THE “CARTAS PORTUGUESAS” (PORTUGUESE LETTERS) AND THE TRADITION OF THE “UNREQUITED LOVE" IN THE PORTUGUESE LITERATURE OF FEMALE VOICE

Inserted in the perspective of literary studies, this paper proposes an analysis of the “Cartas Portuguesas” (Portuguese Letters), a work attributed to Mariana Alcoforado, assuming that this work is constituted within the Lusitanian literature as an important formative element of the imaginary loving Portuguese female voice. Through the study, it is possible to identify the fact that the letters are prefaced, stylistically or thematically, by the songs of love and of friend, and succeeded by works such as “Livro de Sóror Saudade” (Book of Longing Sóror), of Florbela Espanca, and “Novas Cartas Portuguesas” (New Portuguese Letters) by Maria Isabel Barreno, Maria Velho da Costa and Maria Teresa Horta.

Kawamoto’s "Dojoji Temple": Puppetry, Gesture and Myth

Dojoji Temple ( Dōjōji, 1976) is a short puppet animation directed by Kihachirō Kawamoto. Influenced by Bunraku (Japanese puppet plays), emaki (painted scroll), Noh theatre and Japanese myth, Dojoji Temple tells of a woman’s unrequited love for a young priest. Heartbroken, she then transforms into a sea serpent and goes after the priest for revenge. While Kawamoto’s animation is rich with Japanese aesthetics and tragedy, his animation is peopled by puppets who do not speak. Limited and restrained though the puppets may be, their animated gestures speak volumes of powerful emotions. For our article, we will select several scenes from the animation, and interpret their actions so that we can further understand the mythical world of Dojoji Temple and the essential being of puppetry. Our gesture analysis will take into account cinematographic compositions, sound and bodily attires, among other elements.

José Feliciano de Castilho e a tradição clássica do séc. XIX: memória sobre a segunda égloga de Virgílio

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Agora eu fiquei doce: o discurso da autoestima no sertanejo universitário

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Agora eu fiquei doce: o discurso da autoestima no sertanejo universitário

Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)

Plot and counterplot, or, The portrait of Michael Cervantes : a farce in two acts /

Edition statement at head of title.

Cyberstalking:a new challenge for criminal law

Cyberstalking has recently emerged as a new and growing problem and is an area that will probably receive a higher profile within criminal law as more cases reach court (see Griffiths, 1999; Griffiths, Rogers and Sparrow, 1998; Bojic and McFarlane, 2002a; 2002b). For the purposes of this article we define cyberstalking as the use of information and communications technology (in particular the Internet) in order to harass individuals. Such harassment may include actions such as the transmission of offensive e-mail messages, identity theft and damage to data or equipment. Whilst a more comprehensive definition has been presented elsewhere (Bocij and McFarlane, 2002), it is hoped that the definition here is sufficient for those unfamiliar with this field. The stereotypical stalker conjures up images of someone harassing a victim who is the object of their affection. However, not all stalking incidents are motivated by unrequited love. Stalking can also be motivated by hate, a need for revenge, a need for power and/or racism. Similarly, cyberstalking can involve acts that begin with the issuing of threats and end in physical assault. We also make distinctions between conventional stalking and cyberstalking. Whilst some may view cyberstalking as an extension of conventional stalking, we believe cyberstalking should be regarded as an entirely new form of deviant behaviour. It is not surprising that cyberstalking is sometimes thought of as a trivial problem. A number of writers and researchers have suggested that cyberstalking and associated activities are of little genuine concern. Koch (2000), for example, goes as far as accusing those interested in cyberstalking as promoting hysteria over a problem that may be minuscule or even imaginary. The impression gained is that cyberstalking represents a relatively small problem where victims seldom suffer any real harm. Whilst there are no genuinely reliable statistics that can be used to determine how common cyberstalking incidents are, a great deal of evidence is available to show that cyberstalking is a significant and growing problem (Griffiths et al, 1998). For instance, CyberAngels (a well-known Internet safety organization) receives some 500 complaints of cyberstalking each day, of which up to 100 represent legitimate cases (Dean, 2000). Another Internet safety organization (Working to Halt Online Abuse) reports receiving an average of 100 cases per week (WHOA, 2001). To highlight the types of cyberstalking behaviours that take place and some of the major issues facing criminal law, we briefly examine four high profile cases of cyberstalking (adapted from Bocij and MacFarlane, 2002b).

Love at first sight : Sanja Pahoki

I am a landscape architect, a non-photographer, and in reviewing this exhibition, it seems that in a critical discourse on photography the nature of the view and its relation to the observer (presumably the camera) is inevitably a key focus of creative inquiry, in an epistemological sense. In conducting such a review, of 'self-portraits' by 'female photographers' in relation to 'the landscape', one cannot help but ask what priority this critique should allocate to each of these conceptual agendas, quite apart from the simple formal quality of the individual pieces themselves. Analytically, each could form the axes of a matrix that might allow for a number of quite different permutations and therefore differently conclusive commentaries on the others: the view vs landscape; the view vs sexuality; the self-portrait vs the landscape picture. All of these would be productive in their own right and each is alluded to in the works themselves and in the narrative of the catalogue. Considering this range of possible permutations, this show is certainly rich and this richness sits well with the relative formal saturation of the images themselves.

'The seven things all men love in bed' : young women's magazines and the governance of femininity

Rather than passing judgment of the content of young women’s magazines, it will be argued instead that such texts actually exist as manuals of self-formation, manuals which enroll young women to do specific kinds of work on themselves. In doing so, they form an effective link between the governmental imperatives aimed at constructing particular personas – such as the sexually responsible young girl - and the actual practices whereby these imperatives are operationalised.

Any old love

Album (CD,vinyl and digital) of original music.

From China with love

Like the Montagues and the Capulets, the East and West have had a great many affairs that have stirred suspicions of one another. But for those of us fortunate enough to cross the cultural divide, Gillian Lawson says there is much about which to be curious, excited and anxious.

When There's Love

This work is an installation featuring three video projections, music and mirror balls. The three projections fill the walls with scrolling text borrowed from love song lyrics. Headphones in the gallery space allow you to hear a male voice sing the same words to an impromptu tune. Mirror balls send fragments of light spinning around the room while The Righteous Brothers’ Unchained Melody plays on repeat. This work emphasizes fragmentary, repetitious and spatio-temporal experiences of language in order to question the symbolic conventions of romance. By exaggerating and mixing hackneyed symbolic elements, this work extends on some of Nicolas Bourriaud’s theoretical insights into the creative and critical strategies of ‘postproduction’. In particular, it toys with the intersections between popular culture and inter-subjective experiences.