This article analyzes how the program called Terra de Minas (TV Globo Minas) addresses different temporalities as a way to establish an image of the city of Belo Horizonte. Based on the contributions ...of Cultural Studies, this article assumes that the past is not something that is finalized, but it is summoned in the present and may assume places of dispute and opposition to the dominant forms. In the same way, the future can be lived in the present, not as something projected, but as that which reconfigures elements of the dominant or that establishes something new. The textual analysis of the program, based on its visual, sound and verbal elements, signals for at least three calls of social temporalities: the past as patrimony, the future as an improvement of the past and the past as a construction of oneself. Keywords: Local telejournalism. Social temporality. Terra de Minas. O presente artigo tem como objetivo analisar a forma como o programa Terra de Minas (TV Globo Minas) aborda diferentes temporalidades como forma de estabelecer uma imagem da cidade de Belo Horizonte. A partir das contribuicoes dos Estudos Culturais, este artigo assume o passado como algo nao finalizado, mas e convocado no presente podendo assumir lugares de disputa e oposicao as formas dominantes. Do mesmo modo, o futuro pode ser vivido no presente, nao como algo projetado, mas como aquilo que reconfigura elementos do dominante ou que instaura algo novo. A analise textual do programa, embasada em seus elementos visuais, sonoros e verbais, sinaliza para pelo menos tres convocacoes das temporalidades sociais: o passado como patrimonio, o futuro como aprimoramento do passado e o passado como construcao dos sujeitos. Palavras-chave: Telejornalismo local. Temporalidades sociais. Terra de Minas. El presente articulo tiene como objetivo analizar la forma en que el programa Tierra de Minas (TV Globo Minas) aborda diferentes temporalidades como forma de establecer una imagen de la ciudad de Belo Horizonte. A partir de las contribuciones de los Estudios Culturales, este articulo asume que el pasado no es algo finalizado, pero es convocado en el presente pudiendo asumir lugares de disputa y oposicion a las formas dominantes. De la misma manera, el futuro puede ser vivido en el presente, no como algo proyectado, sino como aquello que reconfigura elementos del dominante o que instaura algo nuevo. El analisis textual del programa, basado en sus elementos visuales, sonoros y verbales, senala para al menos tres convocatorias de las temporalidades sociales: el pasado como patrimonio, el futuro como perfeccionamiento del pasado y el pasado como construccion de los sujetos. Palabras clave: Teleperiodismo local. Temporalidades sociales. Terra de Minas.
Resumo O artigo propõe uma reflexão sobre a videoperformance Amuamas, feita pela artista brasileira Juliana Notari na Amazônia brasileira em 2018. Partimos das premissas epistemológicas do ...ecofeminismo, que pensa o corpo feminino como índice de uma associação mais ampla entre o feminino e a natureza e entre a Mãe Terra e a Mata Virgem. Essa prática investigativa opõe-se à noção masculina e patriarcal de cultura que, ao se propor hegemônica e universal, milenarmente posiciona a Mulher e a Natureza como matéria de exploração. Fazemos um breve panorama da emergência da história da arte feminista, campo no qual se inserem artista e obra e que denuncia a narrativa tradicional da história, especialmente a história da arte, que exclui os oprimidos pelo capitalismo. Em seguida, analisamos a obra num esforço de reflexão que a coloca como uma denúncia das relações de opressão baseadas na colonialidade heterossexual do poder e na ocultação de histórias de violência contra os Outros, neste caso, contra o Outro feminino e o Outro natureza. Rematamos, reiterando que as Amuamas representam o encontro da artista com a floresta, mas não só, já que a floresta representa todas as mulheres e todos os Outros, mortos ou oprimidos pela colonialidade/modernidade, pelo homem, branco, europeu, cristão.
La humanista y religiosa dominica Juliana Morell (1594-1653) tuvo un papel como formadora, escritora y traductora en la Contrarreforma francesa. Políglota y con estudios en filosofía, teología y ...jurisprudencia, compuso obras espirituales y dos traducciones del latín al francés con comentarios del Tratado de la vida espiritual de Vicente Ferrer (1350-1419), que contó con dos ediciones (1617 y 1619), y de la Regla de Agustín, publicada póstumamente en 1680. Además, sus Exercices spirituels sur l’éternité (1637) incluyen traducciones y exégesis de pasajes bíblicos. La lectura y sobre todo la traducción, entendidas como diálogo espiritual que orienta hacia la oración, son parte de su dedicación como maestra de novicias y publica sus escritos, por mandato de obediencia, para que los lectores conversen y estén en compañía de las almas cuyas palabras se leen y se traducen.
The work of contemporary American poet, critic, and essayist Juliana Spahr is concerned with politically charged questions of connection, collectivity, and community across disparate ontological ...domains and ecological boundaries. This essay argues that Spahr's 2015 poetry collection That Winter the Wolf Came, which has to date garnered less critical attention than her previous work, combines lyric, intertextual reference, asequential narrative, parataxis, and other formal techniques and compositional practices into a commons poetics. This poetics, in turn, allows Spahr to effectively represent a commons which finds space for plural subjects as diverse as the activists of the 2011-2012 Occupy Movement, oil rigs, and Brent geese. Despite Spahr's own fundamental reservations about the political efficacy of poetry, her unique use of lyric, in particular, cultivates radical connections and oppositional tactics for these plural subjects, offering a vision of a utopian commons beyond capitalism.
La lectura de la hagiografía en inglés antiguo de Juliana, teniendo en cuenta las diferencias con una versión latina anterior, nos permite ver cómo el autor del poema inglés utiliza recursos de la ...narrativa épica germánica, que habrían resultado familiares para su público. A partir de ellos se desarrolla un proceso doble de presentar una mirada crítica sobre los valores heroicos tradicionales y sobre las religiones paganas. El tipo heroico será diferente, ya que el heroísmo no será representado necesariamente por el guerrero con más fuerza física sino por los ryhtfremmendra (righteous people), los godes cempan (guerreros de Dios). Analizaremos, entonces, los recursos narrativos mediante los cuales el autor busca atraer a su audiencia y que el relato, lejano temporal y espacialmente para ella, resulte más cercano y así funcione como ejemplo con la mayor eficacia posible.
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•Most relevant findings from 374 Tawera elliptica clams examined were intracellular microcolonies of bacteria (IMC) in digestive gland and intestine, and an intraoocytic ...microsporidian.•Scanning electron images of histological sections of IMC and the Steinhausia-like intraoocytic microsporidian.•No OIE listed pathogens detected.•No disease risks for the cultivation of this clam at actual prevalences and infection intensities.
Tawera elliptica (commonly known as “Almeja Juliana”, is a venerid clam that inhabits sandy bottoms and is distributed from Valparaíso on the Pacific coast up to the Mar del Plata area along the Atlantic coast. Harvests of this clam have declined substantially over the last decade. Therefore, an analysis of common parasites and pathological conditions of this clam was undertaken along with histopathology. Monthly samples were prepared for routine histology for examination under light and electron microscopy. T. elliptica has a sex ratio of 1:1 and the relationship between the shell length and the wet tissue weight is not significantly different between females and males. The maximum values for de condition index and meat yield were found during the austral winter. The following parasites (and their overall prevalence) were detected: intracellular microcolonies of bacteria in digestive gland (22.9%), intestinal epithelium (9.3%) and gills (3.17%), an unidentified cyst in gills (59,3%), a Steinhausia-like intraoocytic microsporidian (5.2%), Gregarine spores (41.3%), ciliated protozoa (16.7%), two metazoa, a Paravortex like flatworm (4.3%), and a digenean trematode (8%). The monthly mean intensity of the most relevant parasites was between 2.3 and 35.6 for digestive gland intracellular microcolonies of bacteria (IMC), 0–5.1 for intestinal epithelium IMC, 0–2 for branchial IMC and 0 – 48 for intraoocytic microsporidium. The prevalence and the infection intensity were low-to very low, and no World Organisation for Animal Health OIE listed parasite was detected. It is concluded that this is a healthy clam, and no disease risks for the cultivation are visualized at present. However, IMC at high prevalence and intensities of infection could be potentially impactful, and the intraoocytic microsporidian could jeopardize reproduction if present in high intensities of infection.
This paper references two texts from contemporary city writers: Die Stadt ist nicht die Stadt, by Juliana Kálnay (2019), and Graz, Alexanderplatz, by Barbara Marković (2012). They are analysed in ...regard to how the authors present the cities they visit and the type of literary images of the cities they develop. The analysis of Kálnay’s text focuses on how she interweaves past and present of the city and interconnects both through a water motif. Furthermore, intertextual strategies evident through her referencing Italo Calvino’s Invisible Cities are investigated. Marković’s Graz, Alexanderplatz is analysed according to its twofold structure of copied city text on the one side (of the double page) and commented city text and urban experiences on the other. Moreover, how far the text is connected to Alfred Döblin’s Berlin Alexanderplatz is briefly discussed. It is shown that both authors use experimental strategies to structure their texts and grasp ‘their’ cities but that both also subliminally reflect on whether it is actually possible to present the ‘real’ city, and how far the attempts must remain cut-outs of urbanity, dependent on perspective, time and place.
This paper references two texts from contemporary city writers: Die Stadt ist nicht die Stadt, by Juliana Kálnay (2019), and Graz, Alexanderplatz, by Barbara Marković (2012). They are analysed in regard to how the authors present the cities they visit and the type of literary images of the cities they develop. The analysis of Kálnay’s text focuses on how she interweaves past and present of the city and interconnects both through a water motif. Furthermore, intertextual strategies evident through her referencing Italo Calvino’s Invisible Cities are investigated. Marković’s Graz, Alexanderplatz is analysed according to its twofold structure of copied city text on the one side (of the double page) and commented city text and urban experiences on the other. Moreover, how far the text is connected to Alfred Döblin’s Berlin Alexanderplatz is briefly discussed. It is shown that both authors use experimental strategies to structure their texts and grasp ‘their’ cities but that both also subliminally reflect on whether it is actually possible to present the ‘real’ city, and how far the attempts must remain cut-outs of urbanity, dependent on perspective, time and place.
The purpose of this short review is to give a personal appreciation of a woman who was my mentor and friend and who made enormous contributions in the field of translational radiation biology.
Julie ...Denekamp was a talented and charismatic scientist and teacher. She was a major contributor to our understanding of the effects of fractionation schedules on the response of tumors and normal tissues to radiotherapy and of factors that could be manipulated to alter these responses. She was also one of the first to recognize that the fragile state of tumor vasculature could be exploited in targeted radiotherapy.
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