then Francophone African cinema has come a long way and has diversified into various strands. Between Borom Sarret and Mahamat-Saleh Haroun’s 2006 Daratt, Saison sèche - or the same director’s Un homme qui crie, almost half a century has elapsed. Over this period, films inevitably have addressed a spectrum of visual, ideological and political tropes. They range from unadorned depictions of the newly independent states and their societies to highly aestheticised productions, not to mention surreal and poetic visions as displayed for instance in Djibril Diop Mambéty’s Touki Bouki (1973). Most of the early films send an overt socio-political message which is a clear and explicit denunciation of a corrupt state of affairs (Souleymane Cissé’s Baara, 1977). They aim to trigger strong emotional and political responses from the viewer, in unambiguous support for the film-maker’s stand. Sembene himself declared: “I consider cinema a means of political action” (Murphy 2000: 221). Similarly, the Mauritanian director Med Hondo wishes to “take up this technical medium and to make it a mouthpiece on behalf of [his] fellow Africans and Arabs” (Jeffries 2002: 11). All this echoes the claims of the Fédération Panafricaine des Cinéastes (FEPACI, founded in 1969), an organisation “dedicated to the liberation of Africa”. In sharp contrast to the incipient momentum given Francophonie by Bourguiba, the Nigerien Hamani Diori and the Senegalese Senghor, who invoked a worldwide communauté organique francophone, FEPACI called for “the creation of an aesthetics of disalienation… [using] didactic... forms to denounce the alienation of countries that were politically independent but culturally and economically dependent on the West” (Diawara 1996: 40). Sembene’s Xala (1974) became the blueprint for this, to this day the best-known vein of Francophone African cinema. Thus considered, this pedigree seems a million miles from mainstream global cinema with its overriding mission to entertain. A question therefore arises: to what extent can a cinema that sprang from such beginnings be seen to interface in any meaningful way with a global film industry that, overwhelmingly and for a century, has indeed entertained the world – with Hollywood at its centre?

A Concert of Works by Ross Lee Finney, 1966

Concert Program for A Concert of Works by Ross Lee Finney, 1966

Radical interiors: Cindy Sherman's ‘Sex pictures’ and Kathy Acker's 'My mother: demonology'

In 1989, the American visual artist Cindy Sherman produced her ‘Sex Pictures’, a number of photographic images of two medical mannequins whose bodies had been dismembered and reconstructed to form abstract configurations that alluded to pornographic poses. Sherman's series was a response to the National Endowment for the Arts controversy, in which American artists such as Andres Serrano and the late Robert Mapplethorpe, whose work was considered obscene by the Republican Congress, were censored. Many artists in the culture-war period had their grants rescinded. The American avant-garde writer Kathy Acker published My Mother: Demonology in 1993. A prominent concern of Acker's in the work is what she termed her ‘writing freedom’ in a climate of cultural expurgation by the Republican elite. In particular, Acker was worried that she was ‘internalizing certain censorships’. This article addresses Sherman's and Acker's work in a comparative context to explore, through the theoretical work of Julia Kristeva, the ways in which their responses to a climate of political censorship can be read as forms of intimate revolt. Kristeva's notion of ejection—the act of placing something beyond the scope of the possible—transpires as ‘a condition of art's creation’ in Sherman's and Acker's work. Acker and Sherman use the pornographic reference in their work to disrupt and dislocate the narrative and image from convention in order to de-eroticize the body, against heteronormativity's terms, and empower the female sex organs. Eversion—that is, in Sherman's and Acker's works, the act of turning the institutional and maternal body inside out—emerges as a mode of resistance to the danger of the writer and the artist internalizing cultural restrictions. The everted body creates a site of radical interiority which becomes the (impossible) site for the radical (re-)embodiment of the feminine subject.

What works for Nutrition? Stories of success from Vietnam, Uganda and Kenya

This report discusses the drivers of progress in tackling multiple forms of malnutrition in these three countries: Vietnam, Uganda, and Kenya. It also identifies some of the challenges which pose as barriers to sustaining progress. Finally, it makes recommendations for key stakeholders such as governments of high burden countries, donor governments, development partners, and civil society, on their role to promote further success.

A Tradução intersemiótica em Lolita de Vladimir Nabokov e de Stanley Kubrik

O versão integral do nº1 da revista Polissema está disponível no link da versão do editor

FPGA-based architecture for hyperspectral unmixing

This paper proposes an FPGA-based architecture for onboard hyperspectral unmixing. This method based on the Vertex Component Analysis (VCA) has several advantages, namely it is unsupervised, fully automatic, and it works without dimensionality reduction (DR) pre-processing step. The architecture has been designed for a low cost Xilinx Zynq board with a Zynq-7020 SoC FPGA based on the Artix-7 FPGA programmable logic and tested using real hyperspectral datasets. Experimental results indicate that the proposed implementation can achieve real-time processing, while maintaining the methods accuracy, which indicate the potential of the proposed platform to implement high-performance, low cost embedded systems.

Compendio di gesti del magnanimo et gloriosissimo Signore Sforza, inc[ipiente] dal tempo de la sua natiuità fine a la morte sua, compiliato in vulgare per Antonio Placentino nel anne MCCCCLVIII in Milano sotto lo Illustrissimo Signore Francesco Sforza Duca Duca quarto. (In fine: " Bartholomeus Gambagnola Cremonensis scripsit mandato Mag[nifi]ci domini Marchisini stanghe ducalis secretarii Die uigesimo septembris MCCCCLXXXX primo ". Membran. Con finissime miniature a f. 1 e 5. Il f. 4 è occupato da una mirabile miniatura rappresentante un guerriero a cavallo; sotto, leggesi: " Sfortia Atendolus italicorum ducum clarissimus ". Il suo ritratto è miniato anche a f. 5: nel margine inferiore della prima pagina è quello di Francesco Sforza. Nel corpo del testo molte lettere iniziali sono miniate).

Visconti. Saisi par Louis XII dans la bibliothèque des ducs de Milan à Pavie . N° 1466 du catalogue de 1544 et cote "Des vulgaires italiens pulpito 1°" de la Librairie royale de Blois ; — n° 2826 du catalogue de la Bibliothèque du roi à Paris à la fin du XVIe s.

Les contemporains : études et portraits littéraires. 5e série, Guy de Maupassant. André Theuriet. Marcel Prévost. Paul Margueritte. Gilbert Augustin-Thierry. Édouard Rod. Stéphane Mallarmé. Général Boulanger. Stanley. Guillaume II. Don Pedro. Renan. Billets du matin. [Série 5] / Jules Lemaître

Collection : Nouvelle bibliothèque littéraire

Les contemporains : études et portraits littéraires. 5e série, Guy de Maupassant. André Theuriet. Marcel Prévost. Paul Margueritte. Gilbert Augustin-Thierry. Édouard Rod. Stéphane Mallarmé. Général Boulanger. Stanley. Guillaume II. Don Pedro. Renan. Billets du matin. Série 5 / Jules Lemaître

Collection : Nouvelle bibliothèque littéraire