A política da emoçao. Análise de La Razón de mi Vida de Eva Perón

A minha intençao neste trabalho é analisar a obra de María Eva Duarte de Perón, La Razón de mi Vida, colocando a atençao no conteúdo fortemente emotivo da mesma. O livro foi publicado em 1951, um ano antes da sua morte, e foi a fonte das diversas versoes do mito de Evita, sendo também criticado como mais um instrumento de propaganda política, produto de um ghost-writter. Tentando ir além desta idéia, abordarei o texto como um documento historicamente situado, no qual a retórica da emoçao "justifica" o lugar de Eva Duarte na política nacional e coloca o sentimento como um principio de identidade do partido

A política da emoçao. Análise de La Razón de mi Vida de Eva Perón

A minha intençao neste trabalho é analisar a obra de María Eva Duarte de Perón, La Razón de mi Vida, colocando a atençao no conteúdo fortemente emotivo da mesma. O livro foi publicado em 1951, um ano antes da sua morte, e foi a fonte das diversas versoes do mito de Evita, sendo também criticado como mais um instrumento de propaganda política, produto de um ghost-writter. Tentando ir além desta idéia, abordarei o texto como um documento historicamente situado, no qual a retórica da emoçao "justifica" o lugar de Eva Duarte na política nacional e coloca o sentimento como um principio de identidade do partido

A política da emoçao. Análise de La Razón de mi Vida de Eva Perón

A minha intençao neste trabalho é analisar a obra de María Eva Duarte de Perón, La Razón de mi Vida, colocando a atençao no conteúdo fortemente emotivo da mesma. O livro foi publicado em 1951, um ano antes da sua morte, e foi a fonte das diversas versoes do mito de Evita, sendo também criticado como mais um instrumento de propaganda política, produto de um ghost-writter. Tentando ir além desta idéia, abordarei o texto como um documento historicamente situado, no qual a retórica da emoçao "justifica" o lugar de Eva Duarte na política nacional e coloca o sentimento como um principio de identidade do partido

Technical metaphor in Spanish-English translation of the fields of blindness, fatigue, and the spiritual world

The correspondence in the Spanish-English translation is analyzed of three different fields of technical metaphors based upon blindness, fatigue, and the spiritual world. Some terms have been left aside that under the appearance of metaphors were mere samples of no-deviated language or cases of homonymy. The study reveals a higher presence of the metaphor in the Spanish language in the three fields of study, although the English language also shows a high index of metaphors. In between metaphors and non-metaphors, we find a lack of metaphorical equilibrium between Spanish and English in certain cases, which is a sign of the different perception of the reality. Finally, the conclusions shed light on the meaning of these words: blind, annoyance, fatigue, antifading, core, angels, espectrum, phantom, ghost, magic, postmortem, dead, etc.

A Study of Some Centrality Measures in Graphs

Centrality is in fact one of the fundamental notions in graph theory which has established its close connection with various other areas like Social networks, Flow networks, Facility location problems etc. Even though a plethora of centrality measures have been introduced from time to time, according to the changing demands, the term is not well defined and we can only give some common qualities that a centrality measure is expected to have. Nodes with high centrality scores are often more likely to be very powerful, indispensable, influential, easy propagators of information, significant in maintaining the cohesion of the group and are easily susceptible to anything that disseminate in the network.

Doppelgänger

Catalogue and invitation card for Exhibition at Eagle Gallery, London. 16 June – 16 July 2016 “My paintings are like ghost schema, assemblages of images and surfaces that generate spectral encounters.” James Fisher’s paintings are carefully calibrated. They explore dualities and employ complex visual palimpsests to construct images that are rich with association. Abstract and figurative motifs are laid on different layers of their surfaces, covered over, and re-discovered through sanding back the paint. As a former British School at Rome Scholar, Fisher’s early work was influenced by the study of fresco painting and he retains an approach that allows for time and chance to enter the process of painting. Fabrication – in the sense both of making things and making things up – produces enigmatic and mysterious results. Many of Fisher’s recent paintings are titled after notable, now forgotten women, or after characters from folklore and comic books. The range of subject matter allows him to conflate biography with fiction, and to borrow from a wide range of visual sources for patterned elements that formally hold in place the more fugitive suggestions of the images. Fisher’s fourth solo exhibition at the Eagle Gallery coincides with the selection of two works in this year’s Royal Academy Summer Exhibition, and his inclusion in Towards Night – a forthcoming exhibition at the Towner, Eastbourne.

Encountering the Spectre of Painting

When thinking what paintings are, I am continually brought back to my memory of a short sequence in Alfred Hitchcock’s Vertigo. In the scene, Kim Novak’s Madeleine is seated on a bench in an art gallery. She is apparently transfixed by a painting, Portrait of Carlotta. Alongside James Stewart, we watch her looking intently. Madeleine is pretending to be a ghost. At this stage she does not expect us to believe she is a ghost, but simply to immerse ourselves in the conceit, to delight in the shudder. Madeleine’s back is turned away from us, and as the camera draws near to show that the knot pattern in her hair mirrors the image in the portrait, I imagine Madeleine suppressing a smile. She resolutely shows us her back, though, so her feint is not betrayed. Madeleine’s stillness in this scene makes her appear as an object, a thing in the world, a rock or a pile of logs perhaps. We are not looking at that thing, however, but rather a residual image of something creaturely, a spectre. This after-image is held to the ground both by the gravity suggested by its manifestation and by the fine lie - the camouflage - of pretending to be a ghost. Encountering a painting is like meeting Madeleine. It sits in front of its own picture, gazing at it. Despite being motionless and having its back to us, there is a lurching sensation the painting brings about by pretending to be the ghost of its picture, and, at the same time, never really anticipating your credulity.

Lies and Camouflage

Collaborative installation of painting and sculpture with Denise de Cordova. Both artists use a female subject as a recurring metaphor – as cipher, ghost, or nom de plume, and both employ intricately decorated surfaces to allude to ambiguities inherent in using material to speak of ideas.

Curating fragments : found ekphrases volumes 1 & 2

Reproducing violence: Rihanna, Chris Brown and the aestheticisation of the Ciudad Juarez Femicides.

When Kate and Laura Mulleavy of Rodarte worked with MAC to create their Autumn/Winter 2010 makeup collection and based their ideas on the murdered women of Ciudad Juarez, there was a public and industry outcry which led to the withdrawal of cosmetics with names such as ‘Factory’ ‘Juarez’ and ‘Ghost Town’. Rodarte tapped into the borderland mythologies of Juarez and crated an illusory fantasy world which sought to simultaneously obliterate and venerate the dead women. One eyeshadow, ‘Bordertown’, appears to look like chunks of rotting flesh streaked with blood. The models for their catwalk show had hollow blackened eyes, green-white pallor and lips that had been bloodlessly ‘lip-erased’ with a product specifically designed for the purpose. In Spanish, maquillar is to make up, to assemble. The women in the factories are asked to repeat simple mechanical operations thousands of times a day to make up the products which will be sold by global corporations. At the same time their images are being assembled, made up and aestheticized to create a cosmetic erasure of the crimes which they are subject to. When two American women and a global company make profit from this dangerous cosmetic erasure in order to sell products, the borders between bodies, countries, art and crime become leaky through the act and the illusion of symbiosis between the women of Ciudad Juarez and the products they inspired is threatened by the haunting of exploitation. Since then, the situation has become more complex. Chris Brown got a neck tattoo, based, he says, on the promotional material produced by MAC for the Rodarte sisters campaign. The image, which is of a skull, bears a striking resemblance to the police photographs of his ex, and now current, girlfriend, superstar Rihanna. The controversy over gendered violence, race and exploitation, begun by Rodarte and MAC, came back, haunting, once again. This paper seeks to address these connections, and ask what happens when domestic violence collides with globalism, fashion and murder.

DIRECT NUMERICAL SIMULATION OF INCOMPRESSIBLE MULTIPHASE FLOW WITH PHASE CHANGE

Phase change problems arise in many practical applications such as air-conditioning and refrigeration, thermal energy storage systems and thermal management of electronic devices. The physical phenomenon in such applications are complex and are often difficult to be studied in detail with the help of only experimental techniques. The efforts to improve computational techniques for analyzing two-phase flow problems with phase change are therefore gaining momentum. The development of numerical methods for multiphase flow has been motivated generally by the need to account more accurately for (a) large topological changes such as phase breakup and merging, (b) sharp representation of the interface and its discontinuous properties and (c) accurate and mass conserving motion of the interface. In addition to these considerations, numerical simulation of multiphase flow with phase change introduces additional challenges related to discontinuities in the velocity and the temperature fields. Moreover, the velocity field is no longer divergence free. For phase change problems, the focus of developmental efforts has thus been on numerically attaining a proper conservation of energy across the interface in addition to the accurate treatment of fluxes of mass and momentum conservation as well as the associated interface advection. Among the initial efforts related to the simulation of bubble growth in film boiling applications the work in \cite{Welch1995} was based on the interface tracking method using a moving unstructured mesh. That study considered moderate interfacial deformations. A similar problem was subsequently studied using moving, boundary fitted grids \cite{Son1997}, again for regimes of relatively small topological changes. A hybrid interface tracking method with a moving interface grid overlapping a static Eulerian grid was developed \cite{Juric1998} for the computation of a range of phase change problems including, three-dimensional film boiling \cite{esmaeeli2004computations}, multimode two-dimensional pool boiling \cite{Esmaeeli2004} and film boiling on horizontal cylinders \cite{Esmaeeli2004a}. The handling of interface merging and pinch off however remains a challenge with methods that explicitly track the interface. As large topological changes are crucial for phase change problems, attention has turned in recent years to front capturing methods utilizing implicit interfaces that are more effective in treating complex interface deformations. The VOF (Volume of Fluid) method was adopted in \cite{Welch2000} to simulate the one-dimensional Stefan problem and the two-dimensional film boiling problem. The approach employed a specific model for mass transfer across the interface involving a mass source term within cells containing the interface. This VOF based approach was further coupled with the level set method in \cite{Son1998}, employing a smeared-out Heaviside function to avoid the numerical instability related to the source term. The coupled level set, volume of fluid method and the diffused interface approach was used for film boiling with water and R134a at the near critical pressure condition \cite{Tomar2005}. The effect of superheat and saturation pressure on the frequency of bubble formation were analyzed with this approach. The work in \cite{Gibou2007} used the ghost fluid and the level set methods for phase change simulations. A similar approach was adopted in \cite{Son2008} to study various boiling problems including three-dimensional film boiling on a horizontal cylinder, nucleate boiling in microcavity \cite{lee2010numerical} and flow boiling in a finned microchannel \cite{lee2012direct}. The work in \cite{tanguy2007level} also used the ghost fluid method and proposed an improved algorithm based on enforcing continuity and divergence-free condition for the extended velocity field. The work in \cite{sato2013sharp} employed a multiphase model based on volume fraction with interface sharpening scheme and derived a phase change model based on local interface area and mass flux. Among the front capturing methods, sharp interface methods have been found to be particularly effective both for implementing sharp jumps and for resolving the interfacial velocity field. However, sharp velocity jumps render the solution susceptible to erroneous oscillations in pressure and also lead to spurious interface velocities. To implement phase change, the work in \cite{Hardt2008} employed point mass source terms derived from a physical basis for the evaporating mass flux. To avoid numerical instability, the authors smeared the mass source by solving a pseudo time-step diffusion equation. This measure however led to mass conservation issues due to non-symmetric integration over the distributed mass source region. The problem of spurious pressure oscillations related to point mass sources was also investigated by \cite{Schlottke2008}. Although their method is based on the VOF, the large pressure peaks associated with sharp mass source was observed to be similar to that for the interface tracking method. Such spurious fluctuation in pressure are essentially undesirable because the effect is globally transmitted in incompressible flow. Hence, the pressure field formation due to phase change need to be implemented with greater accuracy than is reported in current literature. The accuracy of interface advection in the presence of interfacial mass flux (mass flux conservation) has been discussed in \cite{tanguy2007level,tanguy2014benchmarks}. The authors found that the method of extending one phase velocity to entire domain suggested by Nguyen et al. in \cite{nguyen2001boundary} suffers from a lack of mass flux conservation when the density difference is high. To improve the solution, the authors impose a divergence-free condition for the extended velocity field by solving a constant coefficient Poisson equation. The approach has shown good results with enclosed bubble or droplet but is not general for more complex flow and requires additional solution of the linear system of equations. In current thesis, an improved approach that addresses both the numerical oscillation of pressure and the spurious interface velocity field is presented by featuring (i) continuous velocity and density fields within a thin interfacial region and (ii) temporal velocity correction steps to avoid unphysical pressure source term. Also I propose a general (iii) mass flux projection correction for improved mass flux conservation. The pressure and the temperature gradient jump condition are treated sharply. A series of one-dimensional and two-dimensional problems are solved to verify the performance of the new algorithm. Two-dimensional and cylindrical film boiling problems are also demonstrated and show good qualitative agreement with the experimental observations and heat transfer correlations. Finally, a study on Taylor bubble flow with heat transfer and phase change in a small vertical tube in axisymmetric coordinates is carried out using the new multiphase, phase change method.