Academic literature on the topic 'Pingwa (1952-....)'
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Journal articles on the topic "Pingwa (1952-....)"
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Regan, Jaime. "Fabiola Luna Pineda (1952-2021)." Amazonía Peruana, no. 34 (July 15, 2021): 275–72. http://dx.doi.org/10.52980/revistaamazonaperuana.vi34.283.
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Mora García, José Pascual. "Leonardo Ruiz Pineda, el Alma de la democracia venezolana del Siglo XX1." SATHIRI, no. 5 (July 5, 2018): 264. http://dx.doi.org/10.32645/13906925.258.
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El presente trabajo analiza la historia biográfica de Leonardo Ruiz Pineda (1916-1952). En el mismo se exponen los enfoques de la nueva historia, echando mano de la metodología de la historia de las mentalidades y representaciones hemos logrado recuperar la historia de la mujer en la vida del mártir de la resistencia. Igualmente presentamos una visión en la cual se recuperan los códigos deontológicos de su pensamiento.
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Beverido Duhalt, Francisco. "Arturo Meseguer Lima (1956-2019)." Investigación Teatral. Revista de artes escénicas y performatividad 10, no. 15 (April 10, 2019): 194–98. http://dx.doi.org/10.25009/it.v10i15.2597.
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Arturo Meseguer Lima era oriundo de la Ciudad México, pero radicado en Xalapa, Veracruz, desde temprana edad. Descubrió el teatro cuando era adolescente. A principios de los años 70, fue miembro fundador de la compañía Ateneum –el nombre con el que el director Raúl Zermeño, a su llegada de Polonia, re-bautizó la reestructuración de la Compañía de Teatro de la Universidad Veracruzana–, aunque no descarto alguna posible participación anterior, arrastrado por Enrique Pineda, en la efímera aventura de una carpa instalada en el Parque Juárez de la ciudad de Xalapa, donde se presentó por primera vez el monólogo La virgen loca, de Hosmé Israel.
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Gómez, Augusto J. "El ciclo del caucho (1850-1932), de Roberto Pineda C." Revista Colombiana de Antropología 26 (January 1, 1986): 240–43. http://dx.doi.org/10.22380/2539472x.1580.
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Piat, Julien. "L'expérimentation syntaxique dans l'écriture du nouveau roman (1950-1960) : Beckett, Pinget, Simon." L'Information Grammaticale 116, no. 1 (2008): 53–54. http://dx.doi.org/10.3406/igram.2008.3951.
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Rueda Enciso, José Eduardo, and Renzo Ramírez Bacca. "Historiografía de la regionalización en Colombia: una mirada institucional e interdisciplinar, 1902-1987." HiSTOReLo. Revista de Historia Regional y Local 6, no. 11 (January 1, 2014): 13–67. http://dx.doi.org/10.15446/historelo.v6n11.42005.
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El artículo ofrece una revisión historiográfica sobre la construcción de tipológicas regionales del caso colombiano. Tienen en cuenta sus dinámicas y aportes académicos e institucionales, en algunos casos, para rendir cuenta de la limitación de los enfoques, y en otros para ofrecerlo a modo de contexto. Los aportes de la Academia Colombiana de Historia, la Escuela Normal Superior, el Instituto Etnológico Nacional, la Universidad Nacional de Colombia, entre otras instituciones; pero también de académicos como López de Mesa, Zalamea Borda, García Nossa, Vila Dinarés, Hernández de Alba Lesmes, Guhl Nimtz, Fornaguera, Abadía Morales, Jaramillo Uribe, Gutiérrez de Pineda y Fals Borda, entre otros autores, son revisados de modo cronológico y lineal entre 1902-1987. La pregunta central es: ¿cuáles son los inicios, tendencias y fuentes de la regionalización colombiana? Su respuesta se apoya en una revisión bibliográfica crítica de autores y fuentes de los principales exponentes de una visión regional nacional del país. Palabras clave: regionalización, historiografía, región, ciencias sociales y humanas, Colombia Historiography of regionalization in Colombia: an institutional and interdisciplinary approach 1902-1987AbstractThe article offers a historiographical review about construction of regional typologies of the Colombian case. It takes into account its dynamics, and the academic and institutional contributions, in some cases to account for the limitation of the approaches, and in others, to offer them by way of context. The contributions of the Colombian Academy of History, the Superior Normal School, the National Ethnological Institute , National University of Colombia , among other institutions, but also of academic as López de Mesa, Zalamea Borda, García Nossa, Vila Dinarés, Hernandez de Alba Lesmes, Guhl Nimtz, Fornaguera Abbey Morales, Jaramillo Uribe, Gutiérrez de Pineda and Fals Borda, among others, are reviewed in chronological and linear fashion between 1902-1987. The central question is: what are the early, tendencies and sources of regionalization in Colombian? Its answer is based on a critical review of literature authors, and the main sources of the exponents of a regional vision national for the country. Keywords: regionalization, historiography, region, social and human sciences, Colombia.
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Abdurakhmanova, Z. I., V. Yu Neshataev, and V. Yu Neshataeva. "Pine forests (Pineta kochianae) in the Republic of Daghestan." Vegetation of Russia, no. 34 (December 23, 2018): 3–46. http://dx.doi.org/10.31111/vegrus/2018.34.3.
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The study of the floristic and coenotic diversity of Daghestan forests was being conducted for about a century. It was started by N. A. Bush (1905) and N. I. Kuznetsov (1911). Later A. A. Grossheim (1925) gave a brief description of birch, pine and mixed forests in the limestone region of internal mountain Daghestan. A significant contribution to the study of these forests was done by I. I. Tumadzhanov (1938), M. M. Magomedmirzayev (1965) and P. L. Lvov (1964). However, despite of the large number of papers on the forest vegetation of Daghestan, the Koch pine (Pinus kochiana Klotzsch. ex C. Koch) forests, which occupy about 75 000 hectares (17 % of the forest area of the Daghestan), were studied poorly. The present study is based on the data of field study by the authors in several districts of foothill Daghestan, internal mountain Daghestan and high mountain Daghestan in 2012–2016 within key-areas. The releves were carried out using the standard methods (Methods…, 2002) on 99 sample plots of 20×20 m. In addition, relevйs collected by Tumadzhanov (1938) and Magomedmirzayev (1965) were used for the syntaxa characteristic. Totally 140 relevйs were included into analysis. The classification of Pinus kochiana communities was made using the dominant-determinant approach of Russian geobotanical school founded by V. N. Sukachev. Syntaxa names are given according to the «Draft Code of Phytocoenological Nomenclature» (Neshataev, 2001). The Prodromus and the diagnostic features of the syntaxa are presented. The entire set of 140 releves was referred to the formation Pineta kochianae differing fr om Pineta sylvestris, not only by dominant species, but also by species composition and community structure. The most constant species occuring in the majority of associations are Juniperus oblonga in the shrub layer; Calamagrostis arundinacea, Fragaria vesca, Galium valantioides, Thalictrum foetidum in the herb and dwarf-shrub layer; Rhytidiadelphus triquetrus in the moss one. Six groups of associations and 28 associations were distinguished. The main diagnostic features of association groups (Table 1), phytocoenotic and synoptic tables for associations (tables 2–13) are presented. The density of tree layer in Pinus kochiana stands varied from 0.3 to 0.9. The pine trees at the age of 100 years have a height from 5 to 25 m (usually 10–15). The Pinus kochiana stand yield class (bonitet) varies from Va to III class; stands of IV class predominate. In the tree layer the following species occur in different associations: Acer platanoides, A. trautvetteri, Armeniaca vulgaris, Betula litwinowii, B. pendula, B. raddeana, Carpinus caucasica, Fagus orientalis, Fraxinus excelsior, Juniperus oblonga, Malus orientalis, Populus tremula, Pyrus caucasica, Quercus macranthera, Q. petraea, Q. pubescens, Q. robur, Salix caprea, Sorbus aucuparia, Taxus baccata, Tilia begoniifolia, T. cordata. In the understory the young growth of Betula litwinowii, B. pendula, B. raddeana, Juniperus oblonga, Sorbus aucuparia, Taxus baccata, Ulmus glabra occur. The shrub layer is usually well developed; its density is up to 60 %. The most constant species of the shrub layer in different associations are Berberis vulgaris, Cotinus coggygria, Cotoneaster integerrimus, Daphne glomerata, D. mezereum, Juniperus oblonga, Lonicera xylosteum, Rhododendron caucasicum, R. luteum, Rosa oxyodon, R. pimpinellifolia. On the upper border of forest belt wild raspberry (Rubus idaeus) and dwarf-shrubs (Empetrum caucasicum, Vaccinium myrtillus, V. vitis-idaea) often occur. Altogether 487 species of herbaceous plants were found in studied communities. Perennial forbs and grasses predominate. Ecological-cenotic groups of species (mesophytes, xerophytes and mesoxerophytes) are represented equally. 107 species of Bryopsida and 3 of Marchantiophyta are found, the moss cover varies from single individuals to 90 %. Only few species of epiphytic lichens and single lichens on wind fallen trunks are met. Koch pine forests which are widely spread on the northern slopes at the altitude more than 1200 m above the sea level, occur mainly on rocky slopes, formed by sandstones, limestones or clay slates in regions with different climatic conditions — from the dry climate of the foothills to the humid and cold climate of the high mountain Daghestan. Their species composition, set of dominants and community structure depend on the soil type, altitudinal position and the type of underlying rock. Three ecological groups are distinguished: 1) mesophytic pine forests, including moss-rich, rhododendron-rich and mesophytic-grass-herb-rich, 2) xeromesophytic ones with Carex humilis and Brachypodium pinnatum and 3) mezoxerophytic with Quercus pubescens, Cotinus coggygria, Poa bulbosa, etc. (Abdurakhmanova et al., 2015). Within the area of shale part of high mountain Daghestan most common are moss-rich and herb-rich pine forests with boreal, nemoral and Caucasian mesophilic species dominance, which occur at the upper forest lim it. The petrophyte group of associations on rocky sites was first revealed. The Salvia-Onobrychis-rich Koch pine forests (with Salvia canscens and Onobrychis cornuta) are similar to the phryganoid communities on limestone rocks influenced by overgrazing and selective cutting. Koch pine forests of Southern and Foothill Daghestan are characterized by the absence of boreal species common for the forests of high mountain Daghestan. The replacement of pine by other tree species mostly depends on soil conditions and altitudinal position. In the broad-leave forest belt pine is replaced by deciduous tree species better on deep fertile soils than on the shallow soils with low humus content. In contrast to the Western Caucasus, the replacement of pine by spruce (Picea orientalis) and fir (Abies nordmanniana) is never observed in Daghestan due to the absence of these species in it flora. Currently, the climate conditions of Daghestan are quite favorable for the distribution of pine forests. In comparison with other tree species the expansion of Pinus kochiana, supported by a decrease in livestock grazing and decrease in agricultural use, has increased.
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Nepomuceno, Tyrone Jann. "Cold War Narrative of Dependency: Revisiting Philippine Collaboration with America and Diosdado Macapagal’s Neo-Realist Response." Scientia - The International Journal on the Liberal Arts 11, no. 2 (September 30, 2022): 29–41. http://dx.doi.org/10.57106/scientia.v11i2.4.
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Diosdado Macapagal, Philippine President from 1961-1965, whose career was made rich by working in the foreign service, belonged to a tradition of championing a Foreign Policy shaped under America’s tutelage, adhering to democratic ideals, dismissive of Communism, and indifferent to neutralism and non-alignment. While various groups branded this policy as one of mendicancy that jeopardized Philippine Independence itself, President Manuel Roxas, who instituted it in 1946, was given little to no option but to side with America. The Second World War’s apocalyptic results required prompt and massive reconstruction and industrialization, necessitating foreign aid.
This study reveals a chapter in the Philippines’ Cold War History, which show instances of balancing the state of dependence on America with neo-realist postures. Macapagal worked for Land Reform to peacefully address Communism within and collaborated with America in the name of national security to counter possible foreign communist infiltration. In an anarchic world forged by Cold War developments, Macapagal secured US financial and military assistance and defended national interest in a neorealist posture to the point of championing views more orthodox and even contrary to that of America. Filipino’s preference for collaboration with America made the neo-colonial situation manageable at that time, to still reap whatever the superpower is willing to give while it promoted its own global agenda. Macapagal worked within this neo-colonial setting by balancing dependency and neorealism.
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조미원. "Study on the Ideological Critic Movement for Yu Pingbo and Hu Shu's Research on the Dream of the Red Chamber in 1954-55." Journal of the research of chinese novels ll, no. 32 (September 2010): 317–49. http://dx.doi.org/10.17004/jrcn.2010..32.014.
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Smirnova (Makarova), M. A. "Pine (Pinus sylvestris) forests and sparse forests of the Nothern-West Ladoga region." Vegetation of Russia, no. 47 (December 2023): 24–60. http://dx.doi.org/10.31111/vegrus/2023.47.24.
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Ladoga is the largest lake in Europe (with 17 870 km2 area, 838 km3 water volume, and 47/230 m average/maximum depths), it lies around connection of two large geological structures: the Baltic crystal Shield and Russian Platform (Isachenko, Reznikov 1996). The climate is characterized by frequent fronts of the Baltic, White and Barents seas, and prevalence of intensive cyclonic activity the whole year around. The Ladoga lake influences on the adjacent territories making climate smoother near its shores; the Karelian coast is characterized by soft winter, and longer vegetative and unfrosted periods (Ladoga…, 2000). In conformity to L. E. Nazarova (Nazarova, 2006), the annual atmosphere temperature has increased on 1.1–1.3 °С within 50 years (1951–2000) in this region. The study territory of North-Western Ladoga region is located in the southern area of the Baltic Crystaline Shield granite rock outcrops. The field researches were carry out on a key-site (35 km2) with the aim compile a large-scale vegetation map (M. 1 : 25 000). Landscape is heterogenic with rocks (granite and granodiarite, limnetic clay, pet) and complex relief (tops, slopes and foots of selgas, limnetic terraces and narrow selga depressions). The most easily reached sites of terraces and bogs were actively used as agricultural lands (up to 1940th by Finns, later on by Russians). The region is situated in taiga belt. Spruce, pine and small-leaved forests prevail in the study area, while meadows and bogs are less common. The most widespread are forests and woodlands with dominant Pinus sylvestris. The vegetation was described by methods according to principles of ecological-phytocoenotic classification (Gribova, Isachenko, 1972; Neshataev, 1987; Vasilevich, 1995; Methods ..., 2002). 93 relevés were performed on sample plots of 400 m2 or within the community boundaries. The following characteristics were taken into account: density, height and diameter of trees, composition and grass-shrub and moss-lichen layer cover (in percents). In pine forest shares of Pinus sylvestris (the number of trunks) are >5 units (in 10-point scale); sparse low-tree pine communities on rocks with tree density of less then 0.3 were classified as woodlands. Associations are distinguished according the species dominance in the herb layer and the combination of ecological-phytocoenotic groups. There are 5 groups of associations (Pineta cladinosa, Pineta hylocomiosa, Pineta nemoriherbosa, Pineta paludosa, Pineta sphagnosa), 12 associations and 11 variants established according to ecological-phytocoenotic classification. Forest and woodland assosiations of Pinus sylvestris of the NW Ladoga region: Pinetum cladinosum saxatilis (Table 1; Table 7, syntaxa 1–3; Fig. 2); Pinetum fruticulosum saxatilis (Table 2, relevés 1–9; Table 7, syntaxon 4); Pinetum vacciniosum (Table 2, relevés 10–12; Table 7, syntaxon 5; Fig. 4); Pinetum myrtillosum (Table 3, relevés 1–19; Table 7, syntaxa 6–8; Fig. 5а, б); Pinetum myrtilloso–calamagrostidosum (Table 4, relevés 1–14; Table 7, syntaxa 9, 10); Pinetum calamagrostidoso–herbosum (Table 4, relevés 15–19; Table 7, syntaxon 11); Pinetum myrtilloso-oxalidosum (Table 5, relevés 1–7; Table 7, syntaxa 12–14); Pinetum oxalidosо–equisetosum (Table 5, relevés 8–12; Table 7, syntaxon 15; Fig. 6а, б); Pinetum nemoriherbosum (Table 5, relevés 13–16; Table 7, syntaxon 16; Fig. 7а, б); Pinetum filipendulosum (Table 5, relevés 17–18; Table 7, syntaxon 17), Pinetum fruticuloso–hylocomioso–sphagnosum (Table 6, relevés 1–3; Table 7, syntaxon 18; Fig. 8); Pinetum myrtilloso–sphagnosum (Table 6, relevés 4–5; Table 7, syntaxon 19). Tops of the granite hills (selgas) are rocky coverd by frost resistent communities on primitive litogenic soils, where snow cover is blown off in winter. Common are communities of the ass. Pinetum cladinosum saxatilis with sparse and undersized Pinus sylvestris, unclosed lichen and greenmoss cover (Arctoparmelia centrifuga, Umbilicaria sp., Cladonia arbuscula, C. rangiferina, C. stellaris, C. uncialis s. str., Dicranum polysetum, D. scoparium, Pohlia nutans, Polytrichum juniperinum, Pleurozium schreberi) and woodlands of the ass. Pinetum cladinosum saxatilis var. callunosum (Calluna vulgaris, species of genera Cladonia, Dicranum polysetum, Pleurozium schreberi, Polytrichum juniperinum). Primitive litogenic soils are formed at gently tops and near-top slopes with forests of the ass. Pinetum fruticulosum saxatilis with some lichen. Mid parts of selga slopes are occupied by different types on the “podbur” soil (similar to thin mountain taiga soil). The selga slopes are usually covered by forests of the ass. Pinetum myrtilloso–calamagrostidosum (Calamagrostis arundinacea, Vaccinium myrtillus) and ass. Pinetum myrtilloso–oxalidosum (Oxalis acetosella, Vaccinium myrtillus) with an admixture of small-leaved trees. The gentle slopes and bottom parts of selga slopes are occupied phytocenoses of the ass. Pinetum calamagrostidoso–herbosum with heliophilous subnemoral herbal species (Convallaria majalis, Fragaria vesca, Hepatica nobilis, Geranium sylvaticum, Rubus saxatilis, Pteridium aquilinum, Veronica chamaedrys, Viola canina) and mosses (Pleurozium schreberi, Dicranum polysetum, Hylocomium splendens, Rhytidiadelphus triquetrus). The selga depressions are occupied by phytocenoses of the associations Pinetum fruticuloso–hylocomioso–sphagnosum and Pinetum myrtilloso–sphagnosum. The lake terraces were used by Finns (up to 1944) as agricultural grounds (meadows, pastures, arable lands). After the end of cultivation the young grey alder groves with mesophytes (Aegopodium podagraria, Geum rivale) and hygromesophytes (Filipendula ulmaria, Lysimachia vulgaris, Scirpus sylvaticus) have became the most typical element of postagricultural lands where shade-requiring boreal and nemoral species gradualy were being replaced by heliophilous meadow plants (Veremeeva, 2004). The next succession stage is the appearance and growth of coniferous trees. Pine forests from the Pineta nemoriherbosa and Pineta paludosa groups on cultivated lake terraces are rather young (40–70 years). According to classification of G. A. Isachenko (Isachenko, 1996), such forests belong to the final (4th) succession stage of agricultural land with tree species before the restoration of coniferous forests. Also, ecotope conditions (soil richness, sufficient humidifying) promote increase the cover of nemoral (Aegopodium podagraria, Hepatica nobilis, Pulmonaria obscura, Milium effusum), hygromesophylous and hygrophylous herbs (Filipendula ulmaria, Athyrium filix-femina, Equisetum sylvaticum, Geum rivale, Oxalis acetosella, Deschampsia cespitosa). The presence of spruce in the tree stand, the abundance of Oxalis acetosella, nemoral and hygrophytic herbs shows that these forests of the associations Pinetum oxalidosо–еquisetosum, Pinetum nemoriherbosum and Pinetum filipendulosum when they are not affected by anthropogenic impacts may be restored to forests of the associations Piceetum oxalidosо–еquisetosum, Piceetum nemoriherbosum and Piceetum filipendulosum.
Dissertations / Theses on the topic "Pingwa (1952-....)"
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Feng, Jie. "Tradition et modernité dans les romans de Jia Pingwa. Analyse sociosémiotique." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL089.
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Notre travail de thèse porte sur une sémiotique des cultures appliquée à une œuvre littéraire, nous avons choisi comme corpus les romans ruraux de Jia Pingwa. Ici, les romans ruraux de Jia Pingwa, notre corpus de recherches, passent sous le prisme de la sémiotique narrative et de la méthodologie interprétatives, interprété vs interprétant. Notre recherche comporte deux problématiques. D’une part, l’interprétation des romans ruraux de Jia Pingwa dans un objectif scientifique, légitime et efficace, et, d’autre part, la vivacité et la nouveauté qu’apporte ce corpus à la sémiotique, dans la mesure où nous avons dû surmonter les difficultés liées à l’étendue du corpus examiné. Dans la première problématique, l’objectif d’études consiste à découvrir les facteurs narratifs et surtout les identités des œuvres dans leur parcours de devenir. Cela implique deux ordres, dont l’un est paradigmatique, les niveaux sémantiques, et l’autre syntagmatique, les aménagements des trois plans narratifs, dits cognitif, pragmatique et thymique. Par ailleurs, les identités et les pratiques sociales dans les œuvres de Jia Pingwa sont explorées par les liens génériques entre le discours et les situations dans lesquelles ils sont produits. En ce sens, nous travaillons à une sociosémiotique appliquée à la littérature. Pour répondre à ces impératifs, notre objectif a consisté à établir une sémiotique textuelle à l’aide de la sémiotique des cultures traitant la relation entre le discours et les situations où il se manifeste, la sémiotique narrative menant à une analyse componentielle, qui correspond respectivement aux ordres différents, dits extra- et intra-textuelOur thesis is concerned with the semiotics of cultures applied to a literary work, and we have chosen Jia Pingwa's rural novels as our corpus. Here, Jia Pingwa's rural novels, our research corpus, are examined through the prism of narrative semiotics and interpretive methodology, interpreted vs. interpreting. Our research involves two issues. On the one hand, the interpretation of Jia Pingwa's rural novels for a scientific, legitimate and effective purpose, and, on the other hand, the liveliness and novelty that this corpus brings to semiotics, insofar as we have had to overcome the difficulties related to the scope of the corpus examined. In the first problematic, the aim of the studies is to discover the narrative factors and, above all, the identities of the works in their path to becoming. This implies two orders, one of which is paradigmatic, the semantic levels, and the other syntagmatic, the arrangements of the three narrative planes, known as cognitive, pragmatic and thymic. Furthermore, the identities and social practices in Jia Pingwa's works are explored through the generic links between discourse and the situations in which they are produced. In this sense, we are working on a sociosemiotics applied to literature. To meet these imperatives, our objective has been to establish a textual semiotics using the semiotics of cultures dealing with the relationship between the discourse and the situations in which it manifests, the narrative semiotics leading to a componential analysis, corresponding respectively to the different orders, so-called extra- and intra-textual
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Paladin, Laura. "Qualità biologica dei suoli della Pineta di San Vitale (RA)." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2011. http://amslaurea.unibo.it/1959/.
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Piat, Julien. "L'expérimentation syntaxique dans l'écriture du Nouveau Roman (1950-1960) : Beckett, Pinget, Simon." Grenoble 3, 2007. http://www.theses.fr/2007GRE39057.
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Les romans publiés par Beckett, Pinget et Simon dans les années 1950, créent un indéniable effet de "lecture difficile". Un tel effet s'explique principalement par le travail très net sur les formes langagières auquel se livrent des textes qui sont autant de manifestes pratiques d'une volonté d'écrire autrement le roman et sont emblématiques des diverses entreprises regroupées par la critique sous l'étiquette de "Nouveau Roman". Si l'on peut parler à leur sujet d'expérimentation syntaxique, c'est qu'ils présentent une série de traits mettant à mal l'unité écrite de la phrase, notion bien souvent critiquée, mais graphiquement pertinente : elle correspond à une conscience épilinguistique largement partagée, et elle seule permet de rendre compte des opérations de discontinuité syntaxique, prédicative et énonciative multipliées dans le corpus. On montre cependant comment les difficultés de lecture sont ici largement levées par la reconnaissance spontanée de patrons stylistiques, ancrés dans l'histoire des formes de la modernité romanesque et définissant un roman phénoménologique. Analyser ces textes en partant de la catégorie de phrase permet non seulement de comprendre ce que peut être une écriture de la conscience et du temps, mais aussi de replacer les entreprises de Beckett, Pinget et Simon dans un moment de la poétique du roman et de la langue littéraireOne cannot read Beckett, Pinget and Simon's first novels without a sense that they are "difficult texts". As practical manifestoes, these works, which are also representative of the French "New Novel" and imply a strong will to discover new generical paths, carry on an in-depth syntactical experimentation, based on a series of operations that put the sentence-unit at stake. The sentence has indeed–in spite of all the debates it has raised–an indeniable graphic relevance. Not only does it match with the most widely shared epilinguitic schemes, but it alone accounts for the phenomena of syntactic, predicative and enunciative discontinuity the corpus shows. Difficulties of reading are nevertheless partially or totally overcome when one identifies the stylistic patterns progressively developed by modern novelistic prose in its attempt to define a phenomenological writing. Focusing on the sentence level makes us able to bring to light how Beckett, Pinget and Simon "write" consciousness and time, and gives us a valuable insight on their situation in a particular moment of the poetics of the novel and of the literary use of language
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Palazzo, Luisa. "Mythe chevaleresque et errances du roman : Jacques Roubaud, Italo Calvino, Robert Pinget." Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC099.
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Alors que le X_Xe siècle tend vers une littérature dite de l'épuisement, une partie de la production romanesque s'affranchit de la « tyrannie » de la modernité et se tourne vers des formes traditionnelles de récit. À partir de la seconde moitié du siècle, pour un certain nombre d'auteurs, ce retour à l'art de raconter donne lieu à un renouveau d'intérêt pour l'univers mythique médiéval et la quête chevaleresque. La figure du chevalier errant, à la fois archétype de l'homme en quête d'identité et symbole du potentiel de « déterritorialisation » que le romanesque porte en soi, illustre une vision contemporaine du monde et donne forme au roman. Pour analyser ce pacte renouvelé entre passé et présent, nous nous sommes intéressée aux oeuvres de Jacques Roubaud, d'Italo Calvino et de Robert Pinget — fabulistes modernes —, auteurs de vertigineux univers littéraires qui transforment la quête médiévale en quête du livre et du langage. Les ouvrages du corpus, emblématiques à des degrés différents de l'impact que la résurgence chevaleresque produit sur la création littéraire de l'époque, montrent comment cette résurgence met en jeu l'écriture, ou la réécriture, du texte et contrevient à la fin du récit. Ainsi, le travail de composition de nos auteurs, copistes modernes, formule une promesse inédite de renouveau du roman et donne forme au fameux rêve qu'Umberto Eco a fait du Moyen Âge — cette grille de lecture du monde contemporain pensé dans sa variété et dans sa complexité'. Umberto Eco, « Dix façons de rêver le Moyen Âge », dans Écrits sur la pensée au Moyen Âge, Paris: Grasset, 2016Contrary to the trend towards the so called Literature of Exhaustion, a subset of Twentieth-Century fictional literature frees itself from the "tyranny" of Modernity and tends towards traditional forms of narration. From the second half of the century, a selection of authors return to embrace the art of storytelling bringing about a resurgence of the medieval world of myths and the knight's quest. The character of the errant knight, the archetype of a man in search of identity and the symbol of the "deterritorialization" potentially contained in fiction, provides a contemporary vision of the world and shapes the novel genre. We look to the works of Jacques Roubaud, Italo Calvino and Robert Pinget in order to analyze this new pact between past and present. These modem fabulist authors imagine and construct in their novels complex fictional worlds transforming the medieval quest into a quest for books and language. The corpus formed of the concerned texts exemplifies at different levels the influence of the chivalry resurgence on the literary works of the period. This resurgence involves the writing, or the rewriting, process and contradicts the idea of an end to narration in modern works. In this way, the works that these authors, scribes of the modern world, have "compiled", promise an unprecedented renewal of the novel genre and make real the famous dream of the Middle Ages described by Umberto Eco: this key to interpretation of the contemporary world witnessed in all its variety and complexity. 1 Umberto Eco, "Dreaming of the Middle Ages", in Travels Throughl--Iyperreali, 61-72, New York: Harcourt, 1986
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Léonardi, Cécile. "L'oeuvre d'art comme outil de lecture de la sociologie : relire Goffman à partir de quelques pièces de Pina Bausch." Paris, EHESS, 2015. http://www.theses.fr/2015EHES0088.
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Si les œuvres d'art restent un objet problématique pour la sociologie, elles ne cessent en revanche de faire penser les sociologues et d'alimenter de manière variable les procès de connaissance qu'ils consacrent à d'autres objets d'étude. Parfois, ce sont leurs paradigmes qu'ils réinterrogent en faisant des oeuvres de précieux analyseurs de ce qui échappe au regard de la science. Certains évoquent dans ce cas la possibilité de construire un partenariat épistémologique fécond entre art et sociologie, partenariat dont les enjeux sont ouverts et dont les modalités restent à explorer et à questionner dans le même mouvement. C'est ce questionnement que j'ai choisi d'approfondir en m'intéressant à la manière dont l'oeuvre de Pina Bausch pouvait m'aider à relire celle de Goffman. La sociologie goffmanienne est souvent associée aux analogies que son auteur construit pour analyser les situations d'interaction en face à face, la plus connue étant la métaphore dramaturgique qu'il file dans La Présentation de soi. Pina Bausch s'est quant à elle rendue célèbre en expérimentant dans ses pièces des continuités entre les performances ordinaires de l'interactant et les prouesses attendues d'un acteur en scène. Mon hypothèse a été de faire de cet amalgame dramaturgique un objet-limite des métaphores de Goffman, objet capable de mettre ses montages conceptuels en jeu et à l'épreuve d'une manière inédite. Menée sur trois pièces, Kontakthof, 1980 et Walzer, cette expérience analytique m'a permis de sonder la complexité du texte goffmanien et de défendre, dans là continuité de cette exploration, la possibilité de faire de l'art un outil de lecture de la sociologie et de ses formes d'écritureWorks of art remain a problematic object for sociology, yet they nourish the thoughts of sociologists and, in a variable way, the processes of knowledge that these researchers devote to other objects of study. Occasionally, turning the works of art into a precious analyzer of what escapes from gaze of science allows them to examine their own paradigms. In that case, some evoke the possibility of building a fertile epistemological partnership between art and sociology, a partnership whose challenges are opened and methods yet to be explored and questioned in the same movement. This is the path I have chosen to follow, by exploring the way in which the work of Pina Bausch could help me to reread that of Erving Goffman. Goffman's sociology is often associated with the analogies that the author elaborates to analyze face-to-face interactions - the dramaturgic metaphor that he develops in The Presentation of the Self being the best known. As for Pina Bausch, she became famous as a choreographer by experimenting, in her plays, with different kinds of continuities between the ordinary performances of the interactant and the feats one would expect from an actor on stage. I have considered this "dramaturgic amalgam" as a borderline object of Goffman's metaphors, an object able to set these conceptual devices in motion and put them to a test, in an unusual and fruitful way. Based upon three plays of Bausch, Kontakthof, 1980 and Walzer, this analytical experiment enabled me to explore and analyze the complexity of the Goffmanian text and, following this exploration, to defend the possibility of using art as a reading tool for sociology and the sociological writing
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Martires, José Genivaldo. ""Flagrando a vida" : trajetória de Lígia Pina - professora, literata e acadêmica (1925-2014)." Universidade Federal de Sergipe, 2016. https://ri.ufs.br/handle/riufs/4775.
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This research aims to study Maria Lígia Madureira Pina's life story - Professor, literate and
academic- by establishing comprehension about the relationship between her intellectual
formation and pedagogical practices developed at Colégio de Aplicação at Universidade
Federal de Sergipe [SE Federal University], as well as the production of her writings and how
this cultural capital contributed to her effectiveness in Academia Sergipana de Letras [SE
Academy of Letters]. In this sense the following categories and its respective theorists were
recurred: field, history, social capital and cultural capital by Pierre Bourdieu (1996, 2002 e
2004); Jacque Le Goff's (2014) document;intellectuals by Jean Francois Sirinelli (2003). We
use the life history technique performed through biography testimonies and of people in her
familiarity as well as the use of documentary sources located in the following archives:
Instituto Histórico e Geográfico de Sergipe; Academia Sergipana de Letras and of the
Universidade Federal de Sergipe [ Historical and Geographical Institute of Sergipe; SE
Academy of Letters; Federal University of Sergipe]. Ligia Madureira Pina was born in 1925,
in Aracaju city. She studied at the following schools: Frei Santa Cecília, Nossa Senhora de
Lourdes and Normal School. Ligia majored in geography and history at the Faculdade
Católica de Filosofia de Sergipe [Philosophy Catholic College of Sergipe]. She taught at
several schools in Aracaju, including: Normal School, Atheneu and Colégio de Aplicação
[Application High School] of UFS, in this last educational institution she developed a number
of activities and materials in order to streamline the lessons of history. In 1991, she finished
her educational activities and started devoting to her literary works and from 1998 on, in the
activities of Academia Sergipana de Letras.A presente pesquisa teve o propósito de investigar a trajetória de vida de Maria Lígia Madureira Pina, professora, literata e acadêmica, estabelecendo compreensões a respeito das relações entre sua formação intelectual e as práticas pedagógicas desenvolvidas no Colégio de Aplicação da Universidade Federal de Sergipe, bem como a produção dos seus escritos, e como esse capital cultural contribuiu para a sua efetivação na Academia Sergipana de Letras. Neste sentido, foram recorrentes as seguintes categorias e seus respectivos teóricos: campo, trajetória, capital social, capital cultural e intelectual de Pierre Bourdieu (1996, 2002, 2003 e 2004); documento de Jacques Le Goff (2014). Utilizamos a técnica de história de vida, realizada por meio de coleta de relatos orais da biografada e de pessoas do seu convívio, bem como a utilização de fontes documentais localizadas nos arquivos do Instituto Histórico e Geográfico de Sergipe; Academia Sergipana de Letras e da Universidade Federal de Sergipe. Lígia Madureira Pina nasceu em 1925, na cidade de Aracaju; estudou no colégio Frei Santa Cecília, Escola Nossa Senhora de Lourdes e Escola Normal. Fez o curso superior em Geografia e História na Faculdade Católica de Filosofia de Sergipe. Lecionou em diversos estabelecimentos de ensino de Aracaju, dentre eles: Escola Normal, Atheneu e Colégio de Aplicação da UFS. Nesta instituição de ensino desenvolveu uma série de atividades e materiais didáticos com o propósito de dinamizar as aulas de história. Em 1991 encerrou as suas atividades pedagógicas, passando a se dedicar as suas obras literárias, e a partir de 1998, às atividades da Academia Sergipana de Letras.
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Gautier, Vänskä Aino Elina. "Pour une nouvelle description. Etude textuelle et stylistique des premiers romans d'Alain Robbe-Grillet et de Robert Pinget dans leur relation au protocole descriptif réaliste." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA098.
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Bien que fort différents, les romans des années 1950 d’Alain Robbe-Grillet et les romans des années 1960 de Robert Pinget ont prétendu contester les formes littéraires que le XXe siècle a héritées du siècle précédent, et notamment la description dite « balzacienne ». Nous interrogeons ici les modalités linguistiques de cette contestation et l’ambiguïté littéraire de ce déni d’héritage. La relation entre la description telle que l’ont pratiquée d’une part ces deux « Nouveaux Romanciers » et d’autre part les grands auteurs réalistes du XIXe siècle est ici envisagée selon une triple perspective : le maintien ou non d’une textualité prototypiquement méronymique ; la construction langagière d’une réalité dont l’existence est soudain moins sûre ; l’effacement énonciatif et ses conséquences esthétiques. Selon une approche résolument technique, les descriptions romanesques de Pinget et de Robbe-Grillet sont donc ici systématiquement mises en regard de descriptions canoniques de Balzac, mais aussi de Flaubert et de Zola. La contestation du protocole réaliste repose en effet sur une reprise et un refus : la complexité textuelle, la confusion dénotative et reférentielle, l’instabilité énonciative permettent aux deux romanciers de procurer des descriptions à la fois hyperréalistes et antiréalistes. Tout en prenant acte de la différence radicale des deux auteurs, il s’agit finalement de montrer comment l’un et l’autre sont parvenus à mettre au point un protocole descriptif résolument nouveau, qui rende compte du monde en tant qu’il est et en tant qu’il échappeAlthough very different, the novels of the 1950s by Alain Robbe-Grillet and of the 1960s by Robert Pinget claimed to challenge the literary forms that the twentieth century has inherited from the previous century, including the description of Honoré de Balzac. We question here the linguistic modalities of this confrontation, as well as the literary ambiguity of this denial of inheritance.The relationship between the description as have practiced these two "New Novelists" and on the other hand the great realistic writers of the nineteenth century is considered here in a triple perspective: maintenance / defence - or not – of a textuality, which is prototypically based on meronymy ; the linguistic construction of a reality whose existence is suddenly uncertain ; the enunciative erasure and its aesthetic consequences. In a decidedly technical approach, the descriptions of the novels of and Robbe-Grillet and Pinget are systematically opposed to the canonical descriptions of Balzac, but also to some extent to Flaubert and Zola. Challenging the realistic protocol is indeed based both on a recovery and a refusal: the textual complexity, the denotative and referential confusion and the enunciative instability allow these two novelists to provide descriptions which can be considered hyperrealistic as well as antirealistic. Eventually, while acknowledging the radical difference between the two authors, the aim is to show how both writers have managed to develop a considerably new descriptive protocol that reflects the world as it is and as it escapes
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Roussel-Meyer, Maryse. "La fragmentation dans le roman : "Rigodon" de Louis Ferdinand Céline, "Le voyeur" d'Alain Robbe-Grillet, "Graal Flibuste" de Robert Pinguet." Bordeaux 3, 2008. http://www.theses.fr/2008BOR30013.
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Le choix de l’écriture fragmentaire dans le roman peut se concevoir comme une force de désintégration du genre. Ainsi ont œuvré les trois auteurs choisis : Pinget avec Graal Flibuste, roman en forme de fragments, Robbe-Grillet avec Le Voyeur, récit troué d’ellipses, et Céline, morcelant la syntaxe à la limite de la lisibilité dans Rigodon. Les ambitions de la fragmentation rassemblent les trois auteurs dans leur volonté de démontage d’une intrigue romanesque et dans celle d’un brouillage générique. On a tout d’abord examiné l’usage de la description comme effet de fragmentation. Chez Pinget et Robbe-Grillet, un parti pris descriptif contribue à la perte de l’intrigue, du temps et du personnage en tant que représentation du sujet. Chez Céline, le discours disloqué absorbe tout récit, dans un désir de rythme apte à rendre compte d’une incohérence du monde. On a considéré ensuite la fragmentation dans son effet musicien : grâce au jeu des variations, les écritures de Robbe-Grillet et Céline peuvent relever d’une esthétique de la fugue ; par sa technique de montage, la structure du roman de Pinget peut rappeler la composition d’une sonate. Enfin, en démystifiant les qualités du roman classique, l’ironie de la fragmentation, dans sa stratégie elliptique, sollicite l’active participation du lecteur. En faisant preuve d’exigence fragmentaire sous diverses formes, ces auteurs ont donné à leur écriture l’allure et la pugnacité d’un défi, mettant en cause la notion même de catégorie littéraire. Résistant à la tentation de la totalité, la fragmentation qu’ils instruisent dans leurs récits, élabore d’elle-même l’idée très moderne d’un roman transgénérique.
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Joly, Mylène. "Le rapport à soi, la relation à l'autre : les pratiques artistiques de Nan Goldin et de Pina Bausch, entre identité et devenir." Mémoire, 2011. http://www.archipel.uqam.ca/4562/1/M12315.pdf.
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Il est souvent dit des œuvres de Nan Goldin et de Pina Bausch qu'elles sont si près de l'individu qu'elles traduisent l'identité telle qu'elle est, criante de vérité, dépourvue de tous les oripeaux que lui impose la vie en société. L'identité s'avère cependant un phénomène discutable dans son unité et questionnable dans sa sédentarité. Elle paraît davantage observable dans sa multiplicité et son nomadisme. L'étude actuelle esquisse les voies par lesquelles la photographe et la chorégraphe parviennent à poser un regard sur cette mouvance plurielle, non seulement au sein de leurs œuvres, mais plus particulièrement à travers les approches qu'elles privilégient. En adoptant des processus comparables à la discipline de soi des écritures, elles accordent la création artistique à la construction du sujet. Le devenir de l'œuvre rejoint donc le devenir individuel, se révélant dans l'accumulation des expériences, se mouvant entre le soi et l'autre. L'essai est divisé en quatre chapitres. Le premier ébauche le contexte de la problématique tel qu'elle se positionne à mi-chemin entre l'histoire de l'art et l'histoire de la danse. Le propos soutenu revendique un décloisonnement des champs de recherche pour ouvrir la voie à plus de créativité dans l'étude des arts. Le second dessine d'abord les portraits des cheminements distinctifs de Pina Bausch et de Nan Goldin, permettant ensuite d'établir les parentés sur lesquelles s'appuiera l'étude. Le troisième définit les balises conceptuelles et met en forme la structure théorique nécessaire au regard proposé. Dans la foulée, il fonde la relation entre l'œuvre d'art et les écritures de soi. Enfin, le quatrième cherche à observer le rapport tissé entre la discipline subjective, et les démarches propres à la chorégraphe et à la photographe. Il vise à mettre en relief les dimensions que prennent le rapport à soi et la relation à l'autre dans la dialectique de l'identité et du devenir au fondement des pratiques des deux artistes.
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MOTS-CLÉS DE L’AUTEUR : Pina Bausch, Nan Goldin, devenir, identité, processus de création, écriture de soi, le soi et l'autre
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Qian, He. "La représentation occidentale de la cruauté dans l'art contemporain chinois." Mémoire, 2008. http://www.archipel.uqam.ca/1026/1/M10480.pdf.
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Le présent mémoire traite de la représentation occidentale de la cruauté dans l'art contemporain chinois. Cet art extrême est apparu vers la fin des années 1990 sur la scène artistique chinoise. Une grande part des pratiques extrêmes des artistes chinois a été introduite en Occident au début des années 2000, suscitant de vives réactions. Trois expositions européennes constituent notre corpus de recherche: l'exposition Hors Limites en 1994, la 5e Biennale d'art contemporain de Lyon en 2000, et l'exposition Mahjong en 2005 à Berne (Suisse). Dans les trois expositions, la mise en scène de la cruauté par les artistes chinois a suscité débats et controverses, et dans certains cas, l'intervention des tribunaux. Les oeuvres litigieuses chinoises ont toutes été censurées: soit interdites d'exposition, soit remplacées par des photographies. Notre problématique porte sur le «déséquilibre implicite» (Sally Price) qui caractérise le traitement et la représentation de l'art contemporain chinois dans les expositions occidentales. Alors que les pratiques extrêmes occidentales (actionnisme viennois, body art...) font l'objet de controverses essentiellement esthétiques, on assiste à un glissement du registre esthétique au registre juridique lorsqu'il s'agit de l'art contemporain extrême chinois. En effet, les oeuvres chinoises ne semblent pas, à l'instar des oeuvres occidentales, jouir de la même autonomie artistique et leur sort ne dépend pas des commissaires et des critiques mais plutôt des avocats et des juges. Ce traitement juridique des oeuvres litigieuses chinoises renverse les principes esthétiques que l'Occident a établi depuis le XIXe siècle: la liberté artistique, l'autonomie de l'oeuvre, la possible transgression de la mimésis. L'universalité de la notion d'art se heurte ici au caractère prétendument extraordinaire de la culture chinoise. En fait, ces cas de censure révèlent les fantasmes que l'Occident n'a cessés de nourrir au cours de son histoire sur la Chine, et sur le lien consubstantiel que la culture chinoise entretiendrait avec la cruauté. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Art contemporain chinois, Art et cruauté, Art et censure, Huang Yong-ping, Xiao Yu, « Groupe Cadavre».
Books on the topic "Pingwa (1952-....)"
1
Dong, Jianbo. Xian jin liu shui bu (1950-1952). Shanghai: Shanghai ci shu chu ban she, 2019.
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2
Dong, Jianbo. Teng qing bu (1950-1951). Shanghai: Shanghai ci shu chu ban she, 2019.
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3
Dong, Jianbo, Qiang Gui, and Chen Qian. Xiao huo bu (1950-1951). Shanghai: Shanghai ci shu chu ban she, 2019.
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4
Dong, Jianbo, and Fangxu Liu. Xian jin ri ji zhang (1950-1953). Shanghai: Shanghai ci shu chu ban she, 2019.
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5
Leonardo Ruiz Pineda, 1916-1952: Cincuenta años después. Barquisimeto: [s.n.], 2002.
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Fa huo, cun huo bu (1950-1951). Shanghai Shi: Shanghai ci shu chu ban she, 2019.
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7
Leonardo Ruiz Pineda: "El alfarero de la libertad, " 1916-1952. San Cristóbal [Venezuela: L. Suárez de P.], 2011.
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Dong, Jianbo, and Wenyan Yi. Xiao huo bu (1956). Shanghai: Shanghai ci shu chu ban she, 2019.
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9
Dong, Jianbo. Za xiang (1949-1956). Shanghai: Shanghai ci shu chu ban she, 2019.
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10
Zhou, Wenyi. Shi fei Hong lou: Yu Pingbo 1954 nian yi hou de sui yue. Nanchang Shi: Bai hua zhou wen yi chu ban she, 2019.
Find full textBook chapters on the topic "Pingwa (1952-....)"
1
Gardella, Ignazio. "Terrassenhaus Pineta Di Arenzano, Via Della Rotonda, 1958–65." In Italomodern, 124–27. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-0852-9_32.
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D’Olivo, Marcello. "Sommerhaus Lignano Pineta, Raggio Di Levante, Arco Del Maestrale, 1954–55." In Italomodern, 58–61. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-0852-9_15.
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Haft, Lloyd. "Yu Pingbo, Dongye (Winter Night), 1922." In Selective Guide to Chinese Literature 1900-1949, Volume 3 Poem, 258–60. BRILL, 1989. http://dx.doi.org/10.1163/9789004642980_078.
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Seshadri, V. "Characterizations." In The Inverse Gaussian Distribution, 94–116. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198522430.003.0003.
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Abstract This chapter is devoted to a survey of the various characterizations of IG(m, > λ.). Although we have encountered numerous properties of IG(m,> λ.) in the previous chapter, not all of them characterize the family uniquely. As a starting point let us consider the Gaussian family. One of the ear liest characterizations, due to Geary (1936), is based on the independence of the sample mean and the sample variance. Geary assumed the existence of moments of all orders while Lukacs (1942) proved the result by assuming only the existence of the first two moments. Kawata and Sakamoto (1949) and Zinger (1951) independently established the characterization by drop ping the assumption of the existence of the second moment. The search for analogies with the Gaussian law prompts us to query if a similar re sult holds in the IG case as well. Not surprisingly an affirmative answer is provided by a theorem due to Khatri (1962).
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Block, Geoffrey. "“There’s Hope for Everyone”." In The Richard Rodgers Reader, 146–51. Oxford University PressNew York, NY, 2002. http://dx.doi.org/10.1093/oso/9780195139549.003.0016.
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Abstract The Theatre Guild shows created new stars (Alfred Drake, Joan Roberts, Celeste Holm in Oklahoma!, John Raitt and Jan Clayton in Carousel). South Pacific began with stars already in public orbit, Broadway’s lustrous Mary Martin (1913-1990) and the famous bass Ezio Pinza (1892-1957) crossing over after several decades of leading roles with the New York Metropolitan Opera and London’s Covent Garden. By the time Rodgers and Hammerstein asked Martin to play Nellie Forbush, she had long since made her auspicious supporting debut in Cole Porter’s Leave It to Me (1938) with the song that would provide her autobiography its title. Several years later, she attained stardom in the title roles in One Touch of Venus (1943) and in the first touring company of Annie Get Your Gun in 1947 (an Irving Berlin musical produced by Rodgers and Hammerstein the previous year). After playing Ensign Forbush for a little more than two years, Martin would go on to create the title role in Broadway’s Peter Pan (1954) and Maria von Trapp in R & H’s The Sound of Music (1959). In yet another claim to fame, Martin was also the mother of Larry Hagman (1931-), known to millions as J. R. Ewing in the long-running television series Dallas (1978-1990).
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Zeitlin, Steve. "The Poetry of Ping-Pong." In The Poetry of Everyday Life. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501702358.003.0005.
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In this chapter, the author looks at the poetry of Ping-Pong, his favorite sport. According to Marty Reisman, the game of Ping-Pong died in Bombay, India, in 1952. Reisman, nicknamed “The Needle,” was favored to win the World Table Tennis Championship that day. The author says he has always loved Ping-Pong because you can get into a rhythm, hit the ball back and forth across the net for hours, with any racquet, and simply talk. Ping-Pong, like poetry, is a players' sport, not ideal for spectators. Bob Mankoff, the cartoon editor of The New Yorker, claims that there is palpable humor in the game. With Ping-Pong, the author insists that we are all capable of attuning ourselves to the hidden life of sports, a relationship that is about kinesthesia and embodiment.
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Marks, Michael, Oriol Mitjà, and David Mabey. "Nonvenereal endemic treponematoses: Yaws, endemic syphilis (bejel), and pinta." In Oxford Textbook of Medicine, edited by Christopher P. Conlon, 1204–10. Oxford University Press, 2020. http://dx.doi.org/10.1093/med/9780198746690.003.0140.
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The endemic treponematoses are chronic, granulomatous diseases caused by morphologically and serologically identical spirochaetes of the genus Treponema. They are spread by intimate but non-sexual contact and possibly by fomites, mainly among children. Treponema pallidum subsp. pertenue causing yaws (framboesia), T. pallidum subsp. endemicum causing endemic syphilis (bejel) and T. carateum causing pinta (carate) are distinguishable from T. pallidum subsp. pallidum, causing venereal syphilis, by their epidemiology and pathological effects and genomic structure (e.g. the arp gene). Despite the successful WHO/UNICEF mass penicillin treatment campaign (1952–1964), there has been a resurgence of yaws, mainly in West Africa, Southeast Asia, and the Pacific. Children living in rural areas in warm, humid climates in tropical countries are most affected by yaws. About 10% of untreated cases develop late, disfiguring, or crippling lesions of skin, bone, and cartilage.
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"Friendship is solidarity: the Chinese ping-pong team visits Africa in 1962*." In Sport and diplomacy, edited by Amanda Shuman, 110–29. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526131058.003.0007.
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A decade before official 'ping pong diplomacy', leaders in the People's Republic of China (PRC) used sports delegation visits to cultivate diplomatic relations with recently decolonized nations. In the early 1960s, the Sino-Soviet split, the rise of various Afro-Asian movements, and decolonization in Africa led to intense Sino-Soviet competition for socialist influence in the Third World. Officially presented to the Chinese public as “friendly” sports exchanges, PRC leaders sought to expand their influence and prove that Chinese socialism under Mao as an alternative (and superior) model to that of the Soviet Union. The chapter, based primarily on declassified official reports from Chinese archives, begins with the first major PRC sports delegation sent to Africa in 1962, a contingent of well-known ping pong athletes. The visit helped Chinese leaders gather knowledge on new allies, officially express shared historical and political solidarities against colonialism and imperialism, and, through sport, demonstrate China's achievements through socialism. These visits sought to build diplomatic ties while promoting and shoring up support - foreign as well as domestic - for a Chinese brand of socialism that professed an alternative, non-Soviet path to socialist modernity.
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Kleutghen, Kristina. "Huang Yong Ping and the Power of Zoomorphic Ambiguity." In The Zoomorphic Imagination in Chinese Art and Culture. University of Hawai'i Press, 2016. http://dx.doi.org/10.21313/hawaii/9780824846763.003.0012.
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Born in China but now a French citizen, the contemporary artist Huang Yong Ping (b. 1954) prioritizes the contradictions and ambiguities that arise from overlapping motifs that signify differently in different cultural settings. Juxtapositions of Chinese and Western zoomorphic symbolism characterize his work since the mid-1990s, seen across diverse pairings and groupings as well as strange hybrid single creatures. Rather than resolving the disjunctions that arise from these works, however, the shape-shifting nature of Huang’s animals emphasizes their polysemy and the profound lack of one-to-one symbolic correspondence in global contemporary art. The power of his zoomorphic works derives from his comfort with ambiguity: although often derived from Chinese ideas, Huang’s works are globally applicable in their complexity of transnational experience and their reflection of human nature as both instinctual and rational.
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Krasovec, Aleksandra N. "The Dual Identity of Immigrants from the Southern Republics of the Former Yugoslavia in Sloveniain the Collection of Short Prose by Zoran Knezevic “Amphibians Die Twice” (2014)." In Inter-Slavic cultural ties. Results and perspectives of research, 162–74. Institute of Slavic Studies RAS, 2021. http://dx.doi.org/10.31168/0452-7.11.
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This paper focuses on the short prose collection “Amphibians die twice” (2014) by the Slovenian-Serbian writer Zoran Knežević (born in 1958 in Vojvodina and having migrated to Ljubljana in 1995), in particular on the author's attempts to express the dual identity of the immigrant protagonists, and their existence in the space between two cultures and languages. For this the writer applies to complex artistic images (among which are metaphors of “drill that drills in the stomach”, “ping-pong ball banging in the head”, “slaughtering a white kid”, “soybean fields”, etc.) that convey the doubled burden and pressure that his characters are under; the cinematic nature of the narrative, keeping the reader in constant tension, allows to reflect the high emotional intensity of the text. As toolkit for analyzing this phenomenon, we partially used theoretical studies of attitudes towards the other / alien in the works of representatives of the Ljubljana School of Psychoanalysis.
Conference papers on the topic "Pingwa (1952-....)"
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Silva, Chryslane Barbosa da, Kelly Barbosa Da Silva, Gilson Sanchez Chia, Germano Henrique Rosado Neto, Johnnatan Duarte De Freitas, and Antônio Euzébio Goulart Santana. "OCORRÊNCIA DE TONESIA CHAPADANA CASEY, 1922 (COLEOPTERA: CURCULIONIDAE) E PARISOSCHOENUS OBESULUS CASEY, 1922 (COLEPTERA: CURCULIONIDAE) NA PALMA DE ÓLEO EM TAILÂNDIA, PARÁ, BRASIL." In I Congresso Brasileiro On-line de Biologia de Insetos. Revista Multidisciplinar de Educação e Meio Ambiente, 2021. http://dx.doi.org/10.51189/rema/2308.
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Introdução: Arecaceae é representada por uma diversidade de palmeiras e muitas possuem grande potencial agrícola e econômico, como a Palma de óleo uma cultura de importância econômica em diversos países, principalmente no Brasil onde seu cultivo é destaque nas regiões norte e nordeste. A região norte do Brasil possui a maior área plantada do dendezeiro no país. Seus produtos tem grande potencial de mercado, principalmente na produção de biocombustíveis. Essa cultura é hospedeira de uma diversidade de insetos de distintas ordens, em sua grande maioria pragas e algumas espécies oportunistas. Uma dos principais famílias associadas à Palma de óleo é a Curculionidae, onde várias espécies já foram relatadas. O monitoramento de insetos no campo associados à cultura é importante para verificação de espécies sejam oportunistas ou pragas, a fim de, conhecer a diversidade de insetos ao qual a cultura é hospedeira, e também como prevenção para o surgimento de pragas. Objetivo: O presente trabalho tem o objetivo de registrar a ocorrência de Tonesia chapadana Casey, 1922 e Parisoschoenus obesulus Casey, 1922 na Palma de óleo em Tailândia, Pará, Brasil. Materiais e Métodos: A coleta foi realizada em Outubro de 2016 em plantas da palma de óleo nas fazendas no grupo Agropalma em Tailândia (02° 52 '52 "S; 48° 79' 64" W), Pará, Brasil. Os insetos foram retirados dos ráquis da planta com uma pinça e acondicionados em tubos coletores. Em seguida, o material foi transportado para Universidade Federal de Alagoas – UFAL e exemplares dos insetos (n=26) foram cuidadosamente armazenados e destinados para identificação na Universidade Federal do Paraná - UFPR. Resultados: Foram obtidas imagens por microscopia eletrônica de varredura dos exemplares no Instituto Federal de Alagoas. Como resultado foi obtido à identificação de duas espécies sendo 10 (dez) exemplares Tonesia chapadana Casey, 1922 (Curculionidae, Baridinae, Madarini) e 16 (dezesseis) exemplares Parisoschoenus obesulus Casey, 1922 (Curculionidae, Baridinae, Madarini). As amostras encontram-se depositadas na coleção de entomologia do Departamento de Zoologia, Setor de Ciências Biológicas da Universidade Federal do Paraná. Conclusão: Portanto, evidenciamos a presença dos gorgulhos da família Curculionidae P. obesulus Casey, 1922 e T. chapadana Casey, 1922 em palma de óleo na região norte do Brasil.
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Welch, Gisele, and William T. Rhodes. "Imaging three-dimensional diffuser-obscured surface objects by enhanced backscatter processes." In OSA Annual Meeting. Washington, D.C.: Optica Publishing Group, 1992. http://dx.doi.org/10.1364/oam.1992.thd1.
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A simple model, based on the decomposition of an object into a superposition of overlap ping lens-like components, aids significantly in the understanding of recently proposed enhanced-backscatter-based methods for imaging diffuser-obscured objects. This model shows clearly why enhanced back scatter imaging of planar objects allows retrieval of only the modulus of the Fresnel transform of the object reflectance distribution. The model can be extended to include the case of non-planar surface objects. Interpretation of the model allows one to determine whether information in some sense comparable to the object Fresnel transform modulus can be inferred from the enhanced backscatter radiation field.
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Rey Villaronga, Gonzalo José. "El borrado como estrategia de producción artística." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5842.
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Con el análisis de la performance “Viena says…” del artista alemán Nasan Tur pretendemos demostrar como el borrado no sólo es una práctica a la que se llega a través de la sustracción, sino también a través de la adicción. Y cómo esta práctica tiene mucho que ver con la sobreabundancia de las imágenes y la pérdida de la identidad. Este análisis forma parte de un trabajo más extenso que desarrollamos sobre las prácticas antivisuales en la contemporaneidad. Nasan Tur (Alemania,1974). Este artista para su trabajo parte del entorno urbano, la calle, la plaza, el bar, una mezquita, una escalera, un aeropuerto, es decir, donde la gente se cruza temporalmente, donde los caminos y las ideas heterogéneas se enfrentan. Sus intervenciones tienen como objetivo romper con normalidad e investigar las situaciones donde se infringen los acuerdos. En un primer apartado del artículo describimos como el artista explora la interacción del lenguaje y los símbolos en el espacio público. La obra de la imagen superior forma parte de la serie de un trabajo titulado The city says... En esta obra reúne más de cien frases pintadas en graffiti que toma de las paredes de las casas de la ciudad y las pinta con aerosol de nuevo en una pared interior de su estudio, superponiéndolas en un tiempo muy veloz hasta que todos se tornan una superficie roja ilegible. La ilegibilidad y el borrado de la palabra no es un tema nuevo en el arte por eso un segundo apartado del artículo recuerda aquellos ejemplos donde ha estado presente dentro de ciertas prácticas antivisuales. Frente a la imagen omnipresente el borrado continúa siendo un acto de rebeldía y de posicionamiento que sobrepasando el placer estético se convierte en una táctica de cuestionamiento. En este caso la palabra es borrada y con ella la acción performativa adquiere una nueva dimensión. A partir del borrado de frases cortas como un Te quiero, No hay respeto, Libertad para…, etc. y que en realidad adornan miles de fachadas de todo el mundo, lo que se está haciendo presente es el mutismo de una sociedad. En las conclusiones hablaremos de esta crisis del valor comunicativo y cómo la superficie cubierta de pintura en aerosol de este modo se puede leer como una metáfora de las dificultades que acosan a cualquier forma de comunicación. Entre otros trabajos hemos utilizado como referencias los textos de: Meana Martínez, Poéticas de la negación de lo visual; Barbara Heinrich: The Stories behind the Pictures; y Ralph Rugoff: Invisible: Art about the Unseen 1957-2012.http://dx.doi.org/10.4995/ANIAV.2017.5842
Reports on the topic "Pingwa (1952-....)"
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Blais-Stevens, A., A. Castagner, A. Grenier, and K D Brewer. Preliminary results from a subbottom profiling survey of Seton Lake, British Columbia. Natural Resources Canada/CMSS/Information Management, 2023. http://dx.doi.org/10.4095/332277.
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Seton Lake is a freshwater fiord located in southwestern British Columbia, roughly 4 km west of Lillooet and 250 km north-northeast of Vancouver. Located in the Coast Mountains, it is an alpine lake about 22-km long and roughly 1-1.5 km wide. It is separated from nearby Anderson Lake, located to the west, by a large pre-historic rock avalanche deposit at Seton Portage. The lake stands at about 243 m above sea level and is up to about 150 m deep (BC gov., 1953). Water level is controlled by a hydroelectric dam (i.e., Seton dam) located at the eastern end of the lake. Here, the lake drains east into Seton Canal, a 5 km diversion of the flow of the Seton River, which begins at the Seton dam. The Seton Canal pushes water to the Seton Powerhouse, a hydroelectric generating station at the Fraser River, just south of the community of Sekw'el'was and confluence of the Seton River, which drains into the Fraser River at Lillooet. Seton Portage, Shalatlh, South Shalatlh, Tsal'alh (Shalath), Sekw'el'was (Cayoosh Creek), and T'it'q'et (Lillooet) are communities that surround the lake. Surrounded by mountainous terrain, the lake is flanked at mid-slope by glacial and colluvial sediments deposited during the last glacial and deglacial periods (Clague, 1989; Jakob, 2018). The bedrock consists mainly of mafic to ultramafic volcanic rocks with minor carbonate and argillite from the Carboniferous to Middle Jurassic periods (Journeay and Monger, 1994). As part of the Public Safety Geoscience Program at the Geological Survey of Canada (Natural Resources Canada), our goal is to provide baseline geoscience information to nearby communities, stakeholders and decision-makers. Our objective was to see what kind of sediments were deposited and specifically if we could identify underwater landslide deposits. Thus, we surveyed the lake using a Pinger SBP sub bottom profiler made by Knudsen Engineering Ltd., with dual 3.5 / 200 kHz transducers mounted to a small boat (see photo). This instrument transmits sound energy down through the water column that reflects off the lake bottom surface and underlying sediment layers. At the lake surface, the reflected sound energy is received by the profiler, recorded on a laptop computer, and integrated with GPS data. These data are processed to generate a two-dimensional image (or profile) showing the character of the lake bottom and underlying sediments along the route that the boat passed over. Our survey in 2022 recorded 98 profiles along Seton Lake. The red transect lines show the locations of the 20 profiles displayed on the poster. The types of sediments observed are mostly fine-grained glaciolacustrine sediments that are horizontally bedded with a subtle transition between glaciolacustrine to lacustrine (e.g., profiles A-A'; C-C'; F-F'; S-S'). Profile S-S' displays this transition zone. The glaciolacustrine sediments probably were deposited as the Cordilleran Ice Sheet retreated from the local area (~13,000-11,000 years ago; Clague, 2017) and the lacustrine sediments, after the ice receded to present-day conditions. Some of the parallel reflections are interrupted, suggesting abrupt sedimentation by deposits that are not horizontally bedded; these are interpreted as landslide deposits (see pink or blue deposits on profiles). The deposits that show disturbance in the sedimentation found within the horizontal beds are thought to be older landslides (e.g., blue arrows/deposits in profiles C-C'; E-E'; F-F'; G-G'; I-I'; J-J'; K-K'; N-N'; P-P'; Q-Q'; R-R'; T-T'; U-U'), but the ones that are found on top of the horizontally laminated sediments (red arrows/pink deposits), and close to the lake wall, are interpreted to be younger (e.g., profiles B-B'; C-C'; H-H'; K-K'; M-M'; O-O'; P-P'; Q-Q'). At the fan delta just west of Seton dam, where there was no acoustic signal penetration, it is interpreted that the delta failed and brought down coarser deposits at the bottom of the lake (e.g., profiles H-H'; M-M'; and perhaps K-K'). However, these could be glacial deposits, bedrock, or other coarser deposits. Some of the deposits that reflect poor penetration of the acoustic signal, below the glaciolacustrine sediments, could represent glacial deposits, old landslide deposits, or perhaps the presence of gas (orange arrows; e.g, B-B'; D-D'; J-J'; O-O', T-T'). The preliminary results from sub bottom profiling reveal that there are underwater landslides deposits of widely varying ages buried in the bottom of the lake. However, the exact timing of these is not known. Hence our preliminary survey gives an overview of the distribution of landslides where there seems to be a larger number of landslides recorded in the narrower eastern portion of the lake.