Futebol, poesia e drama: o espetáculo

O que seria necessário para que se pudesse dizer que uma partida de futebol semelha de alguma forma a um espetáculo teatral, poético, emocional? O artigo propõe um passeio livre pela história dos diferentes tipos de teatro e pelas mudanças sofridas ao longo dos anos. A autora lembra que existe, da metade do século passado para cá, uma nítida divisão que colocou em campos opostos o teatro dramático e o teatro épico, o drama rigoroso contra o texto quase absolutamente livre, Aristóteles contra Brecht. E volta a apresentar as razões pela qual se pode afirmar que existem certos momentos no futebol que o aproximam ainda mais do espetáculo teatral, da dança, da comédia e do drama

THE HOUSE OF JOANA DARK: DRAMA AND PRODUCTION

While discussing images of Our Lady and of the mothers and women of the Garden of Flowers (or "Devils' Hole"), a peripheral district of a city in the interior of Sao Paulo state, this paper intends to explore the specificity of dramatic aesthetics. Rather than depend upon the aesthetics of social drama, as discussed in the works of Victor Turner, the present paper deals with a concept of montage that is inspired by the cinema of Sergei Eisenstein in order to illuminate a selection of field notes... and, along with Eisenstein, Julia Kristeva, Walter Benjamin, Michael Taussig and Antonin Artaud. Wit regards to those readers interested in hearing what these women may have to say, caution is suggested, for the words of these women may ring in our ears as the sounds of musket shots

Tragedy on grade crossing: driver failure or systemic fragility?

In 2010, an accident occurred in Americana-SP, Brazil, involving two trains and one bus on a Grade Crossing, when 10 people died and 17 were injured including workers. This paper aims to analyze the accident using the Model of Analysis and Prevention of Work Accidents (MAPA). The method provides observation of work, interviews and analysis of documents to understand precedents of the event in the following stages: to understand the usual work from the involved people, the changes occurred in the system, the operation of barriers, managerial and organizational aspects. By the end, measures are suggested to avoid new occurrences. The accident took place at night in a site with insufficient lighting. The working conditions of bus drivers, train operators and watchmen are inadequate. There were only symbolic barriers (visual and acoustic signals) triggered manually by watchman upon train operator radio communication. The fragility of the barrier system associated to poor lighting and short time to trigger the signaling seem to play a critical role in the event. Contrary to the official report which resulted in guilt of the bus driver, the conclusion of the paper emphasizes the fragility of the safety system and the need of level crossing reproject.

French-Brazilian school of nephrology

The recent history of French and Brazilian medicine goes back to the first decades of the xixth century. As regards nephrology, the first links were established starting in the 1950s of the xxth century. Over the past 60 years, the scientific production of the Franco-Brazilian school of nephrology totalized more than a thousand scientific papers and created a new generation of more than two hundred disciples, formed in Brazil by nephrologists who had completed their studies in France. In this article, we would like to memorize the successive exchanges between French and Brazilian physicians, mainly in the field of nephrology. (C) 2012 Association Societe de nephrologie. Published by Elsevier Masson SAS. All rights reserved.

PlayingCLIL, a new game-based methodology using drama pedagogy

[EN]Linguistic immersion programs are increasing nowadays. The concept of being bilingual, that started being used by schools for the elite in the 19th century, and that in the mid- 20th century became an educational option, has given raise to CLIL (Content and Language Integrated Learning), a methodology through which students work in a bilingual environment, acquiring knowledge of curricular subject and developing their competences in a foreign language. In this teaching context started a new European project called PlayingCLIL. Six partners from different European countries (Germany, United Kingdom, Spain and Romania) are working in this project. Our main aim is to develop a new methodology to learn a foreign language combining elements from the pedagogic drama (interactive games) with the CLIL classroom. At present we are testing the games in different schools and high schools and we are compiling the results to be collected in a handbook (printed and e-book).

"Weil eine Fremd’ ich bin, aus fernem Land ...“ – Fremdheit und Fremde im dramatischen Werk Franz Grillparzers und Friedrich Hebbels

Große Dramendichtung kann nur in historischen Umbruchszeiten wie der Antike, der Reformationszeit und im 19. Jahrhundert, also zu Lebzeiten Friedrich Hebbels, entstehen. Das schreibt Hebbel im Vorwort zu seinem bürgerlichen Trauerspiel „Maria Magdalena“. Die großen Zeiten der Tragödien sind Zeiten umwälzender Veränderungen. Im langen 19. Jahrhundert, zwischen Revolution und Restauration, zwischen Reformen und Reaktion, zwischen Hoffnungen auf Demokratie, Nationalstaatlichkeit, zwischen Josephinismus und Ära Metternich, waren die Voraussetzungen für ein Jahrhundert der Tragödie gegeben. Zwei der bedeutendsten Dramatiker des 19. Jahrhunderts, Franz Grillparzer und Friedrich Hebbel, sind Thema der Dissertation. Dabei hat die Arbeit mit der Diskursivierung von Fremdheit und Fremde eine Neuperspektivierung ausgewählter Dramen geleistet, die so in der Forschung noch nicht existiert, wobei diese Perspektive in der Forschung bereits angelegt war. Die hier vorliegende Arbeit hat das „Phänomen der Fremde“, wie Günther Häntzschel es in einem Aufsatz nennt, in den Dramen „Judith“, „Gyges und sein Ring“ und „Die Nibelungen“ von Hebbel und in den Dramen „Das goldene Vließ“, „Die Jüdin von Toledo“ und „Libussa“ von Grillparzer untersucht. Die zentralen Begriffe „Fremde“ und „Fremdheit“ wurden dabei als literarische Topoi, um methodisch besser mit ihnen operieren zu können, in verschiedene Dimensionen der Fremdheit unterteilt: Dabei wurde neben der „Fremdheit der Kulturen“ und der „Fremdheit zwischen den Geschlechtern“ auch die Fremdheit zwischen dem „mythischen Rand der Welt“ und dem „Horizont der Vernunft“ untersucht. Ferner widmete sich ein Kapitel dem Thema Entfremdung und Selbstentfremdung, eine Dimension der Fremdheit, die ebenfalls für die Dramenanalyse relevant ist.

Studies on the dual in Mycenaean, in the Homeric poetry and in the Attic Theatre of the 5th century — morphological, dialectal and stylistical variations

The present dissertation focuses on the dual number in Ancient Greek in a diachronical lapse stretching from the Mycenaean age to the Attic Drama and Comedy of the 5th century BC. In the first chapter morphological issues are addressed, chiefly in a comparative perspective. The Indo European evidence on the dual is hence gathered in order to sketch patterns of grammaticalisation and paradigmatisation of specific grams, growing increasingly functional within the Greek domain. In the second chapter syntactical problems are tackled. After a survey of scholarly literature on the Greek dual, we engage in a functional and typological approach, in order to disentangle some biased assessments on the dual, namely its alleged lack of regularity and intermittent agreement. Some recent frameworks in General Linguistics provide useful grounds for casting new light on the subject. Internal Reconstruction, for instance, supports the facultativity of the dual in each and every stage of its development; Typology and the Animacy Hierarcy add precious cross linguistical insight on the behaviour of the dual toward agreement. Glaring differences also arise as to the adoption — or avoidance — of the dual by different authors. Idiolectal varieties prove in fact conditioned by stylistical and register necessity. By means of a comparison among Epics, Tragedy and Comedy it is possible to enhance differences in the evaluation of the dual, which led sometimes to forms of ‘censure’ — thus triggering the onset of competing strategies to express duality. The last two chapters delve into the tantalising variety of the Homeric evidence, first of all in an account of the notorious issue of the Embassy of Iliad IX, and last in a commentary of all significant Homeric duals — mostly represented by archaisms, formulae, and ad hoc coinages.

Novaja drama e Teatr Praktika: uno sguardo al teatro russo contemporaneo. Proposta di traduzione della piéce di Natalija Mošina "Žara"

Questa tesi si pone come scopo quello di studiare la scena teatrale contemporanea russa, utilizzando come pretesto la traduzione della piéce “Žara” dell’autrice Natalija Mošina. Mošina fa parte del movimento teatrale chiamato ‘novaja drama’, che si è sviluppato in Russia a partire da fine anni Novanta. Nel primo capitolo tratteremo brevemente la storia del teatro russo del Novecento, per osservare come si è giunti alla formazione di questo nuovo movimento. Passeremo poi ad analizzare il movimento vero e proprio, concentrandoci sulle posizioni artistiche dei suoi membri e sul tipo di innovazione che vogliono portare al teatro russo. Proporremo poi una selezione dei luoghi che rinnovano la scena teatrale moscovita. Il secondo capitolo è interamente dedicato ad uno di questi luoghi, il Teatr Praktika, primo teatro statale ad occuparsi esclusivamente di testi contemporanei, di cui vedremo la storia dalla sua fondazione ai giorni nostri e analizzeremo il repertorio vedendo come gli spettacoli messi qui in scena riflettano le posizioni del novaja drama. Nel capitolo conclusivo parleremo più approfonditamente della pièce da noi tradotta vedendo come si colloca all’interno della produzione dell’autrice e del novaja drama, analizzandone la messa in scena al Praktika. Proporremo poi delle riflessioni sulla traduzione di testi teatrali facendo riferimento alla traduzione da noi svolta, che proporremo di seguito.

All comers 5 french transfemoral percutaneous coronary intervention without sheath

There is an interest to keep the arterial access site for percutaneous coronary interventions (PCI) small. Using sheaths for introduction of arterial catheters is standard. The effective outer diameter of the usual introducer sheaths is about 1.5 French (F) larger than the labeled size. Omitting the sheath affords a smaller access without loss of working lumen.

'Initiators of Discursive Practices': Authorship, attribution, and intent in the debates between philosophes and anti-philosophes

This article focuses on the “social side” of pseudonymity—on how writers and readers compete to influence the critical destiny of a pseudonymous work. By analyzing pseudonymity and attribution in both the specific context of Voltaire’s 1760 staging of the play, Le café ou l’écossaise, and in larger debates in the emerging fields of anonymity, pseudonymity, and attribution studies, I hope to show how literary scholars at present can address the individuality of each pseudonymous case while not letting go of trans-historical, general problems of anonymous strategies. Voltaire’s use of multiple pseudonyms before and after releasing L’Ecossaise, a comédie sérieuse in which Voltaire attacks his enemy Elie-Cathérine Fréron, supports his philosophe friends at a crucial moment in history, and exemplifies his emerging taste for serious comedy and British drama calls into question traditional takes on pseudonymity, anonymity, and attribution by refusing to fit into the binary arguments of anonymous vs. attributed and authorial intent vs. the reader’s control.

Córdoban Discourses: A Drama of Interreligious Dialogue

SETTING: Cordoba, Spain, 1135 CE, 29th year of the reign of ‘Ali “amir al-muslimin,” second king of the Berber Almoravid dynasty, rulers of Moorish Spain from 1071 to 1147. Cordoba, the capital of Andalus and the center of the Almoravid holdings in Spain, is a bustling cosmopolitan center, a crossroads for Europe and the Middle East, and the meeting-point of three religious traditions. Most significantly, Cordoba at this time is the hub of European intellectual activity. From the square—itself impressively large and surrounded by a massive collonade, the regularity and ordered beauty of which typifies the Moorish taste for symmetry (so beloved of M.C. Escher)—can be seen the huge Cordoban mosque, erected in the 8th-century by Khalif Abd-er-Rahman I to the glory of Allah, oft forgiving, most merciful. It is the second largest building in Islam, and the bastion of the still entrenched but soon to fade Muslim presence in western Europe. SCENE: Three figures sit upon stone benches beneath the westernmost colonnade of the Cordoban mosque, involved in an animated, though friendly discussion on matters of faith and reason, knowledge and God, language and logic. The host is none other than Jehudah Halevi, and his esteemed guests Master Peter Abelard and the venerable Råmånuja, whose obviously advanced age belies his youthful voice, gleaming eye, quick hands, and general exuberance. It is autumn, early evening…