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Zeitschriftenartikel zum Thema „Clarine“

Autor: Grafiati

Veröffentlicht am 25. Mai 2024

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1

Madanire-Moyo, G. N., und A. Avenant-Oldewage. „On the development of a parasitic copepod, Lamproglena clariae Fryer, 1956 (Copepoda, Lernaeidae) infecting the sharp tooth catfish, Clarias gariepinus“. Crustaceana 86, Nr. 4 (2013): 416–36. http://dx.doi.org/10.1163/15685403-00003165.

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The postembryonic development of the gill parasite, Lamproglena clariae, infecting the sharp tooth catfish, Clarias gariepinus was established from egg culture and artificial infection of fish under laboratory conditions. Like most fish parasitic copepods, L. clariae has a direct life cycle utilizing only a single fish host species. Adult post metamorphosis females produce two egg strings. The mean number of eggs in each egg string was 52. Three naupliar and first copepodid stages were obtained in culture while two copepodid stages, cyclopoid and adult specimens were obtained after artificial infection of catfish in aquaria. First stage nauplii were globular in shape and densely filled with yolk. Nauplii lacked a perforation for the mouth and masticatory parts of the appendages, all of which indicate that they do not feed. Body architecture of the first copepodid stage of L. clariae is similar to that of all other copepods in the number and kind of somites: a cephalothorax with five appendages, three thoracic somites, one abdominal somite and furca rami. This seems to be a conserved morphology among the copepods. The three naupliar and three copepodid stages are described and compared to related copepods.

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Khanum, Hamida, Farjana Easmin, Md Showket Hasan und Rimi Farhana Zaman. „Hemlninth and Parasitic Arthropod Prevalence in Catfish Clarias batrachus (L.) from Ponds in Savar“. Bangladesh Journal of Zoology 43, Nr. 2 (01.07.2016): 269–77. http://dx.doi.org/10.3329/bjz.v43i2.27397.

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A total of 115 Clarias batrachus were investigated for parasitic infestation. Out of 1504 parasites recovered from Clarias batrachus, 761 (50.59%) were cestodes, 34(2.26%) trematodes, 58(3.85%) nematodes and 12(0.79%) crustaceans ectoparasite. Cestodes showed the highest prevalence (66.09%) and the collected parasites were Bovienia serialis, Caryophyllaeus laticeps, Balanotaenia bancroftii, Djombangia penetrans, Orientocreadium batrachoides, Orientocreadium clariae, Procamallanus slomei, Spirocamallanus olsenia and ectoparasite Lernaea cyprinacea. Among the 9 species of parasites, P. slomei (28.69%) showed the highest prevalence. The moderate prevalence showed by Bovienia serialis and S. olsenia (21.74), lowest by O. batrachoides (10.43%) and Lernaea cyprinacea (10.43). The overall prevalence and mean intensity of parasite infection were 82.61% and 15.83 respectively. The highest parasitic infestation was found (88.43%) in intestine. Cestodes B. serialis, B. bancroftii and D. penetrans were recovered from stomach and intestine. P. slomei were collected from three regions viz. oesophagus, stomach and intestine, while Lernaea cyprinacea from gill. Seasonally the highest prevalence (90%) and mean intensity (24.27%) was recorded during summer.Bangladesh J. Zool. 43(2): 269-277, 2015

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Lal, Sudhir Kumar. „Comparison of helminth infection between the sexes of Clarias batrachus (LINN.) from Rupandehi, Nepal“. International Journal of Applied Sciences and Biotechnology 1, Nr. 2 (15.06.2013): 71–73. http://dx.doi.org/10.3126/ijasbt.v1i2.8197.

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One hundred and twenty specimens of catfish Clarias batrachus were examined for parasites. They comprise sixty specimens each of males and females. 25(41.67%) males and 25(41.67%) females showed parasitic infection. A total of seventy six intestinal helminthes belonging to three taxonomic groups were recovered. They are cestodes – Lytocestus indicus, Pseudocaryophyllaeus clariae; nematodes – Paracamallanus sp., Procamallanus cancilus and acanthocephalan – Acanthocentis sp. Of these, twenty nine were recovered from males and forty seven from females. Total prevalence of infection was the same for both sexes but total intensity of infection was different. There was no statically significant difference in the infection between the two sexes.DOI: http://dx.doi.org/10.3126/ijasbt.v1i2.8197 Int J Appl Sci Biotechnol, Vol. 1(2): 72-74

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Wahyuningsih, Sri P. Astuti, R. Warsito, Hastari Wuryastuti und Kamiso H.N. „DETEKSI Streptococcus Sp PADA Clarias gariepinus MENGGUNAKAN AMPLIFIED ENZYME-LINKED IMMUNOSORBENT ASSAY“. Berkala Penelitian Hayati 5, Nr. 1 (31.12.1999): 23. http://dx.doi.org/10.23869/bphjbr.5.1.19993.

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An enzyme-linked immunosorbent assay has been developed which detect Streptococcus sp. Twenty Clarian gariepinus at the age of two weeks was soaked in Streptococcus sp. suspension with concentration of 108 bacteria per ml for two hours. Specimens such as blood, mucous, muscles, heart, kidney, liver, intestines and gill were collected, and assayed for the presence of Steptococcus sp. using ELISA. Result of present study showed that ELISA can be applied to detect an isolated Streptococcus sp. from tissues of Clarias gariepinus. Kidney is a primary target organ (predilection). Therefore, the kidney is a specimen of choice for diagnosis approach (es) of Streptococcus sp. infection.

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Ketcham, John M., Shilpi Khare, Niranjan Sudhakar, David M. Briere, Larry Yan, Jade Laguer, Laura Vegar et al. „Abstract ND02: MRTX0902: A SOS1 inhibitor for therapeutic intervention of KRAS-driven cancers“. Cancer Research 82, Nr. 12_Supplement (15.06.2022): ND02. http://dx.doi.org/10.1158/1538-7445.am2022-nd02.

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Abstract KRAS is the most frequently mutated oncogene in cancer and drives uncontrolled growth through hyperactivation of the MAPK pathway. Significant progress has been made in the past several years to directly target KRASG12C with the FDA approval of sotorasib and the reported clinical activity of adagrasib (MRTX849). Despite these remarkable breakthroughs, additional therapies that enhance the depth and duration of response to KRASG12C inhibitors provide the opportunity to build upon the initial progress. SOS proteins are guanine nucleotide exchange factors (GEFs) that transduce receptor tyrosine kinase (RTK) signaling from the cell surface and facilitate the activation of RAS family proteins. In addition, SOS1 is a target of negative feedback signaling following RAS-mediated activation of the RAF-MEK-ERK cascade. Thus, SOS proteins represent a significant therapeutic node that maintains RAS pathway equilibrium as well as oncogenic signaling dynamics. Here we highlight the discovery and preclinical evaluation of MRTX0902, a potent, selective, and orally bioavailable inhibitor of SOS1 presently in IND-enabling studies. A structure-based approach was used to identify a novel chemical series that disrupts the protein-protein interaction between SOS1 and KRAS, thereby preventing SOS1-mediated GTP-exchange on GDP-bound KRAS. Considering MRTX849 preferentially binds to inactive GDP-bound KRASG12C, targeting SOS1 in this genetic context increases the ability of MRTX849 to bind and inhibit KRASG12C. The combination of MRTX0902 with MRTX849 enhances the depth and durability of an anti-tumor response when compared to MRTX849 alone in pre-clinical KRASG12C tumor models. MRTX0902 augments additional targeted therapies across a variety of RAS-addicted tumors, indicating that SOS1 inhibition is effective against a broad spectrum of mutations within the MAPK pathway. Furthermore, drug-anchored CRISPR experiments with MRTX0902 and MRTX849 uncovered a previously underappreciated functional role of the SOS1 paralog, SOS2, in KRAS-addicted tumors. In addition to aiding in the understanding of SOS and RAS family signaling dynamics, these studies implicate SOS2 as a potential cancer drug target in the context of SOS1/KRASG12C inhibition. In summary, we have used a structure-based approach to discover a SOS1 inhibitor that augments the anti-tumor activity of MRTX849 and additional targeted MAPK pathway inhibitors. We anticipate our findings to translate into the clinic and make an impact in patients with RAS-addicted tumors. Citation Format: John M. Ketcham, Shilpi Khare, Niranjan Sudhakar, David M. Briere, Larry Yan, Jade Laguer, Laura Vegar, Darin Vanderpool, Jill Hallin, Lauren Hargis, Vickie Bowcut, David Lawson, Robin J. Gunn, Anthony Ivetac, Nicole C. Thomas, Barbara Saechao, Natalie Nguyen, Jeffrey Clarine, Lisa Rahbaek, Christopher R. Smith, Aaron C. Burns, Matthew A. Marx, James G. Christensen, Peter Olson, Jacob R. Haling. MRTX0902: A SOS1 inhibitor for therapeutic intervention of KRAS-driven cancers [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr ND02.

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Olshanskiy, V. M., O. A. Soldatova, K. S. Morshnev und Nguen Thi Nga. „Electrical activity of asian catfish Clarias macrocephalus (Claridae, Siluriformes) during spawning behavior“. Doklady Biological Sciences 429, Nr. 1 (Dezember 2009): 554–58. http://dx.doi.org/10.1134/s0012496609060210.

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7

O'Loughlin, Niall. „Clarinet“. Musical Times 126, Nr. 1712 (Oktober 1985): 608. http://dx.doi.org/10.2307/964927.

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8

O'Loughlin, Niall. „Clarinet“. Musical Times 129, Nr. 1739 (Januar 1988): 28. http://dx.doi.org/10.2307/964984.

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9

Soalheiro, Luci Cléa. „Clarice“. Revista Literária do Corpo Discente da Universidade Federal de Minas Gerais 19, Nr. 20 (31.01.1988): 63. http://dx.doi.org/10.17851/0103-5878.19.20.63-64.

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10

Guadalupe, Angeles. „¿Quién es Clarice Lispector?“ Argos 6, Nr. 18 (01.06.2019): 41–49. http://dx.doi.org/10.32870/argos.v6.n18.4b19.

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Este artículo aborda un breve análisis de los textos Aprendizaje o el libro de los placeres y La pasión según G. H. ambos de Clarice Lispector. Se pretende resaltar la importancia del lenguaje narrativo a través de los personajes que sobresalen en la obra de Lispector, tomando como punto de referencia el análisis teórico de la narrativa clásica.

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Piirainen, Anne Elisabeth. „In search for hidden repertoire gems: A performer´s approach to Russian and Soviet clarinet music“. Trio 10, Nr. 1 (10.07.2021): 79–85. http://dx.doi.org/10.37453/trio.110128.

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In her doctoral research, Anne Elisabeth Piirainen sheds light on a little known aspect of the clarinet repertoire – clarinet music from Russia and the former Soviet Union. This performance-based research gives insight into a large variety of very valuable yet quite forgotten compositions with a special focus on clarinet works with Jewish themes. The thesis is published as a website and includes an extensive clarinet composition database that aims to close the research gap on this topic.

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12

Ogun, Oluwatobi, und Marisa Zallocchi. „Clarin-1 acts as a modulator of mechanotransduction activity and presynaptic ribbon assembly“. Journal of Cell Biology 207, Nr. 3 (03.11.2014): 375–91. http://dx.doi.org/10.1083/jcb.201404016.

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Clarin-1 is a four-transmembrane protein expressed by hair cells and photoreceptors. Mutations in its corresponding gene are associated with Usher syndrome type 3, characterized by late-onset and progressive hearing and vision loss in humans. Mice carrying mutations in the clarin-1 gene have hair bundle dysmorphology and a delay in synapse maturation. In this paper, we examined the expression and function of clarin-1 in zebrafish hair cells. We observed protein expression as early as 1 d postfertilization. Knockdown of clarin-1 resulted in inhibition of FM1-43 incorporation, shortening of the kinocilia, and mislocalization of ribeye b clusters. These phenotypes were fully prevented by co-injection with clarin-1 transcript, requiring its C-terminal tail. We also observed an in vivo interaction between clarin-1 and Pcdh15a. Altogether, our results suggest that clarin-1 is functionally important for mechanotransduction channel activity and for proper localization of synaptic components, establishing a critical role for clarin-1 at the apical and basal poles of hair cells.

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13

Titarov, Mykhailo. „Clarinet Quintet and the Legacy of the Mannheim Chapel Composers“. ARTISTIC CULTURE. TOPICAL ISSUES, Nr. 19(1) (13.06.2023): 181–85. http://dx.doi.org/10.31500/1992-5514.19(1).2023.283147.

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The paper considers the processes of establishment of the clarinet quintet genre in the instrumental chamber music of the composers of the Mannheim chapel. It is noted that the Mannheim chapel was one of the first in Europe to employ clarinetists on a permanent basis. This contributed to the formation of a double composition of the orchestra and the emergence of a solo-ensemble repertoire for the clarinet in the genre of a solo instrumental concerto and in chamber music. It was discovered that the clarinet entered the chamber music of the people of Mannheim as an instrument that could replace the first violin, so the genres of trio and quartet for clarinet and string instruments became the most popular. In the ensembles with a larger number of participants, the search for optimal performing compositions continued. One of them was a quintet for clarinet, two violins, viola, and cello. It required independence of all parts and did not allow the interchangeability of clarinet and violin. Individual works were written for this composition, one of them isin the pieces byC. Stamitz. It isindicated that the connection between composers and clarinetists appeared for the first time in the legacy of Mannheim school. A conclusion is made about the influence of chamber music with the participation of clarinet representatives of the Mannheim chapel on the genre and style priorities of W.A. Mozart, whose works include a clarinet quintet (1789).

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Clarke, Kevin, O. „Surgical implications of helicobacter pylori infection“. Frontiers in Bioscience 6, Nr. 1 (2001): e119. http://dx.doi.org/10.2741/clarke.

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15

Rosen, Jerome, Harrison Birtwistle, Jules Langert, Burrill Phillips, Thomas Read, Gunther Schuller und Ellen Taaffe Zwilich. „Clarinet Quintet; For Clarinet and String Quartet“. Notes 44, Nr. 2 (Dezember 1987): 365. http://dx.doi.org/10.2307/941597.

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16

Rice, Albert R. „Berr's Clarinet Tutors and the 'Boehm' Clarinet“. Galpin Society Journal 41 (Oktober 1988): 11. http://dx.doi.org/10.2307/842703.

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17

Ferreira de Freitas, Luana. „Complete stories, de Clarice Lispector: um sucesso editorial e de crítica“. Cadernos de Letras da UFF 33, Nr. 65 (11.01.2023): 51–70. http://dx.doi.org/10.22409/cadletrasuff.v33i65.55570.

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Este artigo tem como objetivo propor que foi a exitosa tradução dos contos de Clarice Lispector para o inglês no volume intitulado Complete Stories que garantiu a inserção de Clarice no sistema literário anglófono. A argumentação estará fundamentada em Brune (2018), Fitz (2020) Hanes e Guerini (2016) e Casanova (2005). Os dados indicam que Complete Stories foi mesmo um divisor de águas para o reconhecimento de Clarice no espaço literário anglófono, o que se traduziu em reedições, retraduções e traduções de textos de Clarice nas mais diferentes línguas e culturas.

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Xu, Jiasheng. „Evaluations of Clarinet Sound Quality and Register Characteristics“. Highlights in Science, Engineering and Technology 62 (27.07.2023): 234–40. http://dx.doi.org/10.54097/hset.v62i.10448.

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The clarinet is a commonly used woodwind instrument that has a unique sound quality, making it a prominent instrument in solo performances and orchestral music. Therefore, sound quality plays an important role in the perception of clarinet sound. This study provides a review of the relevant research in the field of clarinet sound analysis and synthesis, and identifies many valuable references from previous studies. In studying the noise component of clarinet sound, this study recorded audio samples of E3, E4, and E5 and preprocessed them by slicing and performing frequency domain transformations. Using 13 representative spectral features, this paper extracted features from the spectral signals and constructed a classification model of sound quality based on the SVM algorithm of machine learning. Finally, this study analyzed the shortcomings of the SVM algorithm in high-pitch analysis and proposed future research directions of combining the SVM algorithm with different sound characteristics of clarinet registers and spectral changes throughout the entire process of playing. These results shed light on guiding further exploration of the timbre of the clarinet.

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Supiarza, Hery, Luli Angsal Lintang Annisa und Irwan Sarbeni. „Interpretation of Jae Hee Choi: Cadenza "Clarinet Concerto No. 3 in Bb – Allegro Moderato" by Carl Philip Stamitz“. Jurnal Seni Musik 12, Nr. 2 (31.12.2023): 279–90. http://dx.doi.org/10.15294/jsm.v12i2.74434.

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The research of Cadenza "Clarinet Concerto No. 3 in Bb – Allegro Moderato” by Carl Philipp Stamitz by Jae Hee Choi is motivated by the clarinet solo performance of a clarinetist performing the cadenza part of this concerto. The focus of this research is to find out the interpretation and technique of Jae Hee Choi's clarinet playing by analyzing the cadenza part through the interpretation and technique of playing the clarinet to be able to have a good impact in interpreting an interpretation of playing music, especially concertos in the baroque era. The method used in this research is a descriptive research method with three stages of analysis. The first stage is audio-visual analysis. The second stage rewrites the notation with the Sibelius application. The third step is to analyze the rewritten notes and make a comparison between the cadenza played by Jae Hee Choi and the original cadenza in this concerto. This research found two very important things namely; clarinet interpretation and technique. Interpretation includes interpretation of expression, rhythm, melody, and dynamics. The clarinet playing technique includes blowing techniques and fingering techniques.

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Brito, Maria Dos Remédios de, und Dhemersson Warly Santos Costa. „ESCRITA E CORPO E FABULAÇÃO: VARIAÇÕES COM DELEUZE E CLARICE LISPECTOR“. Linha Mestra, Nr. 41 (02.09.2020): 45–54. http://dx.doi.org/10.34112/1980-9026a2020n41p45-54.

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O ensaio é uma partilha das variações que atravessam a escrita, o corpo e a fabulação em Gilles Deleuze e Clarice Lispector. Ambos os pensadores mobilizam a escrita como um processo fabulatório que abre corpo para a experimentação de outras vidas, de mundos ainda não habitados. Questiona-se: Que ressonâncias seria possível entre Deleuze e Clarice? Que forças mobilizam a escrita, o corpo e a fabulação na literatura de Clarice Lispector? Que povo esse corpo-escrita expressa? É possível afirmar que para Deleuze, assim como para Clarice, a escrita faz nascer palavras, forjar linguagem, além de produzir um corpo a partir de seus vazios e fragmentos. Variações com Deleuze e Clarice, se não é uma aposta é uma invenção. Sigamos nesse processo de aberturas de mundos, de produzir modos de pensamentos outros, desenraizando o pensamento, a intuição para, então, poder criar um outro corpo-pensamento e uma outra forma de escrita.

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Yang, Liu, und Chen Rui. „History of teaching style of playing clarinet in China and Russia“. OOO "Zhurnal "Voprosy Istorii" 2022, Nr. 12-1 (01.12.2022): 224–35. http://dx.doi.org/10.31166/voprosyistorii202212statyi44.

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The article analyzes historical foundations of the teaching style of playing clarinet in the Chinese system of music education, the main aspects of teaching clarinetists in China in diff erent periods are also presented. Th e key representative fi gures who played a big role in the development of the clarinet art in the Celestial Empire and made a particularly valuable contribution to the formation and professionalization of the Chinese national clarinet school are characterized. Th e key problems of professional clarinet players’s training in China. Th e possibilities of using the Russian pedagogical experience in improving the methodological basis for the professional clarinetists’s training in China are assessed.

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O'Loughlin, Niall. „Modern Clarinet“. Musical Times 127, Nr. 1719 (Juni 1986): 341. http://dx.doi.org/10.2307/965089.

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Mitchell, Ian. „New Clarinet“. Musical Times 128, Nr. 1736 (Oktober 1987): 571. http://dx.doi.org/10.2307/965403.

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O'Loughlin, Niall. „Clarinet Quintets“. Musical Times 128, Nr. 1730 (April 1987): 214. http://dx.doi.org/10.2307/965437.

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O'Loughlin, Niall. „Clarinet Concertos“. Musical Times 131, Nr. 1767 (Mai 1990): 273. http://dx.doi.org/10.2307/966166.

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De Carvalho, Age. „Sem Clarice“. MOARA – Revista Eletrônica do Programa de Pós-Graduação em Letras ISSN: 0104-0944, Nr. 49 (29.11.2018): 03. http://dx.doi.org/10.18542/moara.v0i49.6262.

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Garlick, Nancy Buckingham, und O. Lee Gibson. „Clarinet Acoustics“. Notes 52, Nr. 2 (Dezember 1995): 489. http://dx.doi.org/10.2307/899066.

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Sato, Nanami. „Clarice Lispector“. TRAVESSIA - revista do migrante, Nr. 43 (23.08.2002): 5–9. http://dx.doi.org/10.48213/travessia.i43.841.

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Na literatura brasileira há um bom número de obras que tratam de migrantes e imigrantes: um rápido esforço de memória traz à lembrança uma lista aleatória da qual constam Vidas Secas, de Graciliano Ramos; Seara Vermelha, de Jorge Amado; Canaã, de Graça Aranha, e obras mais recentes, como A Majestade do Xingu, de Moacyr Scliar, e Dois Irmãos, de Milton Hatoum. [...]

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Lowe, Elizabeth, und Earl E. Fitz. „Clarice Lispector“. Hispania 70, Nr. 1 (März 1987): 106. http://dx.doi.org/10.2307/343677.

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Celt, Adrienne. „Dear Clarice“. Ecotone 11, Nr. 2 (2016): 113–26. http://dx.doi.org/10.1353/ect.2016.0020.

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Oliveira, Lívia Sudare de. „Clarice vírgula“. DAPesquisa 6, Nr. 8 (05.11.2018): 129–37. http://dx.doi.org/10.5965/1808312906082011129.

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32

Marting, Diane E. „Clarice Fotobiografia“. Review: Literature and Arts of the Americas 44, Nr. 2 (November 2011): 316–18. http://dx.doi.org/10.1080/08905762.2011.614491.

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Lawson, Colin. „Clarinet charms“. Early Music 45, Nr. 3 (August 2017): 480–81. http://dx.doi.org/10.1093/em/cax053.

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Alves, Adriana Andrade. „Corpo pulsar“. Revista Desassossego 12, Nr. 23 (29.12.2020): 203–4. http://dx.doi.org/10.11606/issn.2175-3180.v12i23p203-204.

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Scorsolini-Comin, Fabio. „A infância clandestina em Clarice Lispector“. Revista do Sell 8, Nr. 2 (18.12.2019): 185. http://dx.doi.org/10.18554/rs.v8i2.3936.

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O objetivo deste artigo é discutir os sentidos sobre a infância nos contos Felicidade clandestina e Cem anos de perdão, de Clarice Lispector. Nessas obras, por meio de duas protagonistas meninas, Clarice retoma a sua infância no Recife-PE. Ao seguir em seu processo de socialização e de constante aprendizagem, depara-se com as sanções sociais que lhe trazem as noções de certo-errado e de comportamento considerado adequado a uma criança. A partir desses contos, destaca-se a emergência de uma infância povoada por interditos que podem ser contornados pela ligação com a literatura, de modo que a fruição estética apresenta-se como fator protetivo diante de vivências que despertam a angústia, como a descoberta da perversidade da amiga, ou do prazer associado à transgressão marcada pelo roubo de rosas e pitangas. A infância clandestina em Clarice pode ser apreendida em enredos que envolvem o roubo e o erotismo vivenciados às escondidas, denunciando esta etapa como uma experiência que nem sempre pode ser revelada. A redenção das protagonistas, em ambos os contos, revela uma infância não apenas permeada pela fantasia, em que tudo é possível, mas também uma infância concreta e com reverberações no desenvolvimento da Clarice-menina e, posteriormente, da Clarice-mãe e da Clarice-escritora.

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Lopes, Claudia Valéria Arantes. „Exercício de tradução do português para o italiano da crônica Mineirinho, de Clarice Lispector“. Revista Italiano UERJ 13, Nr. 1 (17.10.2022): 14. http://dx.doi.org/10.12957/italianouerj.2022.70744.

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RESUMO: Embora não seja uma prática usual, o presente ensaio traz soluções e compensações que um tradutor de língua materna português brasileiro encontra ao verter para o italiano a crônica “Mineirinho”, de autoria de Clarice Lispector, inspirado na morte do inimigo público número um da polícia nos anos 60, chamado José Rosa de Miranda, o Mineirinho. Considerando a natureza do texto, tentou-se transpor para a língua italiana estranhamentos típicos da sintaxe de Clarice Lispector, com resultado que julgamos satisfatório. Além disso, para ilustrar algumas das soluções encontradas, serão destacados trechos em que ambas as traduções divergem.Palavras-chave: Clarice Lispector. Traduções comparadas. Traduzir para língua não materna. Contexto social como instrumento de tradução. Tarefa do tradutor.ABSTRACT: Nonostante non sia una pratica usuale, questo saggio propone soluzioni e compensi che un traduttore, madrelingua portoghese brasiliano, trova nel tradurre in italiano la cronaca, scritta da Clarice Lispector, ispirata alla morte del nemico pubblico numero uno della polizia negli anni 60’ chiamato José Rosa de Miranda, o Mineirinho. Considerata la natura del testo, si è cercato di trasporre alla lingua italiana straniamenti tipici della sintassi di Clarice Lispector, con un risultato che riteniamo soddisfacente. Inoltre, al fine di illustrare alcune delle soluzioni riscontrate, verranno evidenziati stralci in cui entrambe le traduzioni divergono.Parole chiave: Clarice Lispector. Traduzioni a confronto. Tradurre in una lingua non nativa. Contesto sociale come strumento di traduzione. Compito del traduttore. ABSTRACT: Although it is not a usual practice, this essay brings solutions and compensations that a Brazilian Portuguese mother-tongue translator finds when translating into Italian the chronicle “Mineirinho”, by Clarice Lispector, inspired by the death of public enemy number one of the police in the 60s, called José Rosa de Miranda, o Mineirinho. Considering the nature of the text, an attempt was made to transpose typical estrangements of Clarice Lispector's syntax to the Italian language, with a result that we consider satisfactory. In addition, in order to illustrate some of the solutions found, excerpts in which there are divergences between a previous translation and the one proposed will be highlighted.Keywords: Clarice Lispector. Compared translations. Translating into non-native language. Social context as a translation tool. Translator's task.

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Campos Pedroso Junior, Neurivaldo. „COMO TRADUZIR-ME DE UMA ARTE EM OUTRA? CLARICE LISPECTOR: ENTRE A PENA E O PINCEL, AS PALAVRAS E AS TINTAS“. Transfer 13, Nr. 1-2 (21.12.2017): 55–76. http://dx.doi.org/10.1344/transfer.2018.13.55-76.

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Passados quase quarenta anos da morte de Clarice Lispector, muita tinta ainda corre no papel sobre a produção literária da autora. As análises da obra clariciana abarcam tanto as pers-pectivas mais tradicionais da teoria da narrativa, com ênfase na narrativa do fluxo da consciência e do monólogo interior, passan-do pela crítica feminista e, mais recentemente, abordagens centradas na crítica biográfica e cultural. Nos últimos anos, contudo, a crítica tem se voltado para uma outra Clarice Lispector: a pintora. A produção pictural clariciana foi realizada, em sua maioria, entre os anos de 1975 e 1976, totalizando vinte e duas telas. Dezoito das telas assinadas por Clarice estão depositadas na Fundação Casa de Rui Barbosa, enquanto outras duas foram presenteadas a Autran Dourado e Nélida Piñon e, por fim, duas pertencem ao Acervo do Instituto Moreira Salles (IMS). Nossa proposta neste trabalho é realizar uma reflexão acerca da tradução ou transposição intersemiótica da Pintura para a Literatura operada por Clarice Lispector. Para isso, procederemos à análise de um corpus pictórico que será composto basicamente por telas pintadas por Clarice e que são traduzidas intersemioticamente para as das narrativas de Água viva (1973) e Um sopro de vida (1978). Nesse sentido, é importante destacar que ainda há poucos trabalhos, na América Latina, que buscam discutir a tradução intersemiótica em Clarice Lispector, tanto em seus livros quanto em suas telas.

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Rindoria, Nehemiah M., Zipporah Gichana, George N. Morara, Coret van Wyk, Willem J. Smit, Nico J. Smit und Wilmien J. Luus-Powell. „Scanning Electron Microscopy and First Molecular Data of Two Species of Lamproglena (Copepoda: Lernaeidae) from Labeo victorianus (Cyprinidae) and Clarias gariepinus (Clariidae) in Kenya“. Pathogens 12, Nr. 8 (27.07.2023): 980. http://dx.doi.org/10.3390/pathogens12080980.

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A parasitological study carried out in May 2022 and March 2023 in the Nyando River of Lake Victoria Basin, Kenya, disclosed two parasitic lernaeid copepods: Lamproglena cleopatra Humes, 1957, from the gills of a cyprinid, the Ningu Labeo victorianus Boulenger, 1901, endemic to the Lake Victoria drainage system, and Lamproglena clariae Fryer, 1957, from a clariid, the North African catfish Clarias gariepinus (Burchell, 1822). The copepods were studied and supplementary taxonomic information was presented using scanning electron micrographs and genetic data. Scanning electron microscopy (SEM) provided information on the morphology of L. cleopatra’s antennae, oral region, thoracic legs (2–5), and furcal rami not previously reported. Analyses of the partial fragments of 18S and 28S rDNA and cytochrome c oxidase subunit 1 (cox1) of the two parasites showed them to be distinct from all other Lamproglena taxa retrieved from GenBank. This study presents new taxonomic information on morphology using SEM and provides the first ribosomal (18S and 28S rDNA) and mitochondrial (mtDNA) data for these two parasite species. The cox1 data provided are the first for all 38 nominal species of Lamproglena. Notably, the study also provides a new host record for L. cleopatra and extends the geographical information of this species to Kenya.

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Malavolta Pinho, Marília Gabriela, und Luiz Gonzaga Marchezan. „NA TEORIA E NA FICÇÃO: A VANGUARDA EM CLARICE LISPECTOR“. Revista da Anpoll 1, Nr. 36 (15.12.2014): 288–311. http://dx.doi.org/10.18309/anp.v1i36.752.

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O conto “Os desastres de Sofia” (1964), de Clarice Lispector, pode ser lido como metáfora ficcional da maneira como a escritora elaborou e apresentou o conceito de “Vanguarda”. Reflexões filosóficas de Walter Benjamin (1933) contêm os argumentos que Clarice, no enredo desse conto, revigora, trazendo em chaves modernas, vanguardistas, segundo sua concepção, o que Benjamin sancionou pelo olhar melancólico do passado. Assim, Clarice se faz notar como escritora de uma prosa (poética) conscientemente filiada à tradição da poesia brasileira moderna

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Costa Lima, Maria Elenice, und Vera Lucia Albuquerque de Moraes. „O enigma da escritura: clarice lispector mestre ou refém de sua escrita?“ Pontos de Interrogação — Revista de Crítica Cultural 2, Nr. 1 (27.09.2015): 191. http://dx.doi.org/10.30620/p.i..v2i1.1540.

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ResumoO presente trabalho tem por objetivo suscitar a questão da autoria na obra da escritora brasileira Clarice Lispector, partindo, sobretudo, da leitura e análise das crônicas do livro A descoberta do mundo (1999) e das cartas publicadas em Cartas perto do coração (2001) que diz respeito às correspondências trocadas entre Clarice e Fernando Sabino. Para isso, serão discutidas, principalmente, as ideias de Roland Barthes que tratam da morte do autor e as de Michel Foucault acerca da função autor.Palavras-chaveAutoria, Clarice, escritura.

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Ferreira, Rony Márcio Cardoso, und Pedro Guilherme Lopes de Macedo. „O retrato móvel de uma alma errante: Clarice Lispector tradutora de Oscar Wilde“. Alea: Estudos Neolatinos 25, Nr. 1 (Januar 2023): 35–55. http://dx.doi.org/10.1590/1517-106x/202325102.

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Resumo Amparados nos pressupostos da Literatura Comparada, dos Estudos Culturais e dos Estudos da Tradução, procuramos compreender as relações culturais que formaram (Bildung) Clarice Lispector em termos de sua identidade linguística, cultural e tradutória, a fim de estudar a tradução do romance O retrato de Dorian Gray (2016), assinada por Clarice em 1974 em diálogo com a sua novela de 1977, A hora da estrela (2020). Partindo da sua relativa proximidade com o imaginário judaico ao seu conhecimento do inglês, francês e espanhol, podemos entender Clarice como uma tradutora cultural. Dentre as várias conexões culturais que pudemos traçar no interior da novela de Clarice, as questões relativas às possibilidades e aos limites da representação literária e visual nos permitem lê-la em comparação com o romance de Wilde.

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Bacega, Débora Regina. „Memórias do centenário de Clarice Lispector nos acervos digitais / Memories of Clarice Lispector's centenary in digital collections“. Nau Literária 17, Nr. 1 (16.07.2021): 29–46. http://dx.doi.org/10.22456/1981-4526.112002.

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Resumo: Este artigo discorre sobre as práticas transversais da memória que circularam nas redes digitais durante a comemoração do centenário da escritora Clarice Lispector no ano de 2020. Nota-se que essas práticas acionam tanto acervos pessoais quanto editoriais da autora nas teias comunicacionais. Nesse ínterim, o fazer-memória se faz pela reapresentação das narrativas compreendidas nesses acervos. Assim, busca-se problematizar como essas práticas corroboram com a rememoração da autora e sua obra também na ambiência digital. Para tanto, aciona-se reflexões de estudiosos dos aspectos comunicacionais, arquivísticos e socioculturais da memória. Neste estudo de caso, adota-se como corpus os lançamentos comemorativos do site.claricelispector.ims.com.br, do Podcast da Clarice, da hashtag #365diasdeClarice nas redes sociais Facebook e Instagram e das edições especiais dos livros da escritora. Espera-se demonstrar como essas práticas comunicacionais e da memória podem contribuir para a renovação periódica do acervo literário e cultural de Clarice Lispector também no tempo presente. Palavras-chave: memória, acervo digital; literatura; centenário; Clarice Lispector. Abstract: In the meantime, memory-making is done by re-presenting the narratives included in these collections. Thus, the purpose is to comprehend how these practices corroborate the remembrance of the author and her work also in the digital environment. For this, reflections from scholars of the communicational, archival and socio-cultural aspects of memory are triggered. In this case study, commemorative inaugurations of site.claricelispector.ims.com.br, Clarice Podcast, hashtag # 365diasdeClarice on the social networks Facebook and Instagram and special editions of the writer's books are adopted as corpus. It is expected to demonstrate how these communication and memory practices can contribute to the periodic renewal of Clarice Lispector's literary and cultural collection also in the present time. Keywords: memory; digital collection; literature; centenary; Clarice Lispector.

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Yang, Liu, und Zhang Hao. „The history of the nationalization of clarinet art in the musical culture of China“. OOO "Zhurnal "Voprosy Istorii" 2022, Nr. 12-2 (01.12.2022): 110–21. http://dx.doi.org/10.31166/voprosyistorii202212statyi47.

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The wind wooden reed instrument clarinet is one of the most common of its group not only in Western European musical culture, but also in the East Asian region in China. Within the framework of this article, the goal is put forward to reveal the problems of creating their own methods of clarinet creativity by Chinese composers and performing musicians in a historical retrospective, as well as to formulate and evaluate possible prospects for increasing the nationalization of clarinet art in the Middle Kingdom.

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Mikhieieva, Nadiia. „The clarinet and the viola in Sonatas op. 120 by J. Brahms and a pianist’s performing strategy“. Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 59, Nr. 59 (26.03.2021): 145–57. http://dx.doi.org/10.34064/khnum1-59.10.

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Background. Johannes Brahms composed his two Clarinet Sonatas, op. 120, in 1894, and dedicated them to the outstanding clarinet player Richard Mühlfeld. These were the last chamber pieces he wrote before his death, when he became interested in the possibilities the clarinet offered. Nowadays they are considered to be masterpieces of the clarinet repertoire, legitimizing the combination of piano and clarinet in new composers’ works. Brahms lavished particular care and affection on these works, and he clearly wished them to have the widest possible circulation, for he adapted them – with a certain amount of recomposition in each case – in two parallel forms: as sonatas for viola and piano, and for violin and piano. The violin versions are rarely heard, but the viola sonatas have become cornerstones of this instrument’s repertoire, just as the original forms have for the repertoire of the clarinet. Brahms was effectively establishing a new genre, since before they appeared there were virtually no important duo sonatas for viola and piano. These sonatas embody his compositional technique in its ultimate taut, essentialized, yet marvelously flexible manner. The purpose of this article is to show the interaction of variable and invariant components of the musical text as a factor influencing performance decisions in the process of working on a piece of music. To achieve this goal, it is necessary to conduct a comparative analysis of the musical text of clarinet and viola parts in the Sonatas of J. Brahms op 120, which are the material of this study. The article relevance is in the importance of comprehension the performing differences for pianists (especially, for those specialized on the sphere of chamber music) working J. Brahms’ Sonatas op. 120 with clarinetists or violists. Every piece could offer its own unique complex of special “challenges”, thus the need of analyzing specifics of performance in every such a piece of music appears. This uniqueness is the basis for the innovativeness of the results of the study of the performance specifics of J. Brahms’ Sonata op. 120 in a selected aspect. Results of the research. Clarinet and viola versions Sonatas by J. Brahms op. 120 occupy a prominent place in the performing repertoire, including training. Because the article provides a comparative analysis of the musical text of clarinet and viola parts with the same piano part; provides a comparative overview of the specifics of the artistic expression of the clarinet and viola to determine the performing strategy of the pianist in the ensemble. The differences found in the viola and clarinet parts are divided into the groups – octave transfers, addition of double notes and melismatics, changes in melodic lines, difference in the strokes (staccato, non legato, tenuto, portamento etc.). There is also a detailed description of clarinet and viola timbres. Due to the different possibilities of the instruments, it is quite obvious that the pianist faces certain creative tasks and in general they can be formulated as follows: when playing the viola, the dynamic range of the piano should be smaller than when performing with the clarinet. In addition, you need to pay attention to other details, such as pedal, texture quality, articulation. Yes, the viola sounds much more confident against the background of a “thick” pedal, while the clarinet in this case loses the volume of its sound. With regard to phrasing, it should be borne in mind that the clarinetist needs to take a breath, and the violist’s ability to lead a bow for a long time does not depend on his physiological characteristics. The question arises: which is more important – tempo or phrasing? In this situation, the specificity is that phrasing should be given more attention. The tempo when performing with the clarinet varies significantly than with the viola, and it is also chosen and changed for practical reasons that follow from the physical data of the performer. The pianist should also pay special attention to the differentiation of voices and the quality of articulation. In terms of sound balance, it is obvious that the clarinet needs more piano support than the viola, because it is dynamically brighter. Nevertheless, this does not mean that piano shades “p” should be avoided, because the contrast of dynamics expands the acoustic range of Sonatas and their expressive potential. Conclusion. The comparative-analytical description contributes to the awareness of the differences in the dynamic balance due to the change of the obligatory instrument. Accurate knowledge of where and how such changes occur not only focuses the musicians’ attention on the relevant details in the performance process, but also encourages them to make more informed decisions about the dynamic balance of performance in general.

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Andrade, Maria das Graças Fonseca. „Escrita e escuta de corpo inteiro: a lalíngua de água viva“. Aletria: Revista de Estudos de Literatura 12 (31.12.2005): 171–84. http://dx.doi.org/10.17851/2317-2096.12..171-184.

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Resumo: Este trabalho estuda Água viva, de Clarice Lispector, a partir da noção lacaniana de lalíngua (lalangue), investigando aí a relação entre linguagem, inconsciente e Literatura, já que, para Lacan, “o inconsciente ‘é feito de lalíngua’” e ele se utilizará da experiência literária de Joyce para avançar em sua formulação. Água viva é aqui então pensado como um “idiomaterno”, “que nos ‘afeta’ com ‘efeitos’ que são ‘afetos’”, como bem o diz Haroldo de Campos, parodiando Lacan.Palavras-chave: Clarice Lispector; Água viva; lalíngua.Résumé: Cet essai propose une lecture de Água Viva, de Clarice Lispector, à partir la notion de lalangue de Jacques Lacan, tout en recherchant le raport parmi la langage, l’inconscient et la littérature, car “l’inconscient ‘est fait de lalangue’”, comme dit Lacan, qui s’utilisera de l’experience littéraire de Joyce afin d’avancer dans sa formulation.Mots-clés: Clarice Lispector, Água viva, lalangue.

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Steigen, Andreas, Are Nylund, Egil Karlsbakk, Peter Akoll, Ingrid U. Fiksdal, Stian Nylund, Robinson Odong et al. „‘Cand. Actinochlamydia clariae’ gen. nov., sp. nov., a Unique Intracellular Bacterium Causing Epitheliocystis in Catfish (Clarias gariepinus) in Uganda“. PLoS ONE 8, Nr. 6 (24.06.2013): e66840. http://dx.doi.org/10.1371/journal.pone.0066840.

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Paes Lima, Anna Clara. „Uma leitura existencialista de A paixão segundo G.H., de Clarice Lispector“. REVISTA APOENA - Periódico dos Discentes de Filosofia da UFPA 3, Nr. 5 (11.12.2021): 196. http://dx.doi.org/10.18542/apoena.v3i5.11626.

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Realiza-se aqui uma análise da obra literária A Paixão Segundo G.H. (1964), de Clarice Lispector, a partir do viés filosófico existencialista, desenvolvido por Jean-Paul Sartre em sua obra O Ser e o Nada: Ensaio de Ontologia Fenomenológico (1943). Assim sendo, a obra que será objeto de estudo acompanha a jornada existencial da personagem G.H. em busca de sua própria identidade. Nesse sentido, utiliza-se aqui a teoria existencialista ateísta de Sartre, assim como o estudo realizado pelo filósofo paraense, Benedito Nunes, que buscou averiguar toda a filosofia metafísica no conjunto da obra de Clarice Lispector, em seu livro Leitura de Clarice Lispector (1973) e o Drama da Linguagem: uma leitura de Clarice Lispector (1989). Por fim, o presente texto tem como objetivo averiguar as atitudes de má-fé executadas pela personagem, analisar a Angústia que intercala com sua Náusea existencial, expressados pela linguagem única de Lispector.

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Lopes, Paulo César Carneiro. „O narrador/profeta em A hora da estrela, de Clarice Lispector“. FronteiraZ. Revista do Programa de Estudos Pós-Graduados em Literatura e Crítica Literária, Nr. 21 (13.12.2018): 129–47. http://dx.doi.org/10.23925/1983-4373.2018i21p129-147.

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Há em A hora da estrela continuidades e rupturas com relação ao restante da obra de Clarice Lispector. No que se refere ao narrador, pela primeira vez temos uma experiência radical de alteridade no sentido que o filósofo Lévinas dá ao termo. No que se refere à continuidade, podemos pensar Rodrigo S.M. como um outro da própria Clarice; há entre eles diferenças, mas estas se mostram mais como elementos da subjetividade profunda da própria autora. Já no que se refere à Macabéa, não se dá o mesmo; entre ela e Clarice/Rodrigo há diferenças radicais que não se resolvem apenas neste sentido. Ela é o outro negado em sua dignidade que, pelo seu existir, exige o ato de justiça que desfaça as condições que geram sua situação calamitosa.Palavras-chave: Clarice Lispector; A hora da estrela; Freud, Emmanuel Lévinas e Enrique Dussel; Moisés e os profetas.

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Lanius, Marcela. „Tempestades da alma: a tradução como espelho“. FronteiraZ : Revista do Programa de Estudos Pós-Graduados em Literatura e Crítica Literária, Nr. 19 (04.12.2017): 82. http://dx.doi.org/10.23925/1983-4373.2017i19p82-96.

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No intuito de analisar a tradução como uma via pela qual se constrói a identidade de um escritor em outra língua, o presente artigo toma como objeto principal o volume Soulstorm, que reúne traduções para a língua inglesa dos contos de Onde estivestes de noite e Via crucis do corpo, de Clarice Lispector. O objetivo é mostrar como os paratextos desta edição auxiliam na construção de novas imagens de Clarice em língua inglesa, bem como indicar em que medida tais textos se encontram inseridos dentro de projetos maiores de tradução de Clarice para a língua inglesa.

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Steiernagel, Daiane Raquel. „DE CLARICE LISPECTOR A CAZUZA: MARCAS DA LITERATURA NA OBRA MUSICAL“. A Cor das Letras 10, Nr. 1 (27.02.2017): 75. http://dx.doi.org/10.13102/cl.v10i1.1522.

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Este trabalho tem como objetivo estudar dois artistas – Clarice Lispector(escritora) e Cazuza (cantor e compositor) e a relação intertextual entre suasobras. Cazuza era fã de Clarice e teve uma grande influência dos textos da escritora em várias de suas composições. Neste trabalho será estudado, em especial, a obra intitulada de A Via-Crúcis do Corpo, título este tanto do livro de Clarice, como da música de Cazuza. Porém, anteriormente a este estudo, faremos algumas colocações sobre a relação entre a arte e a psicanálise e sobre a vida de ambos, para posteriormente fazermos a comparação destas obras.

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