Ympäristöskeptikkojen strategiat ja taistelu tiedosta

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Who is in charge? An L2 Discourse Intonation Study on Four Prosodic Parameters to Exert the Pragmatic Function of Dominance and Control in the Context of L2 Non-specialist Public Speaking

This paper reports the findings from a study of the learning of English intonation by Spanish speakers within the discourse mode of L2 oral presentation. The purpose of this experiment is, firstly, to compare four prosodic parameters before and after an L2 discourse intonation training programme and, secondly, to confirm whether subjects, after the aforementioned L2 discourse intonation training, are able to match the form of these four prosodic parameters to the discourse-pragmatic function of dominance and control. The study designed the instructions and tasks to create the oral and written corpora and Brazil’s Pronunciation for Advanced Learners of English was adapted for the pedagogical aims of the present study. The learners’ pre- and post-tasks were acoustically analysed and a pre / post- questionnaire design was applied to interpret the acoustic analysis. Results indicate most of the subjects acquired a wider choice of the four prosodic parameters partly due to the prosodically-annotated transcripts that were developed throughout the L2 discourse intonation course. Conversely, qualitative and quantitative data reveal most subjects failed to match the forms to their appropriate pragmatic functions to express dominance and control in an L2 oral presentation.

Nominations before the Senate Armed Services Committee, first session, 105th Congress : hearings before the Committee on Armed Services, United States Senate, One Hundred Fifth Congress, first session, on nominations of William S. Cohen; Federico F. Peǹa; Keith R. Hall; Gen. Wesley K. Clark, USA; Lt. Gen. Anthony C. Zinni, USMC; Rudy F. de Leon; John J. Hamre; Gen. Henry H. Shelton, USA; Gen. Michael E. Ryan, USAF; Adm. Harold W. Gehman, Jr., USN; Lt. Gen. Charles E. Wilhelm, USMC; Dr. Jacques S. Gansler; Lt. Gen. Peter J. Schoomaker, USA; Lt. Gen. John A. Gordon, USAF; Robert M. Walker; Jerry MacArthur Hultin; F. Whitten Peters; William J. Lynn III, January 22; February 5; March 6; July 9, 17, 24; September 9, 16; October 1, 23, 30; November 8, 1997.

Shipping list no.: 98-0179-P.

Filmar la historia a partir de Peter Weiss

La lectura de La estética de la resistencia nos permite detectar una serie de operaciones que, durante el proceso de escritura, Peter Weiss pone en marcha y queencontraremos reflejadas a su vez en algunos cineastas contemporáneos en la aproximación al tratamiento de la Historia. La novela nos da pie a intentar sacar a la luz sus costuras: el entrecruzamiento de temporalidades como forma de hacer saltarel presente; la recuperación del archivo personal que permitirá el tratamiento de laHistoria en primera persona; la evolución desde la incorporación del registro enbruto a la escenificación de las discusiones entre partes; la descripción exhaustiva deacontecimientos y obras de arte y su continua puesta en relación con la vidacotidiana de los personajes, que configurará lo que Fredric Jameson entiende comouna “pedagogía del subalterno” y que coincide plenamente con la “emancipaciónintelectual” que propone Jacques Rancière.

Jacques Tati : vivienda experimental y espacio de trabajo a mediados del siglo XX

La obra fílmica del director francés Jacques Tati podría considerarse como el perfecto reflejo del paradigma edificatorio de mediados del siglo XX en plena posguerra europea, una época ávida de transformaciones de las que el cine supo hacerse eco. Particularmente, el cine de Tati refleja las preocupaciones del ciudadano europeo de posguerra sobre las consecuencias de las masivas construcciones erigidas en sus devastados núcleos urbanos y la puesta en práctica de la ciudad funcional propuesta por la Carta de Atenas (1931). Pero, además, el análisis del cine de Jacques Tati permite un acercamiento a la modernidad desde diversos puntos de vista como la movilidad, el diseño urbano, las nuevas construcciones, los espacios de trabajo en los nuevos distritos terciarios, la vivienda -tradicional, moderna y experimental- o el diseño mobiliario en la posguerra. A través de su alter ego -Monsieur Hulot- Tati interacciona curioso con las nuevas construcciones geométricas de paños neutros y cuestiona su ruptura con la tradición edificatoria francesa, enfatizando la oposición entre el pasado nostálgico y la modernidad de las décadas de los 50 y 60, salpicadas por el consumismo feroz del recién estrenado estado de bienestar. La confrontación funcional, volumétrica, estética e incluso cromática entre ambos mundos construidos –el tradicional y el moderno- invita al espectador a un ejercicio de reflexión y crítica sobre la arquitectura moderna de este período en Europa. En particular, la mirada cinematográfica de Tati se centra en dos conceptos fundamentales. Por una parte, su atención se dirige a la famosa casa mecanicista Le Corbuseriana materializada en la ultra-moderna casa Arpel (Mon Oncle, 1958) y proyectada en la misma época en la que se desarrollaban importantes prototipos de vivienda experimental como la Casa de Futuro de Alison y Peter Smithson o las viviendas de Jean Prouvé. Debe ponerse de manifiesto que la crítica de Jacques Tati no se centraba en la arquitectura moderna en sí misma sino en el empleo erróneo que los usuarios pudieran hacer de ella. Por otro lado, Tati centra su atención en el prisma miesiano a través de los bloques de oficinas que conforman la ciudad de Tativille en Playtime (1967). Se trataba de una gran ciudad moderna construida explícitamente para el rodaje de la película y basada en los casi idénticos tejidos urbanos residenciales y terciarios ya en funcionamiento en las principales capitales europeas y norteamericanas en aquellos años. Tativille funcionaría como una ciudad autónoma disponiendo de diversas instalaciones y con el objetivo de integrarse y consolidarse en la trama urbana parisina. Lamentablemente, su destino al final del rodaje fue bien distinto. En definitiva, el análisis de la producción fílmica de Jacques Tati permite un acercamiento a la arquitectura y al urbanismo modernos de posguerra y al contexto socio-económico que favoreció su crecimiento y expansión. Por ello, su obra constituye una herramienta visual muy útil que aún hoy es consultada y mostrada por su claridad y humor y que invita a los ciudadanos –telespectadores- a participar en un ejercicio crítico arquitectónico hasta entonces reservado a los arquitectos. ABSTRACT The film work of French director Jacques Tati could be considered as the perfect reflection of the mid-20th century European post-war building paradigm, a period of time plenty of transformations perfectly echoed by cinema. In particular, Tati’s film work reflects the European post-war citizen’s concerns about the consequences of massive constructions built in their desvastated urban centres, as well as the development of functional cities proposed by the Athens Charter (1931). But, on top of that, an analysis of Jacques Tati’s cinematography allows for an approach to modernity from different perspectives, such as mobility, urban design, new buildings, working spaces in the new tertiary districts, housing -traditional, modern, and experimental-, or furniture design during the post-war period. Embodied by his alter-ego –Monsieur Hulot,- Tati curiously interacts with the new geometric constructions of neutral facades and questions the break with the French building tradition, highlighting the opposition between the nostalgic past and modernity of the 50s and 60s, affected by the fierce consumerism of the new welfare state. The functional, volumetric, aesthetic and even chromatic confrontation between both built worlds –traditional vs modern- invites the viewer to an exercise of meditation and criticism on the European modern architecture of that period. Tati’s film look is particularly focused on two basic concepts: on the one hand, his attention addresses Le Corbusier’s famous mechanistic house which is materialized in the ultra-modern Arpel house (Mon Oncle, 1958) and designed, in turn, when the development of other important experimental dwelling prototypes like Alison and Peter Smithson’s House of the Future or Jean Prouvé´s houses was taking place. It must be highlighted that Jacques Tati’s criticism was not addressed to modern architecture itself but to the wrong use that citizens could make of it. On the other hand, Tati focuses on the Miesian prism through the office buildings that shape the city of Tativille in Playtime (1967). It was a big, modern city built specifically for the film shooting, and based on the almost identical residential and tertiary urban fabrics already active in the main European and American capitals those years. Tativille would work as an autonomous city, having several facilities at its disposal and with the goal of getting integrated and consolidated into the Parisian urban weave. However, its final use was, unfortunately, quite different. In conclusion, an analysis of Jacques Tati’s film production allows for an approach to modern post-war architecture and urbanism, as well as to the socio-economic context that favoured its growth and expansion. As a result of this, Jacques Tati’s film production constitutes a suitable visual tool which, even nowadays, is consulted and shown due to its clarity and humour, and at the same time invites citizens –viewers- to participate in an architectural criticism exercise that, so far, had been reserved to architects.

Cloning and Characterization of peter pan, a Novel Drosophila Gene Required for Larval Growth

We identified a new Drosophila gene, peter pan (ppan), in a screen for larval growth–defective mutants. ppan mutant larvae do not grow and show minimal DNA replication but can survive until well after their heterozygotic siblings have pupariated. We cloned the ppan gene by P-element plasmid rescue. ppan belongs to a highly conserved gene family that includes Saccharomyces cerevisiae SSF1 and SSF2, as well as Schizosaccharomyces pombe, Arabidopsis, Caenorhabditis elegans, mouse, and human homologues. Deletion of both SSF1 and SSF2 in yeast is lethal, and depletion of the gene products causes cell division arrest. Mosaic analysis of ppan mutant clones in Drosophila imaginal disks and ovaries demonstrates that ppan is cell autonomous and required for normal mitotic growth but is not absolutely required for general biosynthesis or DNA replication. Overexpression of the wild-type gene causes cell death and disrupts the normal development of adult structures. The ppan gene family appears to have an essential and evolutionarily conserved role in cell growth.

A responsabilidade de traduzir o in-traduzível: Jacques Derrida e o desejo de [la] tradução

How should one consider the responsibility of the translator, who is located between the differences of two linguistic systems and in the middle of the various idioms constitute each of the languages involved in the translation? (P. Ottoni). What is the role of the translator in inter-acting with both his/her mother tongue and the idiom of the other? These two questions will be discussed in order to reflect on the responsibility of translating the un-translatable. Two hypotheses orient the paper: 1 - an idiom spoken idiomatically is known as the mother tongue and is not appropriated, so that accommodating the other in one's own language automatically considers his/her idiom (J. Derrida) and 2 - face-to-face with language and its idioms, the translator is trapped in a double (responsibility) bind; faced with something which cannot be translated, he/she is forced to perceive it in another way. In conclusion, how should one consider the responsibility of translating the un-translatable Jacques Derrida?

The tasks of medicine: An ideology of care; edited by Peter Baume

No abstract

Can occupational therapy intervention play a part in maintaining independence and quality of life in older people? A randomised controlled trial Jeannine Liddle 1 , 2 , Lyn March 3 , Barbara Carfrae 4 , Terence Finnegan 5 , Jane Druce 6 , Jennifer Schwarz 7 Peter Brooks

The main objective of this study was to see if older people could maintain their quality of life and independence after their homes had been modified and they were using community services as recommended by an occupational therapist. There were 167 study participants aged 69 to 94 years from the Northern Sydney Area, After being assessed at home by an occupational therapist, 105 were randomly allocated to one of two groups, to either have or not have the occupational therapist's recommendations carried out, They were assessed again after six months, A third group did not require any intervention, This group was followed up by telephone and postal questionnaire at six months. The main outcome measures used were the Sickness Impact Profile, the Philadelphia Geriatric Center Morale Scale, the Life Satisfaction Index, assessment of Activities of Daily Living, the Health Assessment Questionnaire and change in residence. After six months there were no difference in outcomes among the three groups. Most study participants remained at a satisfactory level on each measure. Three people had died, One had moved to hostel care and one had moved to a nursing home. A further 14 from the group having no intervention had withdrawn from the study, A secondary objective of this study was to indicate the responsiveness of these outcome measures to change in the short term (over six months) in an elderly population. Twelve-month assessments are in progress and may indicate what to expect from these outcome measures in the medium term.