Fado - diferentes sonoridades, uma tradição

No presente artigo, apresenta-se um registo sobre o atual universo do Fado, reflexo da sua adaptação à contemporaneidade e, como tal, enquadrando multiplicidade e fusão de géneros musicais. Tal como qualquer outro género musical, o Fado foi tocado pelo tempo, marcado por diferentes conjunturas sociais, culturais e estéticas, mantendo, contudo, uma forte ligação à sua genuinidade (o fado tradicional), no imaginário coletivo de públicos e intérpretes. Reflete-se, a partir da diversidade estética que o Fado nos oferece, sobre o seu percurso evolutivo num passado próximo. De igual modo se reflete sobre a grande diversidade deste universo muito próprio e destaca-se a capacidade de partilhar os mesmos tempos, os mesmos espaços e os mesmos públicos, sinónimo de vitalidade, dinâmica e atualidade.

Lost in Translation? Russian Media Portrayals and Laypersons’ Interpretations of Angelina Jolie’s Breast Cancer Discourse

In May 2013, Angelina Jolie revealed that because she had a family history of breast and ovarian cancer and carried a rare BRCA gene mutation, she had undergone a preventive double mastectomy. Media coverage has been extensive around the world, including in Russia, not an English-language country, where all global news is inevitably filtered by translation. After examining the reactions of Russian mass media and members of the public to Jolie’s disclosure, I consider what transformations have occurred with Jolie’s message in the process of cross-cultural transfer. I explore the mass media portrayal of Jolie’s announcement, laypersons’ immediate and prolonged reactions, and the reflections of patients involved directly in the field of hereditary breast cancer. To my knowledge, this multifaceted and bilingual project is the first conceptualization of Jolie’s story as it has been translated in a different sociocultural environment. I start with examination of offline and online publications that appeared in Russia within two months after Jolie’s announcement. In this part of my analysis, I conceptualize the representation of Jolie’s case in Russian mass media and grasp what sociocultural waves were generated by this case among general lay audiences. Another part of my study contains the results of qualitative in-depth interviews. Eight women with a family history of hereditary breast cancer were recruited to participate in the research. The findings represent Jolie’s case through the eyes of Russian women with the same gene mutation as Jolie. Consolidating my findings, I argue that Jolie’s announcement was misinterpreted and misrepresented by Russian mass media, as well as misunderstood by a considerable part of the media audience. Jolie’s perspective on hereditary breast cancer mostly remained unheard among members of the Russian public. I make suggestions about the reasons for such a phenomenon, and demonstrate how Jolie’s case is implicated in politics, economics, and the culture of contemporary Russia.

Espaço enquanto matéria da arte, espaço enquanto matéria do museu : (re)configurações da experiência site-specific

The central theme of this dissertation encompasses the importance of space, particularly the exhibition space, and how it has become part of the subject matter, as well as a medium in art. Some artistic practices of the 20th century, mainly in the 20s and 60s, both in Europe and the United States of America have provided the contextual foundation. The close relation between the architectural and exhibition spaces has become an intrinsic link to establish the existence of the three-dimensional work of art. The overarching importance of space in the contemporary artistic practice is visible through the creative and exhibition installation process, most notably in the artistic movements of Installation art and Site-specific. By carrying over the transformative contemporary art scene concepts to an institutional and museological context, paired with the inherent evolution of its practices, these have allowed for a convergence of the museological fields. With the intention of providing audiences a unique experience, curators and museologists have relied on site-specific practices. By inviting artists (typically featured in the current artistic scene) to develop projects specially thought for a specific museum space, this simultaneously allows for a dialogue between the work of art and the space. These temporary exhibitions have garnered the attention a more diverse audience. As a result sustainability and independence of the museums are a constant source of debate. The result of which has allowed for the broadening of the notions of how museums function and have integrated the audience as a main element of the strategies of the museum programming. The principles of the cultural marketing provide museums a clearer vision of the understanding of the different audience and their needs. Thus, the main goal of this study is to perceive the importance of the museum space in the relation to the artistic practice. While existing as a strategic resource of the museological program, insofar as having the ability to lure new audiences. It also matters to notice, if the fact of the artist working directly inside the museum, contribute to a narrowing of the artist/audience relationship, being the museum the mediation element

Initiatives d’activisme en formation initiale de professeurs: préparer à l’action et à la transformation.

L’action collective raisonnée, connue sous le nom d’activisme, orientée vers la résolution de problèmes de la société, offre des possibilités d'apprentissage tout au long de la vie et permet aux étudiants de développer des connaissances du domaine de la science et de la technologie. Dans une société où les découvertes scientifiques et les progrès technologiques sont constants, les potentialités de cette approche sont également reconnues dans la formation de citoyens responsables, capables d'agir et de résoudre des problèmes, tout en essayant d'influencer d'autres citoyens à prendre des décisions sur les problèmes complexes tels que ceux que présentent les questions socialement vives. Considérant que la formation de jeunes et d’adultes plus responsables et scientifiquement informés est fondamentale, cette recherche-action visait: a) à munir les futurs enseignants de compétences dans la conception, la mise en oeuvre et l'évaluation des activités orientées vers l'action sociopolitique sur les questions socialement vives; b) promouvoir chez les participants les valeurs de citoyenneté et de sensibilisation à l'environnement; c) identifier les difficultés et le potentiel de ces initiatives; d) comprendre l'impact de ce type d'expérience éducative chez les futurs enseignants. Les participants à l'étude étaient des étudiants préparant une licence en éducation élémentaire (futurs professeurs des écoles primaires et maternelles) dans le contexte de la discipline d’Éducation à l’Environnement. L'analyse des narratives produites par les futurs enseignants a permis de constater que tous avaient développé des compétences au niveau de la planification et de l'intervention dans la société, en recourant à différents types d'initiatives. Cette expérience de formation a ainsi permis, aux participants le développement de capacités à l'action et à la transformation sociale et environnementale. Il a également été possible de sensibiliser le public-cible des actions réalisées par les futurs enseignants à agir de façon plus responsable sur l'environnement.

The power of language and the language of power in M. T. Anderson’s Feed and Gary Stheyngart’s Super Sad True Love Story. A comparative analysis

The aim of my dissertation is to analyze how selected elements of language are addressed in two contemporary dystopias, Feed by M. T. Anderson (2002) and Super Sad True Love Story by Gary Shteyngart (2010). I chose these two novels because language plays a key role in both of them: both are primarily focused on the pervasiveness of technology, and on how the use/abuse of technology affects language in all its forms. In particular, I examine four key aspects of language: books, literacy, diary writing, as well as oral language. In order to analyze how the aforementioned elements of language are dealt with in Feed and Super Sad True Love Story, I consider how the same aspects of language are presented in a sample of classical dystopias selected as benchmarks: We by Yevgeny Zamyatin (1921), Brave New World by Aldous Huxley (1932), Animal Farm (1945) and Nineteen Eighty-Four (1949) by George Orwell, Fahrenheit 451 by Ray Bradbury (1952), and The Handmaid's Tale by Margaret Atwood (1986). In this way, I look at how language, books, literacy, and diaries are dealt with in Anderson’s Feed and in Shteyngart’s Super Sad True Love Story, both in comparison with the classical dystopias as well as with one another. This allows for an analysis of the similarities, as well as the differences, between the two novels. The comparative analysis carried out also takes into account the fact that the two contemporary dystopias have different target audiences: one is for young adults (Feed), whereas the other is for adults (Super Sad True Love Story). Consequently, I also consider whether further differences related to target readers affect differences in how language is dealt with. Preliminary findings indicate that, despite their different target audiences, the linguistic elements considered are addressed in the two novels in similar ways.

Le développement du public jeune universitaire pour la musique classique à Montréal

Des recherches au Québec (Garon, 2009), en France (Donnat, 2011) et aux États-Unis (Kolb, 2001) confirment un état de fait général: le vieillissement du public de la musique classique. Si le public du répertoire est reconnu pour posséder un haut niveau d’études, pourquoi les étudiants universitaires de nos jours ne sont-ils pas plus présents dans les salles de concert ? Cette étude explore cette problématique d’abord par une recherche historique et par des entrevues auprès de certains des organismes de musique classique à Montréal, et ce afin de comprendre leurs stratégies de développement des publics concernés de 2004 à 2014. Ensuite, par un sondage auprès de 555 étudiants universitaires de la ville, pour faire un portrait de leur relation avec la musique à l’heure actuelle. Notre analyse, appuyée par une bibliographie en sociomusicologie et en sociologie des pratiques culturelles, confirme des tendances comme celle de l’«omnivorisme culturel» et l’éclectisme musical des jeunes universitaires. Elle nous montre aussi une réception positive des œuvres classiques, quoiqu’incompatible avec les critères esthétiques des genres musicaux favoris. À partir de ce paradoxe, nous étudions la force des motivations extramusicales qui les amènent aux concerts, leurs formats préférés, l’impact de l’éducation musicale, l’influence des parents, de l’internet, des nouvelles technologies. Finalement, nous constatons le nombre peu élevé d’initiatives des organismes musicaux dans le milieu universitaire à Montréal qui, pourtant, se montre un bassin au grand potentiel pour le renouvellement des publics de la musique classique.

"Macanas", "tragedias" y "dramas" : Los jueces y su presentación del pasado de terrorismo de Estado en el Juicio por la Verdad de Bahía Blanca, Argentina

El trabajo que aquí se presenta tiene como objetivo indagar en las diferentes manifestaciones sobre el pasado reciente de terrorismo de Estado realizadas por los jueces durante las audiencias de uno de los denominados "Juicios por la Verdad", que se realizó en la ciudad de Bahía Blanca, Argentina entre 1999 y 2000. Se trabajó con una metodología de análisis cualitativo y se utilizaron distintas fuentes de información tales como entrevistas a jueces y abogados de organizaciones de derechos humanos y la totalidad de los videos de las audiencias del Juicio por la Verdad de Bahía Blanca. Como resultado se establece la manera en que estos profesionales del derecho interpretaron el terrorismo de Estado confrontando la posición adoptada por los militares de no brindar información y de reivindicar la "guerra antisubversiva", deslindando a la vez las distintas responsabilidades entre los miembros de las Fuerzas Armadas.

Shakespeare's audience,

"List of works cited": p. [179]-190.

Audience studies of the performing arts and museums : a critical review /

Mode of access: Internet.

Sanshibai kakusha hyōbanki.

Plant motif on the black covers.

Oeuvres completes du Chancelier d'Aguesseau.

Querard, I, 16, afirma que esta ed. consta de 16 t. en 6 v.

Jerusalem under the high-priest, five lectures on the period between Nehemiah and the New Testament,

"Lectures...composed for popular audiences in connection with the Bath and Wells diocesan society for higher religious education."--Pref.

1997 survey of public participation in the arts : summary report.

"December 1998"--T.p. verso.

The municipalities of the Roman empire,

"The present volume is the outcome of a course of lectures on the Municipalities of the Roman Empire, originally delivered in the University of London, as part of a scheme for the 'higher teaching' of students. The lectures, with some changes, were given afterwards to American audiences, first as 'Lowell lectures' in Boston, then in the Columbia University, New York."--Pref.

Cap Night at Majestic Theater 1912

On photo: Lyndon