1000 resultados para Rintala, Päivi: Iha köyhän laihakin : tutkimus itämerensuomen iha-kantaisista sanoista


Relevância:

20.00% 20.00%

Publicador:

Resumo:

Introduction Açucena Municipality, Rio Doce Valley, State of Minas Gerais, Brazil temporarily (2001-2005) interrupted epidemiological surveillance for Chagas disease. The objective of this work was to evaluate the Chagas Disease Control Program (CDCP) in Açucena and to offer suggestions for improving local epidemiological surveillance. Methods This study was conducted in three phases: I) a serological investigation of schoolchildren aged 5 to 15 years using an enzyme-linked immunosorbent assay (ELISA) test performed on blood collected on filter paper followed by ELISA, indirect immunofluorescence (IIF) and indirect hemaglutination (IHA) on venous blood for borderline cases and those in the gray zone of reactivity; II) vector evaluation using the data obtained by local health agents during 2006-2010; and III) examination by ELISA, IIF and IHA of serum samples from the inhabitants of houses where infected Triatoma vitticeps was found and evaluation of their knowledge about Chagas disease. Results Five individuals had inconclusive results in the ELISA screening but were seronegative for Chagas disease. The triatomine evaluation revealed the presence of three species: Triatoma vitticeps, Panstrongylus megistus and Panstrongylus diasi. Triatoma vitticeps was the most prevalent and widespread, with a higher (67%) index of Trypanosoma cruzi flagellates and evidence of colonization. Most of the inhabitants of the infested houses recognized triatomines and had basic knowledge about Chagas disease. Conclusions Although T. vitticeps is not clearly associated with Chagas disease transmission, these results highlight the importance of maintaining CDCP in endemic areas and the need for greater emphasis on epidemiological surveillance, especially in areas with important vectorial changes or that have been modified by human intervention.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

The hegemonic definition of Modernism has been subjected to an intense critical revision process that began several decades ago. This process has contributed to the significant broadening of the modernist canon by challenging its primal essentialist assumptions and formalist interpretations in the fields of both the visual arts and architecture. This conference aims to further expand this revision, as it seeks to discuss the notion of “Southern Modernisms” by considering the hypothesis that regional appropriations, both in Southern Europe and the Southern hemisphere, entailed important critical stances that have remained unseen or poorly explored by art and architectural historians. In association with the Southern Modernisms research project (FCT – EXPL/CPC-HAT/0191/2013), we want to consider the entrenchment of southern modernisms in popular culture (folk art and vernacular architecture) as anticipating some of the premises of what would later become known as critical regionalism. It is therefore our purpose to explore a research path that runs parallel to key claims on modernism’s intertwinement with bourgeois society and mass culture, by questioning the idea that an aesthetically significant regionalism – one that resists to the colonization of international styles and is supported by critical awareness – occurred only in the field of architecture, and can only be represented as a postmodernist turn. (...)

Relevância:

20.00% 20.00%

Publicador:

Resumo:

The book now being published results from a research project entitled Southern Modernisms that ran from March 2014 to May 2015 with FCT funding. The aim of the project was to explore the possibility of constructing a more inclusive, plural notion of modernism through the revision of Modernism’s prevailing definition – its stylistic focus, its formalist and anti-representative bias, as well as its autonomic assumptions, or, as far as architecture is concerned, its functionalist credo. This critical undertaking was grounded on the hypothesis that southern European modernisms featured a strong entrenchment in popular culture (folk art and vernacular architecture), and that this characteristic could be understood as anticipating some of the premises of, what would later become known as, critical regionalismo. (...)

Relevância:

20.00% 20.00%

Publicador:

Resumo:

Neste breve texto da comunicação apresentada na Fundação Calouste Gulbenkian, a 11 de Julho de 2008, no âmbito do I Ciclo Internacional de Palestras promovido pela APECMA – Associação Portuguesa para o Estudo e Conservação do Mosaico Antigo e IHA, Instituto de História da Arte, UNL, versamos sobre a ideografia das águas em mosaicos elaborados no espaço do actual território português (correspondente a parte das Províncias romanas da Lusitânia e da Galécia) e destacamos as dimensões decorativas e simbólicas que os motivos ictiográficos assumem nos conjuntos mais significativos.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

Fundação para a Ciência e a Tecnologia (FCT), Fundação Millennium bcp

Relevância:

20.00% 20.00%

Publicador:

Resumo:

Fundação para a Ciência e a Tecnologia (FCT), Fundação Millennium bcp

Relevância:

20.00% 20.00%

Publicador:

Resumo:

Fundação para a Ciência e a Tecnologia (FCT), Fundação Millennium bcp

Relevância:

20.00% 20.00%

Publicador:

Resumo:

Fundação para a Ciência e a Tecnologia (FCT), Fundação Millennium bcp

Relevância:

20.00% 20.00%

Publicador:

Resumo:

This article aims to reconstruct the critical debate regarding the examination of the crisis in the disciplines of art history and criticism with a particular focus on the proposal formulated by U.S. theorists who contributed to October journal. The discrediting of many modernist critical methods, particularly that of Clement Greenberg – the formalist diktat – marked the birth of the journal and gave rise to proposals set forth by critics committed to a new approach. Their divergent positions, nonetheless, have contributed to undermining the traditional concepts of the autonomy of art and criticism. The proposals discussed over the course of publication were the result of a reappraisal of the disciplinary instruments of art history and criticism pursuant to the crucial cultural changes which took place in the 1980s.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

This article addresses the work of Mizrahi women artists, i.e., Israeli-Jewish women of Asian or African ethnic origin, using the artist Vered Nissim as a case study. Nissim seeks to affirm the politics of identity and recognition, as well as feminism in order to create a paradigm shift with regards to the local regime of cultural representations in the Israeli art scene. Endeavouring to find ways of undermining the rigid imbalances between different social groups, she calls for a comprehensive reform of the status quo through artistic activism. Nissim employs a style, content, and medium that disrupts the accepted social order, using humour and irony as unique weapons with which she takes liberties with conventional moral, social, and economic values. Placing issues of race, class and gender at the centre of her work, she seeks to undermine and problematize essentialist attitudes, highlighting the political intersections of different identity categories as the critical analysis of intersectionality unfolds.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

This article proposes an investigation of the history and memory of the Carnation Revolution through the lens of contemporary art. Drawing upon the argument according to which history and memory are investigated by visual artists by means other, but no less relevant, than those of professional historians, this article will argue for the importance of attending to the visual, auditory, textual, object- and research-based ways in which artists from several generations and geographies have been unearthing the repressed histories and memories of the Carnation Revolution in Portugal and of anticolonial struggles, decolonization and post-independence nation-building in Mozambique, Guinea-Bissau and Angola. The discussion focuses on several works by Ângela Ferreira, but attention will also be paid to precursors in imaging the Revolution, such as Ana Hatherly, and to a younger generation of artists such as Filipa César, Kiluanji Kia Henda and Daniel Barroca.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

La thèse que nous soutenons et que nous nous proposons de démontrer dans cet article est que la crise, chez Ortega y Gasset, loin d’instituer une rupture dans le processus de l’histoire, et de menacer ainsi sa continuité, en est la condition de possibilité. L’hypothèse que nous nous proposons de vérifier est que l’idée même d’un « sens » de l’histoire – nous reviendrons sur la manière bien particulière dont le philosophe madrilène entend cette expression – est garantie par la crise. Nous explorerons pour cela très précisément la tension qui réside entre l’affirmation ortéguienne selon laquelle la crise est le moteur de l’histoire d’une part, et la description à laquelle procède le philosophe madrilène de l’homme en crise comme acteur de l’histoire paralysé d’autre part.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

This paper attempts to prove that in the years 1735 to 1755 Venice was the birthplace and cradle of Modern architectural theory, generating a major crisis in classical architecture traditionally based on the Vitruvian assumption that it imitates early wooden structures in stone or in marble. According to its rationalist critics such as the Venetian Observant Franciscan friar and architectural theorist Carlo Lodoli (1690-1761) and his nineteenth-century followers, classical architecture is singularly deceptive and not true to the nature of materials, in other words, dishonest and fallacious. This questioning did not emanate from practising architects, but from Lodoli himself– a philosopher and educator of the Venetian patriciate – who had not been trained as an architect. The roots of this crisis lay in a new approach to architecture stemming from the new rationalist philosophy of the Enlightenment age with its emphasis on reason and universal criticism.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

A explosão de Macau nos últimos dez anos deve-se a um conjunto de factores, que este texto procura descrever, propondo uma necessária reflexão. Depois da liberalização do jogo em 2001/2002, o Sands Macau inaugura, em 2004, como o primeiro casino da nova vaga. Em 2005, Macau é Património Mundial da Humanidade pela UNESCO. O Cotai é inicialmente um projecto da administração portuguesa como uma nova cidade para 150 000 habitantes. O Cotai Strip nasce de uma epifania de Sheldon Adelson, chairman da Las Vegas Sands Corporation, em 2003. Em 2007, o Venetian inaugura como “flagship” do Cotai Strip e, em 2011, o Galaxy amplia a dimensão delirante da arquitectura do jogo. No pós-Portugal, a condição de Macau como espaço híbrido, colonizado, transitório, aumenta exponencialmente enquanto “Região Administrativa Especial” da República Popular da China. Macau é hoje uma distopia suave, corporizada nos casinos; uma vida subterrânea que se expressa no skyline.

Relevância:

20.00% 20.00%

Publicador:

Resumo:

Les yeux et les masques sont prévalents dans les oeuvres du peintre chinois contemporain Zeng Fanzhi (né en 1964), comme métaphore du jeu de pouvoir qui oppose les individus à l’appareil social et politique. Son oeuvre La Cène, d’après Leonard de Vinci, est un exemple frappant de cette préoccupation. Cet essai examine l’utilisation par l’artiste de cette représentation occidentale d’une crise morale (une trahison qui mène à la mort du Christ) pour exprimer la dystopie qui marque la Chine contemporaine. L’interprétation par Zeng de l’oeuvre de Vinci témoigne d’une compréhension profonde de sa signification à la Renaissance comme conflit entre le pouvoir terrestre et spirituel, auquel il surimpose la fonction du banquet dans la culture chinoise comme lieu de lutte politique. Un nihilisme détaché imprègne ce travail, à l’instar de l’interprétation métaphorique du banquet de Platon par Søren Kierkegaard, In Vino Veritas.