Agricultural show awards : a brief exploration of their role marketing food products

Show de Mamulengos de Heraldo Lins: constru����es e transforma����es de um espet��culo na cultura popular

The theater of puppets is one of the many expressions of popular culture which is marked by ongoing constructions and transformations in its symbolic representations as well as its characters and performances. In the city of Natal/RN, there is a manipulator called Heraldo Lins, an artist who operates such puppets, and has been performing his puppet since 1992. Lins has his own look at how he produces his performances and seeks to adjust his puppets to social and rentable contexts. Lins���s performances are tailor-made in accordance with the request of his customers, as he makes up the passages and lines of his puppets according to his audience. This research aimed to study how the Heraldo Lins Mamulengos Show is built, especially its changes. We note that Lins chooses to dismantle the symbolic values of the tradition in the regular puppet theater once he adapts to modern patterns, placing himself between the traditional puppet theater and the cultural industry. The work in camp was made through a methodological focused in a participative observation and an audiovisual registry

���Buffalo Bill and his Wild West Show���. William F. ���Buffalo Bill��� Codyn ja h��nen Villin l��nnen show���nsa julkisuuskuva yhdysvaltalaisessa aikalaislehdist��ss�� vuosina 1883 �� 1913.

T��ss�� tutkielmassa tutkin yhdysvaltalaisen aikalaislehdist��n lukijoilleen v��litt��m���� julkisuuskuvaa Buffalo Billist�� ja h��nen Villin l��nnen show���staan sen toiminnan aikana 1883 �� 1913. Prim����riaineistona k��yt��n The New York Timesi��, mutta lis��ksi hy��dynn��n my��s pienempi�� paikallislehti�� t��ydent��m����n kuvaa. William F. ���Buffalo Bill��� Cody on yksi Villin l��nnen tunnetuimmista hahmoista ja h��nen suurin saavutuksensa oli sen legendojen tekeminen tutuksi maailmanlaajuiselle yleis��lle. Villin l��nnen show���n ohjelma koostui viidest�� p����teemasta: ratsastustaidoista, ampumataidoista, el��inn��yt��ksist��, n��ytelmist�� sek�� tasankointiaanien ja valkoisten v��lisist�� konflikteista. Tutkitulla ajanjaksolla aikalaislehdist��n kuvaukset osoittautuivat hyvin my��nteisiksi show���ta kohtaan ja kilpailijoista huolimatta se oli The New York Timesin mukaan ���the only and original Wild West���. Show���ta mainostettiin koko perheelle sopivana ja sen esityksiss�� vieraili vuosien aikana miljoonia katsojia. Ohjelman kantavana ideana oli kuitenkin v��kivallan v��ltt��m��tt��myys l��nnen valloittamisessa. Samalla show���hun kuuluneet intiaanit esiteltiin areenalla ja lehdist��ss�� hyvin stereotyyppisin�� vihollisina, maalattuina ja verenhimoisina. Lehdist��, joka v��litti lukijoilleen varsin intensiivisi�� kuvauksia tapahtumista showareenalla, huolestui esityksien vaikutuksista lapsiin ja nuoriin. Buffalo Billin yhteisty��kumppanit rakensivat h��nelle sankarillisen imagon viihderomaanien ja show���n avulla. Riitaisan avioeroprosessin my��t�� ennen niin hyv�� julkisuuskuva lehdist��ss�� alkoi murentua, kun naisseikkailut ja muut salaisuudet tulivat p��iv��nvaloon. Suurista tuloista huolimatta Buffalo Billill�� oli vaikeuksia hallita talouttaan anteliaisuutensa ja huonojen sijoituksien vuoksi. I��n karttuessa ja terveyden heikentyess�� h��nen roolinsa show���ssa v��heni, mink�� seurauksena my��s median kiinnostus alkoi hiipua. Villin l��nnen show ajautui konkurssiin vuonna 1913, mutta sit�� ennen se kiersi lukuisat kaupungit Pohjois-Amerikassa ja Euroopassa. Aikalaislehdist��n mukaan Buffalo Bill ja show olivat tehneet suuren vaikutuksen Yhdysvaltojen entiseen siirtomaais��nt����n Britanniaan ja seuraava askel on vertailla n��iden kahden maan lehdist��n suhtautumista esitykseen.

Colloquial Finnish in Subtitles ��� a Survey on the British Situation Comedy Peep Show

The use of dialects in audiovisual texts is increasing, but the use of standard language in Finnish subtitles is still the prevalent norm and seldom flouted. This may not be in the best interest of the audience as the way the characters speak ��� their idiolects ��� is very important for the atmosphere of the audiovisual text and widely used to give the characters personalities and background. This thesis studies whether the viewing experience could be enhanced by taking the characters��� idiolects into account in subtitling. The study was executed as a survey, and the respondents were recruited from social media and an university of applied sciences. A total of 113 respondents were divided into two groups: the experimental group (n=59) and the control group (n=54). Both groups were shown an excerpt of the British situation comedy Peep Show, but with different subtitles. In the experimental subtitles, three characters were given a written idiolect with a level of colloquial language corresponding to the spoken idiolect of the character, while the control subtitles followed the norm of using standard language. The questionnaire contained background questions, a Likert-scale question and open questions. The quantitative responses were analysed statistically through cross tabulation and Mann���Whitney U test or Kruskal-Wallis test (CI=95%, ��=0,05). The results showed a statistically significant difference in keeping track on which of the characters was speaking for the benefit of the experimental subtitles. In the other items no statistically significant difference was found between the groups. In the open questions the use of colloquial language was mostly commented favourably.

Da po��tica das l��grimas a uma po��tica do riso: de Arist��teles ao One-man show

Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas

European primary pupils show their life to African peers

Since primary school pupils lack a common language, primary school pupils from Germany and Africa show a piece of their origin and of their daily live through simple drawings to their peers in a other, distant land. The teachers accompanying the exchange of these drawings communicated in natural language, but helped to transform what their pupils wanted to show by their drawing. Five students drawings are presented in order to explain and illustrate this exchange method.

Show de Mamulengos de Heraldo Lins: constru����es e transforma����es de um espet��culo na cultura popular

The theater of puppets is one of the many expressions of popular culture which is marked by ongoing constructions and transformations in its symbolic representations as well as its characters and performances. In the city of Natal/RN, there is a manipulator called Heraldo Lins, an artist who operates such puppets, and has been performing his puppet since 1992. Lins has his own look at how he produces his performances and seeks to adjust his puppets to social and rentable contexts. Lins���s performances are tailor-made in accordance with the request of his customers, as he makes up the passages and lines of his puppets according to his audience. This research aimed to study how the Heraldo Lins Mamulengos Show is built, especially its changes. We note that Lins chooses to dismantle the symbolic values of the tradition in the regular puppet theater once he adapts to modern patterns, placing himself between the traditional puppet theater and the cultural industry. The work in camp was made through a methodological focused in a participative observation and an audiovisual registry

Da po��tica das l��grimas a uma po��tica do riso: de Arist��teles ao One-man show

Since the 1970s, the world observes the fragmentation, hybridity, plurality and miscegenation that are taking over the scenic arts. The contemporary poetry feels free of the classical rules; theater no longer obeys the requirements of the poetic "manuals"; the rigid boundaries between genres disappears; artists cease to represent to the public to talk with him. In the last decades of twentieth century and in the twenty-first century, emerges the laughable phenomenon of One-man Show in the brazilian scene, object of this research, as a result of this evolution of the performing arts. It is a form of theater that emerged in the brazilian context, snatching public attention in alternative spaces, theaters and, as it should be, also on the Internet, often confused with the Stand-up Comedy. It is necessary a research that delimitate and pursue to identify the essential characteristics of the brazilian One- Man Show, not only by the absence of theoretical references concerning this, but also to understand some aspects of the brazilian scene and the situation of laughter and comedy in it. In the first chapter, a discussion about comedy and laughter in classical antiquity is presented, using the writings of Plato and Aristotle as a starting point; in the second, some of the main classical theories of laughter are reviewed, attempting to identify the general characteristics that enable to understand the construction of the comedy; the third chapter generally dicusses about the moment of the brazilian theatrical scene in which emerges the One-man Show; and in the fourth chapter, there is an explanation about this phenomenon and a description of the practical exercise titled Experimento One-person Show: Damas

Ichthyofauna of the Selvagens Islands. Do small coastal areas show high species richness in the northeastern Atlantic?

The Selvagens Islands are located in the northeastern Atlantic between the Canary Islands and Madeira Island. As a result of their small size, remote location and harsh sea conditions only a few studies have been conducted to describe their marine species diversity. We were able to identify 29 new coastal fish species, an increase of 33% in the ichthyofauna described for these islands (n = 88). There is a prevalence of species with tropical affinities and only 2.3% (n = 2) are endemic to Macaronesia. Considered a stepping-stone colonization vector from the nearest continental shore, as proposed by other authors for this region, the Selvagens Islands host 34.1% of the ichthyofauna described for the much larger Canary Islands (nspecies = 258, submerged area nSelvagensIs. = 2.3%) and 47.3% of the ichthyofauna described for the more distantly located Madeira Island (nspecies = 186, submerged area nSelvagensIs. = 17.9%). Interestingly, 6.8% (n = 6) of the species failed to bridge the gap between the Selvagens Islands and Madeira Island. Data collected so far showed no trend toward an increasing number of species with high dispersal capability. The Selvagens Islands are an example of a high coastal species diversity occurring even in very small areas of the northeastern Atlantic Ocean.

Selection indices and multivariate analysis show similar results in the evaluation of growth and carcass traits in beef cattle.

2016

Raman microscopy of formamide-intercalated kaolinites treated by controlled-rate thermal analysis technology

Raman spectroscopy of formamide-intercalated kaolinites treated using controlled-rate thermal analysis technology (CRTA), allowing the separation of adsorbed formamide from intercalated formamide in formamide-intercalated kaolinites, is reported. The Raman spectra of the CRTA-treated formamide-intercalated kaolinites are significantly different from those of the intercalated kaolinites, which display a combination of both intercalated and adsorbed formamide. An intense band is observed at 3629 cm-1, attributed to the inner surface hydroxyls hydrogen bonded to the formamide. Broad bands are observed at 3600 and 3639 cm-1, assigned to the inner surface hydroxyls, which are hydrogen bonded to the adsorbed water molecules. The hydroxyl-stretching band of the inner hydroxyl is observed at 3621 cm-1 in the Raman spectra of the CRTA-treated formamide-intercalated kaolinites. The results of thermal analysis show that the amount of intercalated formamide between the kaolinite layers is independent of the presence of water. Significant differences are observed in the CO stretching region between the adsorbed and intercalated formamide.

Detailed analysis of a conservative difference approximation for the time fractional diffusion equation

Diffusion equations that use time fractional derivatives are attractive because they describe a wealth of problems involving non-Markovian Random walks. The time fractional diffusion equation (TFDE) is obtained from the standard diffusion equation by replacing the first-order time derivative with a fractional derivative of order �� ��� (0, 1). Developing numerical methods for solving fractional partial differential equations is a new research field and the theoretical analysis of the numerical methods associated with them is not fully developed. In this paper an explicit conservative difference approximation (ECDA) for TFDE is proposed. We give a detailed analysis for this ECDA and generate discrete models of random walk suitable for simulating random variables whose spatial probability density evolves in time according to this fractional diffusion equation. The stability and convergence of the ECDA for TFDE in a bounded domain are discussed. Finally, some numerical examples are presented to show the application of the present technique.

The'cave' mineral oxammite: a high resolution thermogravimetry and Raman spectroscopic study

The thermal decomposition of natural ammonium oxalate known as oxammite has been studied using a combination of high resolution thermogravimetry coupled to an evolved gas mass spectrometer and Raman spectroscopy coupled to a thermal stage. Three mass loss steps were found at 57, 175 and 188��C attributed to dehydration, ammonia evolution and carbon dioxide evolution respectively. Raman spectroscopy shows two bands at 3235 and 3030 cm-1 attributed to the OH stretching vibrations and three bands at 2995, 2900 and 2879 cm-1, attributed to the NH vibrational modes. The thermal degradation of oxammite may be followed by the loss of intensity of these bands. No intensity remains in the OH stretching bands at 100��C and the NH stretching bands show no intensity at 200��C. Multiple CO symmetric stretching bands are observed at 1473, 1454, 1447 and 1431cm-1, suggesting that the mineral oxammite is composed of a mixture of chemicals including ammonium oxalate dihydrate, ammonium oxalate monohydrate and anhydrous ammonium oxalate.