As representações das mulheres no filme garotas e samba (1957)

Este artigo visa apresentar uma análise das representações femininas contidas no filme Garotas e Samba (1957), dirigido por Carlos Manga, por meio de seu enredo, personagens e marchinhas carnavalescas. Essa produção pertence ao gênero cinematográfico conhecido como chanchada, considerado um tipo de comédia musical que recebeu influências diversas, advindas do circo, do carnaval, do rádio, do teatro de variedades e do cinema estrangeiro. O carnaval representado no filme é o das músicas das rádios – principalmente das marchinhas carnavalescas, que favoreciam sátiras e inversões – e dos bailes de salão – onde eram utilizadas fantasias estilizadas e curtas, típicas do período. Este filme evidencia, de forma clara, o “mundo às avessas” apresentado pelas chanchadas, uma vez que as mulheres aparecem em uma posição muito mais ativa no espaço público em relação à situação real de grande parte das mulheres dos anos 1950. Não obstante, o filme expressou representações ora conservadoras, ora ousadas a respeito da mulher, demonstrando a ambiguidade de uma sociedade em fase de transição.

Circo Zanni e Linhas Aéreas: expressões da arte circense na cena contemporânea paulista

Pós-graduação em Artes - IA

Entre improvisos e desafios: do cururu como cosmovisão de grupos caipiras do Médio Tietê, SP

Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)

Uma perspectiva fenomenológica para: o que é o animal no circo?

The relationship between humans and the world around is getting less symbiotic and harmonic, so as with the other animals we share the planet with, mostly about domination of plagues, domination for food, company, work or fun. This last both are responsible for the beginning of the Circus as we know, with the exhibition of wild animals and horses, and have been increased with clowns, acrobats, and jugglers, street artists, getting to be one unified show all around the world, which most of them don´t have animals. Following this tendency, the PL 7291/06 is on process on the plenary assembly to forbidden the animals inside Circus. In that matter, this work is a Phenomenological perspective of the phenomenon Circus’s animals sited beyond the animal rights activists perspective. The Ideographic and Nomotetic analysis of the activist’s speech realize that is no discordance between then. All the speeches agrees that the animal must be out of the circus, and most of them agrees about the cruelty involving the animal´s domination, about that ONGs should be the better destination for this animals, and they shows lack of knowledge about the Brazilian Circus, with or without animals, their traditions and characteristics, so as the lack of knowledge about de ecology and biology of the animals involved.

Atividades circenses em academias: uma nova opção no âmbito do lazer

The Brazilian population needs of practicing exercises increases every day by the health or pleasure results of it. But although conventional options of physical activities are more popular and easier to find out wherever you go, alternative ways of exercising yourself and unconscious and indirect ways to obtain wellness and health are increasing its popularity nowadays. One example of it is the circus classes inside the gyms, where people have fun during intense body working, while get in shape and relax them mind, getting all the benefits like any other conventional physical activity does. Thinking about the increasing teaching of circus arts like a new option of physical activity and leisure to the Sao Paulo citizens inside its bigger gyms, this study founded out how and why these classes were offered there and the reasons of the people interests and maintenance of them practice in this kind of classes.

A contemporaneidade da produção do Circo Chiarini no Brasil de 1869-1872

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)

Malabares como arte de viver

Juggling practices permeate the cultural heritage of many people for a long time. Not limited only to the circus, we see more and more an invasion of juggling in the streets, schools and other spaces (formal and informal), among whom the professional of Physical Education also operates. Given this context, it is ever more urgent the need to give more attention to this practice within the academic training, not only to better understand it but also to value it as an educational practice. It is in pursuit of this understanding and appreciation that asks: What learning to juggling practices brings to the professional future of Physical Education? Based on these, this study sought to map the learning incorporated in the researcher's relationship with this practice throughout their academic training. Therefore, the survey noted the juggling as art of living, that is, as a technique that was involved with the life of the researcher and contributing to enhance the course of their training. The investigation started a literature in which it was possible to situate this work within the context of studies approaching the Fitness to philosophical studies. This approach sought to map the effects of juggling practice on academic background - and the very subjectivity - a subject / researcher that folds on itself to move their training

O palhaço pára-quedas: reflexões sobre a arte circense no município de Bauru - SP (Brasil)

This biographical and bibliographical research aimed understanding the circus and its clowns. The origin of the circus is presented taking into account its earliest manifestations in ancient Greece, until the creation of the modern circus in 1970 by Englishman Philip Astley. The clown, who was introduced in 1778 only after the circus has become an essential figure in the show, coming to represent the modern circus. Here, the different types of clowns are presented and their main characteristics are shown as a way to differentiate between them. The difficulties faced by circus companies are pointed, trying to understand the reduction of circus companies. To understand the formation and transformation of the clown in his years at the profession, the Clown Pára-quedas, artist of Bauru / SP was interviewed, their stories help to unravel some of the satisfactions of the profession and the problems faced by circus performers.

Clowninnen: Portrait einer Berufsgruppe /// Arbeitspapiere / Institut für Ethnologie und Afrikastudien ; 76

Clowninnen. Portrait einer Berufsgruppe Eine neue Berufsgruppe etabliert sich: Die Clownin! Seit den 1980er Jahren treten vermehrt Frauen als Clownin in die europäische Öffentlichkeit. Sie erobern zunehmend weitere gesellschaftliche Bereiche, treten aus dem Zirkus heraus, hinein in die wirtschaftliche, religiöse, medizinische, pädagogische und soziale Sphäre. Die Erweiterung der Arbeitsfelder beinhaltet differenzierte Aktionsmöglichkeiten für die Clownin und prägt die Beziehung zu den Zuschauern, die vom Einzelkontakt z.B. im Altenheim über Seminargruppen bis hin zu hunderten von Personen bei Bühnenstücken reichen. Die Zugangswege zur Clownsarbeit sind individuell, wobei sich die früher typisch familiäre Bindung in Zirkus- und anderen Künstlerfamilien nicht mehr finden lässt. Das Clown-Sein begreifen die Frauen als einen Prozess, der vor allem durch Persönlichkeitsarbeit und Lebenserfahrung geprägt ist. Bestimmte Aspekte des Clowns erschließen sich erst im und durch das Clownsspiel, wobei immer wieder Grenzen auf persönlicher und gesellschaftlicher Ebene aufgebrochen werden. Kernstück der Studie bilden zehn qualitative Interviews mit Frauen aus Deutschland und der Schweiz, die beruflich als Clownin in unterschiedlichen Arbeitsfeldern tätig sind. Ergänzend beobachtete die Autorin Auftritte in verschiedenen Arbeitsbereichen und führte eine Befragung an 16 Clownsschulen durch. Ziel dieser Studie ist es, Ausbildungswege, Arbeitsfelder und Arbeitsweisen dieser neuen Berufsgruppe aus emischer Sicht darzulegen. Vertiefend wird das Selbstverständnis der Clowninnen vorgestellt. Welche Ziele verfolgen die Frauen in ihrer Arbeit und wo sehen sie die Grenzen des Clowns? Welche Bedeutung messen sie der Spiritualität und dem Tod zu? Wie gestaltet sich das Wechselspiel zwischen Privatperson und Clownin? In mehreren Portraits und in vergleichenden Darstellungen finden sich Antworten auf diese Fragen, bei denen die Frauen durch vielfältige Zitate immer wieder selber zu Wort kommen.

Effects of task modality, length and complexity on time for activities in lucid dreams

Introduction: Nocturnal dreams can be considered as a kind of simulation of the real world on a higher cognitive level (Erlacher & Schredl, 2008). Within lucid dreams, the dreamer is aware of the dream state and thus able to control the ongoing dream content. Previous studies could demonstrate that it is possible to practice motor tasks during lucid dreams and doing so improved performance while awake (Erlacher & Schredl, 2010). Even though lucid dream practice might be a promising kind of cognitive rehearsal in sports, little is known about the characteristics of actions in lucid dreams. The purpose of the present study was to explore the relationship between time in dreams and wakefulness because in an earlier study (Erlacher & Schredl, 2004) we found that performing squads took lucid dreamers 44.5 % more time than in the waking state while for counting the same participants showed no differences between dreaming and wakefulness. To find out if the task modality, the task length or the task complexity require longer times in lucid dreams than in wakefulness three experiments were conducted. Methods: In the first experiment five proficient lucid dreamers spent two to three non-consecutive nights in the sleep laboratory with polysomnographic recording to control for REM sleep and determine eye signals. Participants counted from 1-10, 1-20 and 1-30 in wakefulness and in their lucid dreams. While dreaming they marked onset of lucidity as well as beginning and end of the counting task with a Left-Right-Left-Right eye movement and reported their dreams after being awakened. The same procedure was used for the second experiment with seven lucid dreamers except that they had to walk 10, 20 or 30 steps. In the third experiment nine participants performed an exercise involving gymnastics elements such as various jumps and a roll. To control for length of the task the gymnastic exercise in the waking state lasted about the same time as walking 10 steps. Results: As a general result we found – as in the study before – that performing a task in the lucid dream requires more time than in wakefulness. This tendency was found for all three tasks. However, there was no difference for the task modality (counting vs. motor task). Also the relative time for the different lengths of the tasks showed no difference. And finally, the more complex motor task (gymnastic routine) did not require more time in lucid dreams than the simple motor task. Discussion/Conclusion: The results showed that there is a robust effect of time in lucid dreams compared to wakefulness. The three experiments could not explain that those differences are caused by task modality, task length or task complexity. Therefore further possible candidates needs to be investigated e.g. experience in lucid dreaming or psychological variables. References: Erlacher, D. & Schredl, M. (2010). Practicing a motor task in a lucid dream enhances subsequent performance: A pilot study. The Sport Psychologist, 24(2), 157-167. Erlacher, D. & Schredl, M. (2008). Do REM (lucid) dreamed and executed actions share the same neural substrate? International Journal of Dream Research, 1(1), 7-13. Erlacher, D. & Schredl, M. (2004). Time required for motor activity in lucid dreams. Perceptual and Motor Skills, 99, 1239-1242.

Time for actions in lucid dreams: effects of task modality, length, and complexity

The relationship between time in dreams and real time has intrigued scientists for centuries. The question if actions in dreams take the same time as in wakefulness can be tested by using lucid dreams where the dreamer is able to mark time intervals with prearranged eye movements that can be objectively identified in EOG recordings. Previous research showed an equivalence of time for counting in lucid dreams and in wakefulness (LaBerge, 1985; Erlacher and Schredl, 2004), but Erlacher and Schredl (2004) found that performing squats required about 40% more time in lucid dreams than in the waking state. To find out if the task modality, the task length, or the task complexity results in prolonged times in lucid dreams, an experiment with three different conditions was conducted. In the first condition, five proficient lucid dreamers spent one to three non-consecutive nights in the sleep laboratory. Participants counted to 10, 20, and 30 in wakefulness and in their lucid dreams. Lucidity and task intervals were time stamped with left-right-left-right eye movements. The same procedure was used for these condition where eight lucid dreamers had to walk 10, 20, or 30 steps. In the third condition, eight lucid dreamers performed a gymnastics routine, which in the waking state lasted the same time as walking 10 steps. Again, we found that performing a motor task in a lucid dream requires more time than in wakefulness. Longer durations in the dream state were present for all three tasks, but significant differences were found only for the tasks with motor activity (walking and gymnastics). However, no difference was found for relative times (no disproportional time effects) and a more complex motor task did not result in more prolonged times. Longer durations in lucid dreams might be related to the lack of muscular feedback or slower neural processing during REM sleep. Future studies should explore factors that might be associated with prolonged durations.

Artificial pancreas using a personalized rule-based controller achieves overnight normoglycemia in patients with type 1 diabetes

Objective: This study assessed the efficacy of a closed-loop (CL) system consisting of a predictive rule-based algorithm (pRBA) on achieving nocturnal and postprandial normoglycemia in patients with type 1 diabetes mellitus (T1DM). The algorithm is personalized for each patient’s data using two different strategies to control nocturnal and postprandial periods. Research Design and Methods: We performed a randomized crossover clinical study in which 10 T1DM patients treated with continuous subcutaneous insulin infusion (CSII) spent two nonconsecutive nights in the research facility: one with their usual CSII pattern (open-loop [OL]) and one controlled by the pRBA (CL). The CL period lasted from 10 p.m. to 10 a.m., including overnight control, and control of breakfast. Venous samples for blood glucose (BG) measurement were collected every 20 min. Results: Time spent in normoglycemia (BG, 3.9–8.0 mmol/L) during the nocturnal period (12 a.m.–8 a.m.), expressed as median (interquartile range), increased from 66.6% (8.3–75%) with OL to 95.8% (73–100%) using the CL algorithm (P<0.05). Median time in hypoglycemia (BG, <3.9 mmol/L) was reduced from 4.2% (0–21%) in the OL night to 0.0% (0.0–0.0%) in the CL night (P<0.05). Nine hypoglycemic events (<3.9 mmol/L) were recorded with OL compared with one using CL. The postprandial glycemic excursion was not lower when the CL system was used in comparison with conventional preprandial bolus: time in target (3.9–10.0 mmol/L) 58.3% (29.1–87.5%) versus 50.0% (50–100%). Conclusions: A highly precise personalized pRBA obtains nocturnal normoglycemia, without significant hypoglycemia, in T1DM patients. There appears to be no clear benefit of CL over prandial bolus on the postprandial glycemia

Variations,/

Various -- How not to be a genius -- The recantations of George Moore -- Crushed violets -- Baudelaire's letters to his mother -- The two temptations -- The Flaubert anniversary -- Roosevelt and Brandes -- Pennell talks about etching -- In praise of prints -- New Russia for old -- Cezanne -- Eili, Eili, lomo asovtoni? -- Socialism and mediocrity -- Chopin, or The circus? -- Art and alcohol -- The tragic Chopin -- Phases of the greater Chopin -- The twilight of Cosima I. -- Idle speculations -- The master builder -- Verdi's Otello -- Faust and Mephisto -- Bohemian music -- The music of yesterday? -- Liszt's only piano sonata -- Dreaming of Liszt -- A Brahma of the keyboard -- Contemporary bran -- A mood reactionary -- Musical "Potterism" -- My "Childe Roland" -- "Oscar" and Dvořák -- Enrico Caruso.

When you were a boy,

Reprinted from various periodicals.

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).