Itinerários do bovarismo

According to Sérgio Buarque de Holanda, there is a “thinking addiction" in Brazil that disfigures reviews and creates disadvantages for a better understanding of the real changing of conditions in society. It is in Raízes do Brasil that this "reasoning addiction" is best defined as an "Invincible disenchantment from the view of our real conditions". This definition is supported by the bovarism theory - pouvoir qu`a l`homme de se concevoir autre qu’il n’est - theory formulated by Jules de Gaultier (1858-1942), French homme de lettres and who promoted Nietzsche in France - for this title, he is self intended as a philosopher, which extends the characterization of the individual drama of Flaubertian's character of Madame Bovary for the characterization of nations. Sérgio Buarque de Holanda is not the only author who uses this notion, before him, it was also in Paulo Prado and Lima Barreto and much after him in Celso Furtado and Paulo Eduardo Arantes, to keep with the best known authors. This article aims to show how bovarism is born, what it is meant in the French context of origin and how it acclimatized in Brazilian's intellectual experience, theoretically basing important diagnostics of our society. This is to conduct genetic mapping of a concept which is still strong in the horizon of the decisive clash between national projects that deal with Brazil's peripheral condition.

Pólis vs. Oikos: a investigação do papel feminino no drama grego

This work analyzes the consequences of the intersection between the two spheres polis and oikos. It does so by examining themes present in three plays: Medea, Agamemnon and Lysistrata. The focus of the analysis is the way in which the feminine characters react to conflicts of interests in their respective situations. To fully comprehend which values correspond to which mentioned institution, the work also necessarily investigates the socialization and functions of both genders in fifth-century Athenian society. The analysis of the feminine condition in the creation myth implies the importance of the misogynistic sense of that time, which culminated in the silencing, discrediting, and systemic repression of females. The role of women in society, instilled in all girls starting in early childhood, is to succeed in marriage and domestic permanence. This lies opposite the masculine role, which was focused outside of the family center and to environments relating to war and public life. Matrimony and family, traditional female values, were threatened when overlapping with male interests, such as unavoidable war or social ascension through a different matrimonial bond. Therefore, it is possible to affirm that the opposition evident in the definitions male vs. female indicates that, in certain contexts, the interests of each element cause the conflicts present in the chosen plays

All the World's a Stage: Reaching English Language Learners through Drama

The use of drama with language instruction has long been considered a legitimate practice. A recent survey of the literature shows that English Language Learners (ELLs) may have even more to benefit from the use of drama in the classroom. Studies showed an increase in language and problem-solving ability, as well as student self-efficacy that was transferrable across activities. Following an analysis of the literature is a proposed curriculum based on the findings of the researchers cited. This unit is centered on dramatic activities that make use of all four language domains and includes the examination of plays in writing, on the stage, and as a playwright. In the end, students will be asked to combine all of their skills to put on a completely student-created production. An analysis of the factors surrounding the implementation of such a unit follows the unit itself.

Pólis vs. Oikos: a investigação do papel feminino no drama grego

This work analyzes the consequences of the intersection between the two spheres polis and oikos. It does so by examining themes present in three plays: Medea, Agamemnon and Lysistrata. The focus of the analysis is the way in which the feminine characters react to conflicts of interests in their respective situations. To fully comprehend which values correspond to which mentioned institution, the work also necessarily investigates the socialization and functions of both genders in fifth-century Athenian society. The analysis of the feminine condition in the creation myth implies the importance of the misogynistic sense of that time, which culminated in the silencing, discrediting, and systemic repression of females. The role of women in society, instilled in all girls starting in early childhood, is to succeed in marriage and domestic permanence. This lies opposite the masculine role, which was focused outside of the family center and to environments relating to war and public life. Matrimony and family, traditional female values, were threatened when overlapping with male interests, such as unavoidable war or social ascension through a different matrimonial bond. Therefore, it is possible to affirm that the opposition evident in the definitions male vs. female indicates that, in certain contexts, the interests of each element cause the conflicts present in the chosen plays

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

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).

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.

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).

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.

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…