Janelas mais que indiscretas: Hitchcock e Woolrich em confronto

Considerado una verdadera lección de cine, ya que es una película que se refiere al propio arte cinematográfica, La ventana indiscreta (Rear Window), dirigida por Alfred Hitchcock en 1954, tuvo como base para el guión de John Michael Hayes el cuento “Tenía que ser un asesinato” (“It had to be murder”, 1942), de Cornell Woolrich. Reconocido como uno de los mayores escritores del género policial noir, Woolrich profesaba la “poética del fracaso, [...] conduciendo gradualmente la angustia de la víctima al centro del cuadro, en contraste con la indiferencia mecánica de una sociedad que no se molestaba con su suerte”. (OLIVA, 2003, p.116- 7). La película tuvo un gran éxito de público y crítica, pero esto no había ocurrido con el cuento, que solo se hizo conocido después de su adaptación para el cine. El propósito de este trabajo es realizar un análisis comparativo entre los dos textos, subrayando los siguientes aspectos: 1) la caracterización del género noir (cuando la investigación ya no es un juego para mentes refinadas, como había sido en la narrativa policial clásica) y del suspense (narrativa de tensión que se caracteriza por el aplazamiento de la resolución del enigma), tanto en la narración literaria como en la película; 2) la autorreferencialidad en la película y en el cuento mediante el uso de la metaficción; 3) el problema de la transposición del foco en primera persona de la narrativa para el cine; 4) los diferentes desenlaces, señalando en qué medida indican visiones del mundo también divergentes.

Occurrence of Methanogenic Archaea in Highly Polluted Sediments of Tropical Santos-So Vicente Estuary (So Paulo, Brazil)

Little is known about the ability of methanogens to grow and produce methane in estuarine environments. In this study, traditional methods for cultivating strictly anaerobic microorganisms were combined with Fluorescence in situ hybridization (FISH) technique to enrich and identify methanogenic Archaea cultures occurring in highly polluted sediments of tropical Santos-So Vicente Estuary (So Paulo, Brazil). Sediment samples were enriched at 30A degrees C under strict anaerobic and halophilic conditions, using a basal medium containing 2% of sodium chloride and amended with glucose, methanol, and sodium salts of acetate, formate and lactate. High methanogenic activity was detected, as evidenced by the biogas containing 11.5 mmol of methane at 20 days of incubation time and methane yield of 0.138-mmol CH(4)/g organic matter/g volatile suspense solids. Cells of methanogenic Archaea were selected by serial dilution in medium amended separately with sodium acetate, sodium formate, or methanol. FISH analysis revealed the presence of Methanobacteriaceae and Methanosarcina sp. cells.

Tradurre il multilinguismo al cinema: Lingue, identità culturali e loro rappresentazione sullo schermo

La presente ricerca ha un duplice obiettivo. Primo, individuare i modi in cui lingue e identità culturali diverse sono state rappresentate al cinema. Secondo, identificare le diverse strade imboccate dai professionisti del doppiaggio italiano quando si trovano a confrontarsi con un film in cui si parlano più lingue. La ricerca propone un approccio multidisciplinare che combina i contributi teorici sviluppati nel campo degli studi di traduzione audiovisiva con le modalità di analisi più comunemente utilizzate dalla semiotica del cinema. L'analisi si basa su un campione di 224 film multilingue prodotti dall'inizio degli anni Trenta alla fine degli anni Duemila. Particolare attenzione viene indirizzata al quadro teorico all'interno del quale viene interpretato il ruolo che il multilinguismo assume al cinema. Vengono identificate tre funzioni principali: conflitto, confusione e resa realistica. Un altro elemento chiave nell'analisi è costituito dal genere cinematografico prevalente a cui è possibile ricondurre ciascuno dei film selezionati. Sono individuati tre generi principali: il film drammatico, la commedia e il thriller. Nel film drammatico il multilinguismo agisce come un veicolo che produce e accentua il conflitto, mentre nella commedia esso di solito diventa un dispositivo comico che crea confusione e umorismo. Nel cinema thriller, invece, il multilinguismo funziona essenzialmente come un veicolo di suspense. Per quanto riguarda le soluzioni traduttive adottate nel doppiaggio italiano del cinema multilingue, sono rilevate tre macro-strategie: la conservazione, la neutralizzazione e la riduzione dell'originale dimensione multilingue. Ciascuna di queste tre strategie è passata a vaglio critico. Se nel primo caso si tratta di un tentativo di riprodurre fedelmente le originali situazioni multilingue rappresentate nel film, negli altri due casi si tratta di soluzioni che risentono fortemente delle specificità del doppiaggio come modalità di traduzione degli audiovisivi (fattori ideologici ed economici, nonché il problema tecnico dell'armonizzazione delle voci per i personaggi bilingue).

Femme fatale: influências na cultura visual e cinema

A Femme Fatale é a personagem que, através dos seus atributos e capacidades, seduz e engana em prol do seu querer. Encontra-se, principalmente, retratada em géneros cinematográficos como noir, terror, suspense e ação. Mas, também, noutros meios como banda desenhada, videojogos, publicidade. Possui características comuns na maior parte dos filmes (criminosa, fortemente sexual, poderosa, perigosa, inteligente, manipuladora, destrutiva...). No entanto, a mulher fatal pode assumir géneros, idades e maneiras de agir diferentes (pode seduzir e manipular, pode seduzir e matar, pode seduzir, manipular e levar alguém a matar). O propósito do presente estudo consiste em saber como tal personagem, com traços tão vincados, surgiu na história, como se tornou popular, como é representada no cinema até aos dias de hoje e qual o seu “potencial cultural” futuro.

Split Ends

Thesis (Master's)--University of Washington, 2016-06

Foretelling pathology: The poetics of prognosis

This paper examines a number of French middle-brow novels, usually called at the time romans de murs, from the period 1880-1910. It shows how, in these stories, doctors are shown to foretell the course of narrative through the diagnosis of certain pathologies, especially psychosexual ones. These pathologies are thus represented as implacable narrative programmes. In effect, most of these novels renounce the standard fictional resources of intrigue and suspense in favour of the relentless working out of their initial prognosis. The authority of medical discourse is therefore not just confirmed and disseminated: it is elaborated as fatality in the very terms of the novel. Copyright © SAGE Publications.

Post-revolutionary post-modernism: Central American detective fiction by the turn of the 21st century

Contemporary Central American fiction has become a vital project of revision of the tragic events and the social conditions in the recent history of the countries from which they emerge. The literary projects of Sergio Ramirez (Nicaragua), Dante Liano (Guatemala), Horacio Castellanos Moya (El Salvador), and Ramon Fonseca Mora (Panama), are representative of the latest trends in Central American narrative. These trends conform to a new literary paradigm that consists of an amalgam of styles and discourses, which combine the testimonial, the historical, and the political with the mystery and suspense of noir thrillers. Contemporary Central American noir narrative depicts the persistent war against social injustice, violence, criminal activities, as well as the new technological advances and economic challenges of the post-war neo-liberal order that still prevails throughout the region. ^ Drawing on postmodernism theory proposed by Ihab Hassan, Linda Hutcheon and Brian MacHale, I argued that the new Central American literary paradigm exemplified by Sergio Ramirez's El cielo llora por mí, Dante Liano's El hombre de Montserrat, Horacio Castellanos Moya's El arma en el hombre and La diabla en el espejo , and Ramon Fonseca Mora's El desenterrador, are highly structured novels that display the characteristic marks of postmodern cultural expression through their ambivalence, which results from the coexistence of multiple styles and conflicting ideologies and narrative trends. The novels analyzed in this dissertation make use of a noir sensitivity in which corruption, decay and disillusionment are at their core to portray the events that shaped the modern history of the countries from which they emerge. The revolutionary armed struggle, the state of terror imposed by military regimes and the fight against drug trafficking and organized crime, are among the major themes of these contemporary works of fiction, which I have categorized as perfect examples of the post-revolutionary post-modernism Central American detective fiction at the turn of the 21st century.^

The Enlightening Supernatural: Ghost Stories in the Late Eighteenth-Century Germany

This dissertation explores the place of ghosts in late eighteenth-century German texts, where they appear with surprising frequency despite widespread disbelief in their ontological reality. These ghosts could simply be lingering remnants of superstition in an age where they no longer belong, but my project argues that they play a central role in the Enlightenment and its ideal of progress. The key texts analyzed in this context include three versions of the story of the Weiße Frau, as well as works by Immanuel Kant, Karl Philipp Moritz, Friedrich Schiller, and Johann Wolfgang von Goethe. In various ways, these texts demonstrate how the presentation of a ghost creates new possibilities in philosophy and aesthetics, as well as opportunities for critique. For some, the ghostly encounter produces an “Enlightening” suspense, disrupting the normal conditions of one’s understanding and creating a demand for resolution that propels one towards the future. Some recognized a dangerous manipulative potential in such suspense, and they used ghost stories to critique Enlightenment thought or imagine alternative aesthetic models. In all of these works, the ghost does not function simply as a relic of the past that needs to be left behind; it features prominently as a means of considering the present and imagining the future.

The relationship between the Enlightenment and superstitious beliefs has either been oversimplified as a basic opposition, or complicated by the recognition that the commitment to reason works as a new form of superstition. Prior scholarship has recognized the German ghost story as a primarily nineteenth-century phenomenon. This dissertation uncovers the roots of the German ghost story in unlikely texts from the eighteenth century and suggests that the relationship between ghostly apparitions and the Enlightenment was more complementary than oppositional. Ghosts do not only represent the persistence of the past, they also disrupt the normal conditions of the present in a way that enables progress towards new possibilities in aesthetics and thought.

Eclipses, razón y superstición en las vidas de Nicias y Dión de Plutarco

A partir de un abordaje retórico-literario, nuestro objetivo es indagar las representaciones discursivas de los elementos supersticiosos en la biografía de Nicias y en la de Dión. Tomaremos como ejemplo el eclipse de luna narrado en Nicias 23 y reiterado en Dión 24, para demostrar que mediante la repetición del ejemplo en dos contextos distintos Plutarco nos invita a reflexionar sobre la superstición de un modo más atractivo que la mera exposición teórica de doctrinas filosóficas.

The Hitchcok boy: treating aggressive acting out in child therapy

This is an open access article distributed under the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.

Furie, curiosité, solidarité : mise en scène de la tension dans le cinéma des frères Dardenne

Ce mémoire de recherche-création est accompagné du court métrage «Tala». Pour visionner en ligne : vimeo.com/ondemand/talapierphilippechevigny

Post-Revolutionary Post-Modernism: Central American Detective Fiction by the Turn of the 21st Century

Contemporary Central American fiction has become a vital project of revision of the tragic events and the social conditions in the recent history of the countries from which they emerge. The literary projects of Sergio Ramirez (Nicaragua), Dante Liano (Guatemala), Horacio Castellanos Moya (El Salvador), and Ramon Fonseca Mora (Panama), are representative of the latest trends in Central American narrative. These trends conform to a new literary paradigm that consists of an amalgam of styles and discourses, which combine the testimonial, the historical, and the political with the mystery and suspense of noir thrillers. Contemporary Central American noir narrative depicts the persistent war against social injustice, violence, criminal activities, as well as the new technological advances and economic challenges of the post-war neo-liberal order that still prevails throughout the region. Drawing on postmodernism theory proposed by Ihab Hassan, Linda Hutcheon and Brian MacHale, I argued that the new Central American literary paradigm exemplified by Sergio Ramirez’s El cielo llora por mí, Dante Liano’s El hombre de Montserrat, Horacio Castellanos Moya’s El arma en el hombre and La diabla en el espejo, and Ramon Fonseca Mora’s El desenterrador, are highly structured novels that display the characteristic marks of postmodern cultural expression through their ambivalence, which results from the coexistence of multiple styles and conflicting ideologies and narrative trends. The novels analyzed in this dissertation make use of a noir sensitivity in which corruption, decay and disillusionment are at their core to portray the events that shaped the modern history of the countries from which they emerge. The revolutionary armed struggle, the state of terror imposed by military regimes and the fight against drug trafficking and organized crime, are among the major themes of these contemporary works of fiction, which I have categorized as perfect examples of the post-revolutionary post-modernism Central American detective fiction at the turn of the 21st century.

Furie, curiosité, solidarité : mise en scène de la tension dans le cinéma des frères Dardenne

Ce mémoire de recherche-création est accompagné du court métrage «Tala». Pour visionner en ligne : vimeo.com/ondemand/talapierphilippechevigny