Asociación Civil La Grieta y Bib. Pop. La Chicharra (Argentina) : Libros que muerden: una colección que resplandece

Al cumplirse 30 años del último golpe cívico-militar en el año 2006, la Asociación Civil La Grieta de la ciudad de La Plata dio inicio a la conformación de una colección de libros que aglutina las publicaciones destinadas al público infantil y juvenil que fueron censuradas, como parte del plan sistemático de represión en los ámbitos cultural y educativo denominado "Operación Claridad". Esa colección se transformó en un proyecto con múltiples aristas, denominado "Libros que muerden". Su objetivo principal es ejercer la reflexión política y la construcción de la memoria colectiva a partir de la reconstrucción de un corpus que se encontraba, de algún modo, "perdido", y que permite revisar cómo actuó la censura en el campo de la infancia, cómo había sido pensada la infancia, la juventud y la cultura durante el "proceso de reorganización nacional". En esta ponencia nos proponemos reflexionar en torno a algunas de las preguntas que se plantearon como disparadores para esta mesa, en la certeza de que la colección Libros que muerden es una fuente primaria para el abordaje de la historia del libro, las editoriales, la lectura y la censura. Daremos a conocer la experiencia de conformación de la colección, la recuperación de "piezas perdidas", la difusión y trabajo con la comunidad, las instancias de reflexión y estudio con las que trabaja el grupo, los debates internos entre poner el libro a la mano y su resguardo y preservación, los modos de exponer los libros y de abordarlos con públicos diversos y los ejes sobre los que se trabaja para contribuir a la conformación de una memoria colectiva y aportar al estudio de la censura y sus secuelas en nuestro país.

Do you see what I mean? charting changing representations and receptions of the disabled body in contemporary and pop cultural performance

The meaning of the body emerges through acts of seeing, looking and staring in daily and dramatic performances. Acts that are, as Maike Bleeker argues1, bound up with the scopic rules, regimes and narratives that apply in specific cultures at specific times. In Western culture, the disabled body has been seen as a sign of defect, deficiency, fear, shame or stigma. Disabled artists – Mat Fraser, Bill Shannon, Aaron Williamson, Katherine Araniello, Liz Crow and Ju Gosling – have attempted, via performances that co-opt conventional images of the disabled body, to challenge dominant ways of representing and responding such bodies from within. In this paper, I consider what happens when non-disabled artists co-opt images of the disabled body to draw attention to, affirm, and even exoticise, eroticise or beautify, other modalities of or desires for difference. As Carrie Sandahl has noted2, the signs, symbols and somatic idiosyncrasies of the disabled body are, today, transported or translated into theatre, film and television as a metaphor or "master trope" for every body’s experience of difference. This happens in performance art (Guillermo Gomez-Pena’s use of a wheelchair in Chamber of Confessions), performance (Marie Chouinard's use of crutches, canes and walkers to represent dancers’ experience of becoming different or mutant during training in bODY rEMIX /gOLDBERG vARIATIONS), and pop culture (characters in wheelchairs in Glee or Oz). In this paper, I chart changing representations and receptions of the disabled body in such contexts. I use analysis of this cultural shift as a starting point for a re-consideration of questions about whether a face-toface encounter with a disabled body is in fact a privileged site for the emergence of a politics, and whether co-opting disability as a metaphor for a range of difference differences reduces its currency as a category around which a specific group might mobilise a politics.

Speak english, little chats a help to learn conversational english,drawn up after the new method of teaching

UANL

Captain Daylight and the big hold-up.

El Capitán Daylight es un simpático asaltante de caminos, al que le gusta más gastar bromas a la gente que robar. Pero un día, decide que quiere cambiar su imagen y para ello se disfraza como el osado atracador de diligencias, Black Jack Midnight. Sin embargo, su carácter bonachón y su torpeza no han cambiado con el nuevo ropaje.

Dressing up with Mr. Bumble.

El señor Bumble invita a sus amigos a una fiesta de disfraces, y el lector debe adivinar de qué se disfraza cada invitado antes de levantar la solapa de la página para encontrar la respuesta.

The mixed-up chameleon : with all new illustrations.

En una visita al zoológico local el camaleón, que odia cambiar de color para que coincida con su entorno, está encantado y envidioso de la belleza y el talento de los demás animales que ve y desea las diferentes partes o rasgos de los maravillosos animales. Desea ser guapo como un flamenco, poder nadar como un pez, alto como una jirafa. A medida que la historia avanza y todos sus deseos se conceden camaleón parece muy extraño, con la cola de zorro, tronco de elefante. Pero es sólo cuando no puede coger una pequeña mosca que vuela cuando desea e que podría ser él mismo. Indicado para discriminación visual y diferencias de palabras. También pueden sacar la conclusión de se feliz con lo que tienes.

Maisy dresses up.

Maisy ha sido invitado por Tallulah a una fiesta de disfraces y tiene que pensar en como ir vestida. Mira en su caja de disfraces, tiene trajes de pirata, de bombero. Pero no, Maisy se prepara un disfraz especial.

Coppicing shifts CO2 stimulation of poplar productivity to above-ground pools: a synthesis of leaf to stand level results from the POP/EUROFACE experiment

A poplar short rotation coppice (SRC) grown for the production of bioenergy can combine carbon (C) storage with fossil fuel substitution. Here, we summarize the responses of a poplar (Populus) plantation to 6 yr of free air CO2 enrichment (POP/EUROFACE consisting of two rotation cycles). We show that a poplar plantation growing in nonlimiting light, nutrient and water conditions will significantly increase its productivity in elevated CO2 concentrations ([CO2]). Increased biomass yield resulted from an early growth enhancement and photosynthesis did not acclimate to elevated [CO2]. Sufficient nutrient availability, increased nitrogen use efficiency (NUE) and the large sink capacity of poplars contributed to the sustained increase in C uptake over 6 yr. Additional C taken up in high [CO2] was mainly invested into woody biomass pools. Coppicing increased yield by 66% and partly shifted the extra C uptake in elevated [CO2] to above-ground pools, as fine root biomass declined and its [CO2] stimulation disappeared. Mineral soil C increased equally in ambient and elevated [CO2] during the 6 yr experiment. However, elevated [CO2] increased the stabilization of C in the mineral soil. Increased productivity of a poplar SRC in elevated [CO2] may allow shorter rotation cycles, enhancing the viability of SRC for biofuel production.

A Literatura pop de Roberto Drummond: arte pop, referencialidade e ficção

Pós-graduação em Letras - IBILCE

Biotic and abiotic parameters and cynobacteria abundance during an experimental set-up with varying pCO2 conditions

Heterocystous cyanobacteria of the genus Nodularia form extensive blooms in the Baltic Sea and contribute substantially to the total annual primary production. Moreover, they dispense a large fraction of new nitrogen to the ecosystem when inorganic nitrogen concentration in summer is low. Thus, it is of ecological importance to know how Nodularia will react to future environmental changes, in particular to increasing carbon dioxide (CO2) concentrations and what consequences there might arise for cycling of organic matter in the Baltic Sea. Here, we determined carbon (C) and dinitrogen (N2) fixation rates, growth, elemental stoichiometry of particulate organic matter and nitrogen turnover in batch cultures of the heterocystous cyanobacterium Nodularia spumigena under low (median 315 µatm), mid (median 353 µatm), and high (median 548 µatm) CO2 concentrations. Our results demonstrate an overall stimulating effect of rising pCO2 on C and N2 fixation, as well as on cell growth. An increase in pCO2 during incubation days 0 to 9 resulted in an elevation in growth rate by 84 ± 38% (low vs. high pCO2) and 40 ± 25% (mid vs. high pCO2), as well as in N2 fixation by 93 ± 35% and 38 ± 1%, respectively. C uptake rates showed high standard deviations within treatments and in between sampling days. Nevertheless, C fixation in the high pCO2 treatment was elevated compared to the other two treatments by 97% (high vs. low) and 44% (high vs. mid) at day 0 and day 3, but this effect diminished afterwards. Additionally, elevation in carbon to nitrogen and nitrogen to phosphorus ratios of the particulate biomass formed (POC : POP and PON : POP) was observed at high pCO2. Our findings suggest that rising pCO2 stimulates the growth of heterocystous diazotrophic cyanobacteria, in a similar way as reported for the non-heterocystous diazotroph Trichodesmium. Implications for biogeochemical cycling and food web dynamics, as well as ecological and socio-economical aspects in the Baltic Sea are discussed.

Sir Francis Drake revived : who is or may be a pattern to stirre up all heroicke and active spirits of these times, to benefit their countrey and eternize their names by like noble attempts : Being a summary and true relation of foure severall voyages made by the said Sir Francis Drake to the West-Indies ... His voyage made with Chistopher Carleill, Martin Frobusher, Francis Knollis, and others, Their taking the townes of Saint Jago, Sancto Domingo, Carthagena and Saint Augustine : His last voyage (in which he dyed) being accompanied with Sir John Hawkins, Sir Thomas Baskerfield, Sir Nicholas Clifford, with others : His manner of buriall /

La primera obra relata el viaje de 1572-1573, la segunda el viaje de 1577-1580, la tercera el de 1585-1586 y la última del viaje de 1595-1596, en el que murió.

SOBRE MÁQUINAS DE ESCRITA E REMISTURA: O MÉTODO CUT-UP DE WILLIAM BURROUGHS

Tomamos em consideração, no presente artigo, as diferentespráticas do escritor William Seward Burroughs (1914 – 1997) em torno dovariado e multimodal método de composição cut-up , procedimentocaracterizado, inicialmente, pela composição de textos em cortes permutatórios,feitos a partir da justaposição de diferentes fragmentos textuais impressos,previamente existentes, selecionados das mais diferentes fontes (obras literárias,jornais, a Bíblia, tratados médicos, canções pop, gravações ao acaso, discursostelevisivos, os próprios escritos de Burroughs, etc). Experimental e controversapor excelência, a prática do cut-up acabou por constituir, para Burroughs,uma espécie de verdadeiro mecanismo literário - aqui definido em termos deuma writing machine (máquina de escrita) conceitual -, levando-o à produçãode inúmeros outputs textuais e à elaboração de sua famosa Nova Trilogy(Trilogia Nova), composta pelas obras The Soft Machine (1961), The Ticketthat Exploded (1962) eNova Express (1964), bem como aplicações e extensõesdo método em colagens, fotomontagens e na manipulação e adulteração deáudio e vídeo. Mais do que um ponto de concentração, o foco no métodocut-up serve-nos, tanto quanto possível, como ponto de dispersão eagenciamentos, linha de fuga, enfim, multiplicidades. Logo, o estudo do métodoliterário empregado por Burroughs direcionará o olhar também paraprocedimentos análogos em outras mídias, como a pintura, a música e as artesem geral.