Academic literature on the topic 'Joel Silveira'

Com o presente trabalho objetiva-se analisar os conceitos divergentes de escritor e de obra literária no final dos anos 30, por meio da discussão levantada pela crônica “A raposa e o tostão” de Mario de Andrade. Este texto faz parte de uma polêmica ocorrida em 1939 que também envolveu Jorge Amado, Joel Silveira e Graciliano Ramos.

Em uma célebre entrevista concedida ao jornalista Joel Silveira, o escritor Graciliano Ramos comparou seu ofício ao das lavadeiras, afirmando que ambos exigiam o mesmo procedimento. Com tecidos ou palavras, um bom trabalho dependeria de uma sucessão de ações de limpeza antes de se pôr a roupa para secar no varal ou a folha para descansar na gaveta – e um dia tornar-se texto publicado.

Em 1952, Clarice Lispector produziu, sob a máscara de Tereza Quadros, a página “Entre mulheres” no jornal Comício, dirigido por Rubem Braga, Joel Silveira e Rafael Correa de Oliveira. A coluna trazia à leitora, ao lado de receitas e orientações domésticas (comuns na imprensa feminina), textos de outros autores (muitos deles citados no livro O segundo sexo, de Simone de Beauvoir, ainda inédito no Brasil) e crônicas com temas e figuras clariceanos. Dessa forma, a página de Tereza Quadros não se constituía como um espaço modelador do estereótipo feminino, pois subvertia o discurso hegemônico da imprensa destinada a esse público apresentando questionamentos sobre o papel e o comportamento das mulheres.

Ruppia maritima L. is a submerged halophyte which occurs frequently in estuaries where sodium chloride is the dominant salt. Unlike terrestrial halophytes, R. maritima does not possess any specialized salt-secreting structures such as salt glands. Knowledge of salt tolerance mechanisms in this plant is important to our understanding of its biology. In the present study, the subcellular distribution of chloride ions in leaf blade epidermal cells of R. maritima was determined.Chloride ions in the cells were localized by precipitation with silver, resulting in the formation of silver chloride (AgCl2) deposits. Leaf samples were fixed in a mixture of osmium and silver acetate under red safe light conditions to prevent reduction of silver by light. The material was dehydrated and embedded in a chloride-free resin. Leaf samples fixed only in osmium were used as controls. Transmission electron microscopy (TEM) and energy dispersive X-ray (EDX) microanalysis using a Joel 6100 SEM with a Noran Voyager 2100 EDX microanalyser, were used to study AgCl2 distribution. Ultrathin sections for TEM were examined unstained. EDX microanalysis was performed on thick sections of resinembedded material mounted on glass slides.

Abstract While placing transgender pornography under the sign of queerness has been a necessary feature of queer politics, much of the genealogy of trans porn falls more within the orbit of heteronormative capitalism and was enacted through the problematic figure of the “she-male.” Queer and trans scholars have been eager to seize on the work of queer trans culture workers but less attentive to the pioneering efforts of Kim Christy and Joey Silvera, who occupy complicated positions not entirely commensurate with queerness. Christy emerged out of 1970s transfeminine culture to shape “she-male” pornography as a genre, and longtime straight cisgender hardcore performer Silvera moved to directing in the mid-1990s largely by locating transsexuality within an entirely heteronormative market context. Vexed as they are, these works occupy important places within the genealogy of trans porn, even if often by embodying what queer trans porn imagines itself against.

It is known that one of the abnormal behavior of cancer cells is changes in morphology. There is very little information in the literature on the morphological aspects of cell lines at the electron microscopic level transformed by viral mos gene (Culp, 1971; Hynes et al., 1978; Brown et al., 1981; Arlinghaus, 1985; Terasaki et al., 1986). NRK-6m2 is a cell line infected with a temperature sensitive mutant (tsll0) of Moloney murine sarcoma virus (Arlinghaus, 1985). The attempt in this study is to examine the ultrastructure of NRK-6m2 cells and relate the morphological changes to gag-mos induced cellular transformation.NRK-6m2 cell cultures were maintained in McCoy's 5a medium supplemented with 15% fetal calf serum. Subconfuluent cells were washed twice in cold phosphate buffered saline and fixed in situ in 1% glutaraldehyde, scraped and centrifuged at 1500 g for 5 min at 4°C, post fixed in osmium tetroxided and processed for electron microscopic study. Silver sections were stained with uranyl acetate and lead citrate and examined on a Joel 1200 EX electron microscope.

Abstract An electrical measurement is non-linear when it is affected by the applied stimulus, i.e. when the measured phenomenon changes with amplitude. If pinched hysteresis loops can be observed in the voltage current representation, the underlying tissue can be classified as a memristor. Several biological memristors have been published, like human skin and apples. However, changes in the polarization impedance of electrodes may also cause pinched hysteresis loops. The question whether the reported biological memristors are real or whether the results just reflect changes in the polarization impedance arises. If the impedance of the measured object is close to or smaller than the polarization impedance of the used electrodes, the latter may dominate the measurement. In this study, we investigated the non-linear electrical properties of silver/silver chloride electrodes in a sodium chloride solution that has a similar concentration as human sweat and compared these to results from human skin. First of all, we found that silver/silver chloride electrodes in sodium chloride solution can be classified as memristors. However, the currents obtained from the sodium chloride solution are much higher than the currents recorded from human skin and there is a qualitative difference in the pinched hysteresis loops in both cases. We can conclude that the non-linear electrical measurements with silver/silver chloride on human skin are actually dominated by the skin and we can confirm that the human skin memristor really exists.

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
La recherche consiste à analyser les collaborations de Joel Silveira (1918-2007) au journal Dom Casmurro et à la revue Diretrizes, entre 1937 et 1944. L’auteur, un journaliste célèbre dans l’histoire de la presse au Brésil, a écrit une quantité significative de textes, dans le genre mémorialiste, dans lesquelles ses pratiques profissionnelles de la période étudiée ont été rappelées ou oubliées, selon l’image que l’auteur voulait léguer de soi. La recherche se concentre sur les premières années de sa carrière pour vérifier de quelle façon il a débuté dans le journalisme, à travers les “faits divers” et les polémiques qu’il a engagées avec d’importants intellectuels, à une époque d’effervescence culturelle. Silveira est devenu un célèbre reporter grâce à des textes dans lesquels il marie la réalité à la fiction. Le journaliste a été reporter pendant toute sa vie. Outre cela, la recherche a eu pour but de vérifier les points de vue pris par Silveira face à la période troublée de la Deuxième Guerre Mondiale et de la féroce censure de l’État Nouveau, gouvernement autoritaire de Getúlio Vargas, sur le travail journalistique
A pesquisa consistiu em análise das colaborações de Joel Silveira (1918-2007) para o jornal literário Dom Casmurro (RJ) e para a revista Diretrizes (RJ), entre 1937 e 1944. O autor foi jornalista de destaque na história da imprensa no Brasil e escreveu uma série de obras de caráter memorialístico, nas quais suas práticas profissionais do período estudado foram relembradas ou esquecidas, de acordo com a imagem que desejava legar de si. A pesquisa teve como foco os anos inicias de sua carreira e, portanto, foi possível antever a maneira como estreou no jornalismo, por meio dos faits divers e das polêmicas que travou com importantes intelectuais, em uma época de efervescência cultural. Silveira consagrou-se como repórter, com textos em que mesclou realidade e ficção. O jornalista permaneceu nos caminhos da reportagem durante o resto de sua vida. Além disso, tratou-se de verificar os posicionamentos assumidos por Silveira ante o conturbado período que envolveu a Segunda Guerra Mundial e a acirrada censura do Estado Novo, governo autoritário de Getúlio Vargas, sobre o trabalho jornalístico

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Resumo: A pesquisa consistiu em análise das colaborações de Joel Silveira (1918-2007) para o jornal literário Dom Casmurro (RJ) e para a revista Diretrizes (RJ), entre 1937 e 1944. O autor foi jornalista de destaque na história da imprensa no Brasil e escreveu uma série de obras de caráter memorialístico, nas quais suas práticas profissionais do período estudado foram relembradas ou esquecidas, de acordo com a imagem que desejava legar de si. A pesquisa teve como foco os anos inicias de sua carreira e, portanto, foi possível antever a maneira como estreou no jornalismo, por meio dos faits divers e das polêmicas que travou com importantes intelectuais, em uma época de efervescência cultural. Silveira consagrou-se como repórter, com textos em que mesclou realidade e ficção. O jornalista permaneceu nos caminhos da reportagem durante o resto de sua vida. Além disso, tratou-se de verificar os posicionamentos assumidos por Silveira ante o conturbado período que envolveu a Segunda Guerra Mundial e a acirrada censura do Estado Novo, governo autoritário de Getúlio Vargas, sobre o trabalho jornalístico
Résumé: La recherche consiste à analyser les collaborations de Joel Silveira (1918-2007) au journal Dom Casmurro et à la revue Diretrizes, entre 1937 et 1944. L'auteur, un journaliste célèbre dans l'histoire de la presse au Brésil, a écrit une quantité significative de textes, dans le genre mémorialiste, dans lesquelles ses pratiques profissionnelles de la période étudiée ont été rappelées ou oubliées, selon l'image que l'auteur voulait léguer de soi. La recherche se concentre sur les premières années de sa carrière pour vérifier de quelle façon il a débuté dans le journalisme, à travers les "faits divers" et les polémiques qu'il a engagées avec d'importants intellectuels, à une époque d'effervescence culturelle. Silveira est devenu un célèbre reporter grâce à des textes dans lesquels il marie la réalité à la fiction. Le journaliste a été reporter pendant toute sa vie. Outre cela, la recherche a eu pour but de vérifier les points de vue pris par Silveira face à la période troublée de la Deuxième Guerre Mondiale et de la féroce censure de l'État Nouveau, gouvernement autoritaire de Getúlio Vargas, sur le travail journalistique
Mestre

Ce travail se propose d’analyser le processus de fictionnalisation de l’écriture journalistique à partir de l’adoption de procédés littéraires sous couvert de la notion de transferts. Ce processus, qui met en exergue la porosité de la fiction et de la réalité, estrevendiqué par le journalisme littéraire, modalité hybride à mi-chemin entre le journalisme et la littérature. Tantôt ancrée dans le factuel, tantôt teintée de littérarité, l’écriture journalistico-littéraire se caractérise, d’un côté, par son attachement à la vérité et par sa quête de réalité et, d’un autre, par son besoin vital de narrer. Afin de montrer comment la fiction et la non-fiction se côtoient au sein du récit relevant de cette catégorie journalistique, nous nous sommes penchés sur le travail de deux journalistes-écrivains ayant consacré leur carrière à la production de la chronique et du reportage, deux genres porteurs du journalisme littéraire dans le contexte de la presse écrite brésilienne au XX° siècle. Rubem Braga et Joel Silveira n’ont pas seulement compté parmi les précurseurs du journalisme littéraire au Brésil, ils se sont aussi portés garants de cette modalité — surtout lors de leur travail de correspondant de guerre au service des journaux Didrio Carioca et Didrios Associados. Avec leur plume, ils ont inscrit dans les pages de ces journaux une poétique du quotidien fondée sur une approche à la fois journalistique et littéraire. Dans la couverture de la Seconde Guerre mondiale, le chroniqueur Braga et le reporter Silveira ont ainsi donné à voir, à leur façon, la laideur de la guerre sans négliger la poésie des faits. Pratiquant un journalisme littéraire de tranchée, ils ont témoigné de la force du journalisme littéraire — y compris sur le front de guerre — et ont porté dans leur écriture et dans la publication de leurs textes sous forme de livre le combat de pérennisation mené par cette branche journalistique. C’est d’ailleurs leur écriture pérenne, le recueil de leurs chroniques et reportages, Crônicas de Guerra (Braga, 1964) et O Inverno da Guerra (Silveira, 2005), qui a servi de corpus pour notre analyse
From the perspective of a notion of “transfer”, this article proposes the analysis of the process of fictionalization of journalistic writing from the adoption of literary techniques. This process, which highlights the porosity of fiction and reality, is claimed by literary journalism, a hybrid modality situated between journalism and literature. Relying on factual and literariness, journalistic-literary writing is characterized, on the one hand, by its adherence to the truth and its search for reality and, on the other hand, by its vital need to narrate. In order to show how fiction and non-fiction are related within the text linked to this journalistic category, we are interested in the work of two journalist-writers who devoted their careers to the production of chronicle and reportage, representative genres of journalism literature in the context of the 20th century Brazilian press. Rubem Braga and Joel Silveira were not only the precursors of literary journalism in Brazil, they were also guarantors of this modality – especially during their work as war correspondents in the service of the newspapers Diário Carioca and Diários Associados. With their writing skills, they inscribed in the pages of these newspapers a poetics of everyday life based on a journalistic and literary approach. During the coverage of the Second World War, the chronicler Braga and the reporter Silveira showed, in their perspective, the ugliness of the war without neglecting the poetry of the facts. Practicing trench journalism, they witnessed the strength of literary journalism on the front and defended, in the writing and publication of their texts as books, the fight for perpetuity claimed by this journalistic aspect. In this research, we adopted as a corpus analysis the collections of chronicles and reports published in the books Crônicas de Guerra (Braga, 1964) and O Inverno da Guerra (Silveira, 2005), which are manifestations of the perennial writing of both authors
Sob a ôtica de uma noção de “transferências”, este trabalho propõe a análise do processo de ficcionalização da escrita jornalística a partir da adoção de técnicas literárias. Esse processo, que coloca em evidência a porosidade da ficção e da realidade, é reivindicado pelo jornalismo literário, modalidade híbrida situada entre o jornalismo e a literatura. Apoiando-se no factual e na literariedade, a escrita jornalístico-literária se caracteriza, de um lado, pela sua aderência à verdade e sua busca de realidade e, de um outro, pela sua necessidade vital de narrar. A fim de mostrar como a ficção e a não-ficção se relacionam no seio do texto ligado a essa categoria jornalística, nós nos interessamospelo trabalho de dois jornalistas-escritores que consagraram suas carreiras à produção dacrônica e da reportagem, gêneros representativos do jornalismo literário no contexto daimprensa brasileira do século XX. Rubem Braga e Joel Silveira não foram somente osprecursores do jornalismo literário no Brasil como também foram fiadores dessamodalidade — sobretudo durante a atuação como correspondentes de guerra a serviço dosjornais Diário Carioca e Diários Associados. Com suas habilidades de escrita, elesinscreveram nas páginas desses jornais uma poética do cotidiano baseada numaabordagem jornalística e literária. Durante a cobertura da Segunda Guerra mundial, ocronista Braga e o repórter Silveira mostraram, na perspectiva deles, a feiura da guerrasem negligenciar a poesia dos fatos. Praticando um jornalismo de trincheira, elestestemunharam a força do jornalismo literário no fronte e defenderam na escrita e napublicação de seus textos em formato livro o combate de perenização reivindicado poressa vertente jornalística. Nesta pesquisa, adotamos como corpus de análise as coletâneasde crônicas e reportagens publicadas nos livros Crônicas de Guerra (Braga, 1964) e oInverno da Guerra (Silveira, 2005), que constituem manifestações da escrita perene dosdois autores.Palavras-chaves : Rubem Braga, Joel Silveira, jornalismo literärio, ficcionalizaçäo,transferéncias

The chapter first shows how the spiritualized version of prosthetics originated in the Civil War, which rendered approximately 60,000 veterans limbless. Prominent physicians such as Oliver Wendell Holmes, Sr. and S. Weir Mitchell postulated that artificial limbs gave both physical and emotional solace to shattered soldiers, especially among those who suffered phantom limb syndrome. The devices’ “spiritual” potential proved limited, if not illusory; in fact, they were often so fragile, cumbersome, and painful that amputees simply preferred to go without them. Upon entering World War I, the United States created a rehabilitation and vocational program that aided injured veterans to reenter the workforce. Reflecting the way in which “personality” had come to replace a more traditional notion of spirit, orthopedists such as Joel Goldthwait and David Silver, both employed at Walter Reed Hospital, designed artificial limbs for both physical and psychological compatibility.

There is no better place to end than in the desires for the future of the past, of sexploitation cinema’s febrile imaginary, materialized by a sex film and reflexively about the sex film as a waning form. In the year 2427, a futuristic culture lives on in what remains of Los Angeles, which was ravaged by an earthquake in 1969. The society is ruled by “Master Computer” and a secret group of cult film viewers gathers each week to view cherished “underground” films from the film historical past, “decadent films which have been outlawed in these enlightened times.” These covert rebels, led by Liana and Jorel, screen sex films from 1969; they espouse the beauty and allure of an extinct film culture that appears to be the “last hope for our civilization.” Our fearless cinephile, Liana, acts as the master of ceremonies, informing her polyamourous congregants—who lie about a mod white set in gold and silver metallic garments—that before censorship was outlawed by Master Computer, such “highly moral films” still existed and circulated freely, artifacts of a culture invested in love and romance....