Gotowa bibliografia na temat „Furla (Firm)”

Apresentação sumária de oito publicações em linha (blogues, revistas e sítios web) sobre cinema e literatura: David Bordwell, Girish Shambu, Jonathan Rosenbaum, Film Studies for Free, La Furia Umana, Revista Cinética, Letraceluloide, Adaptaciones de la Literatura española.

AbstractPerturbatory narration is a new transmedial narratological concept conceived in order to analyze how innovative experimental fictional texts irritate the reader or spectator by transgressing or annulating the rules of the common narrative system. We distinguish three ludic narrative techniques which are sometimes even mutually exclusive, but nevertheless frequently combined in literary and filmic fiction. Perturbatory narration serves to model and systematize a narrative principle which combines devices of these three strategies, in particular of unreliable narration, paradoxical narration and puzzling narration. The dynamic interplay of these devices is illustrated with two short stories by Julio Cortázar, “Continuidad de los parques”/“The continuity of parks” (1964) and “Graffiti” (1980) and the filmic adaptation Furia (1999) of the latter.

Abstract Recent flow studies indicated that platelets are transiently captured onto and then translocated along the surface through interaction of glycoprotein (GP) Ib with surface-immobilized von Willebrand factor (vWF). During translocation, platelets are assumed to be activated, thereafter becoming firmly adhered and cohered on the surface. In exploring the mechanisms by which platelets become activated during this process, we observed changes in platelet cytosolic calcium concentrations ([Ca2+]i) concomitantly with the real-time platelet adhesive and cohesive process on a vWF-coated surface under flow conditions. Reconstituted blood containing platelets loaded with the Ca2+ indicators Fura Red and Calcium Green-1 was perfused over a vWF-coated glass surface in a flow chamber, and changes in [Ca2+]i were evaluated by fluorescence microscopy based on platelet color changes from red (low [Ca2+]i) to green (high [Ca2+]i) during the platelet adhesive and cohesive process. Under flow conditions with a shear rate of 1,500 s−1, no change in [Ca2+]i was observed during translocation of platelets, but [Ca2+]i became elevated apparently after platelets firmly adhered to the surface. Platelets preincubated with anti-GP IIb-IIIa antibody c7E3 showed no firm adhesion and no [Ca2+]i elevation. The intracellular Ca2+chelator dimethyl BAPTA did not inhibit firm platelet adhesion but completely abolished platelet cohesion. Although both firm adhesion and cohesion of platelets have been thought to require activation of GP IIb-IIIa, our results indicate that [Ca2+]i elevation is a downstream phenomenon and not a prerequisite for firm platelet adhesion to a vWF-coated surface. After platelets firmly adhere to the surface, [Ca2+]i elevation might occur through the outside-in signaling from GP IIb-IIIa occupied by an adhesive ligand, thereby leading to platelet cohesion on the surface.

Recent flow studies indicated that platelets are transiently captured onto and then translocated along the surface through interaction of glycoprotein (GP) Ib with surface-immobilized von Willebrand factor (vWF). During translocation, platelets are assumed to be activated, thereafter becoming firmly adhered and cohered on the surface. In exploring the mechanisms by which platelets become activated during this process, we observed changes in platelet cytosolic calcium concentrations ([Ca2+]i) concomitantly with the real-time platelet adhesive and cohesive process on a vWF-coated surface under flow conditions. Reconstituted blood containing platelets loaded with the Ca2+ indicators Fura Red and Calcium Green-1 was perfused over a vWF-coated glass surface in a flow chamber, and changes in [Ca2+]i were evaluated by fluorescence microscopy based on platelet color changes from red (low [Ca2+]i) to green (high [Ca2+]i) during the platelet adhesive and cohesive process. Under flow conditions with a shear rate of 1,500 s−1, no change in [Ca2+]i was observed during translocation of platelets, but [Ca2+]i became elevated apparently after platelets firmly adhered to the surface. Platelets preincubated with anti-GP IIb-IIIa antibody c7E3 showed no firm adhesion and no [Ca2+]i elevation. The intracellular Ca2+chelator dimethyl BAPTA did not inhibit firm platelet adhesion but completely abolished platelet cohesion. Although both firm adhesion and cohesion of platelets have been thought to require activation of GP IIb-IIIa, our results indicate that [Ca2+]i elevation is a downstream phenomenon and not a prerequisite for firm platelet adhesion to a vWF-coated surface. After platelets firmly adhere to the surface, [Ca2+]i elevation might occur through the outside-in signaling from GP IIb-IIIa occupied by an adhesive ligand, thereby leading to platelet cohesion on the surface.

A contribution to the study of Serbo-Bulgarian relations in the 1230s The enquiry into the cult of relics and its manifestations such as miracle working, transfer of mortal remains and the act of translatio that involves the topos of furta sacra relies on two lives of St Sava of Serbia, one penned by Domentijan (Domentianus), the other by Teodosije (Theodosius). The hagiographic episodes most relevant to this enquiry are certainly those describing Sava's stay in Tirnovo, his death (1236) and the translation of his remains to his homeland (1237). The narrative about the future saint's stay and death in Tirnovo gives conscious hints of the hero's sanctity using various hagiographic devices. Especially interesting to us is the account of the miracle Sava worked in Tirnovo while officiating the Epiphany service at the church of the Forty Martyrs. According to our analysis, the reference to the Epiphany service and the association of the miracle with that particular feast are certainly not an accident. The ideology of the Second Bulgarian Empire attached great importance to the epic victory over the Romaioi at the Battle of Tryavna in 1190, which was commemorated annually on the Day of Epiphany. The Byzantine historians Niketas Choniates and George Akropolites report that the Bulgarians seized the imperial insignia during the battle. It is irrelevant whether Sava's two hagiographers were aware of the importance of the feast or simply reiterated the well-known information about the service celebrated on that day at the church of the Forty Martyrs; what is quite certain is that the great honour of officiating the service-a celebration pregnant with symbolism-was bestowed upon the most distinguished guest and that it was then that, we believe not at all by chance, his miracle-working power was manifested in public-in front of the Bulgarian tsar, all clergy and the notables. As a natural consequence of the power of working miracles manifested in one's lifetime, the holy body of Sava, who passed away shortly afterwards, joined the most highly treasured relics of the Second Bulgarian Empire deposited in the church of the Forty Martyrs. The decision of Bulgarian tsar John II Asen to have Sava buried in his own foundation dedicated to the Forty Martyrs seems to have conveyed unequivocal symbolic messages. Not only that the hagiographer uses the topos of Christ-like haste, a quality of the ideal ruler, to depict the tsar's devout haste (to have Sava's tomb built in stone and marked with imperial insignia) but he also employs the device of connecting the tsar's actions with the well-established pattern of the ruler standing firm in the faith of Christ to build an imago pietatis as well known and required in that particular place in the text. The latter obviously helps the holy remains-referred to in both hagiographies much before the reference to the revelation of hero's sanctity through the elevation of his incorrupt body-to obtain the status of relic. In that respect, the power of sepulchral dust constitutes a distinctive feature of Sava's sanctity-it testifies to the miraculous power of the place itself even after the body was removed, continuing until the ban placed on Sava's cult after the death of John Asen (1241). The ultimate proof of sanctity is the discovery of the incorrupt body after its elevatio. That is exactly what happened, after the holy one himself had appeared in the tsar's dream prompting the translation and thus the elevation of the body from the first grave. The apparition of the holy one in the form of 'a terrifying vision' came as a consequence of the request made by the Serbian side: king Vladislav, the tsar's son-in-law, had come to Tirnovo to solicit Sava's return to Serbia. As the Bulgarian side was unwilling to part with the prestigious relics, preparations for their translation began clandestinely and in great haste. To describe the events that ensued, Domentijan, the writer of the earlier of Sava's two lives, uses a recognizable narrative: the account of the furtum sacrum is placed in the framework of a parallel he was familiar with. Domentijan uses an interesting metaphor to offset the vague circumstances surrounding the event. By likening Sava's relics to the epitome of the most precious relic - the icon of the Virgin with child, well known after the apocrypha concerning the birth of Christ, he in fact uses the language of apocrypha to bypass several important topoi contained in the narrative of furta sacra. The motif in question is that of the clandestine translation of relics amidst great fear and haste and the flight from the city (the 'Persian' story used by John of Damascus in his Homilies on nativity). The purpose of the hagiographic story is to function as a double parallel. On the one hand, the holy one's relics are likened to the oldest icon taken in its symbolic, apotropaic meaning-as the shield of the fatherland and a sign of God's grace-and on the other, the story is a framework, a recognizable model of finding a parallel, used by the hagiographer to evade further clarification of the circumstances and details of the famed furtum sacrum. It is for this reason that Domentijan's emphasis on the motif of likening appears quite expectable: 'in the same way the children of this Holy One, overwhelmed by great fear and in great haste, fled secretly from the city of Tirnovo'. Teodosije's account is much more straightforward: quoting the words of the Bulgarian tsar, he overtly accuses the Serbian king of having stolen the holy one's relics and the Bulgarians notables of having been bribed, and his account seems to match the reality much more. Viewed in the context of analysis of the symbolic language of political messages, the accounts of the two hagiographers become a telling testimony to the multilayeredness of medieval texts and to the possibility of their various interpretations.

Tear film hyperosmolarity induces dry eye syndrome (DES) through transient receptor potential vanilloid type 1 (TRPV1) activation. L-carnitine is a viable therapeutic agent since it protects against this hypertonicity-induced response. Here, we investigated whether L-carnitine inhibits TRPV1 activation by blocking heat- or capsaicin-induced increases in Ca2+ influx or hyperosmotic stress-induced cell volume shrinkage in a human corneal epithelial cell line (HCE-T). Single-cell fluorescence imaging of calcein/AM-loaded cells or fura-2/AM-labeled cells was used to evaluate cell volume changes and intracellular calcium levels, respectively. Planar patch-clamp technique was used to measure whole-cell currents. TRPV1 activation via either capsaicin (20 µmol/L), hyperosmolarity (≈450 mosmol/L) or an increase in ambient bath temperature to 43 °C induced intracellular calcium transients and augmented whole-cell currents, whereas hypertonicity induced cell volume shrinkage. In contrast, either capsazepine (10 µmol/L) or L-carnitine (1–3 mmol/L) reduced all these responses. Taken together, L-carnitine and capsazepine suppress hypertonicity-induced TRPV1 activation by blocking cell volume shrinkage.

Napoli Explosionis the combinatorial synthesis of an emotional transition. A year dies flowing and vanishing into the new one. A reckless eye shuttles as fast as a blink from far away in the City of Naples with no human shape in sight. An invisible Humanity as a whole, a hundred thousand lights in their illusion of challenging the immense power of Nature, embodied by the still and silent menace of the Vesuvius Volcano. It seems like a war zone seen in the distance: the constellation of myriads of fireworks of the City seem an anti-aircraft fire against the imaginary menace of the passing of Time. On one side, a minuscule, invisible multitude of human beings obsessed and eaten up by Time celebrates its death and resurrection in the New Year’s Day fireworks mess. On the other side stands the Volcano, ironically waiting quietly in the shade for the moment to explode unannounced its fury: out of Time, guided by earth’s breath and beat, synchronized with the rhythm of Universe. The City surrounds it, lights-bombing it while motionless and mute: an enormous deep blue shadow of an overturned cone whose roots plunge into the chaos of fire and energy boiling in the earth bowels It seems to live out of Human Time. The City of Naples explodes in the impermanent constellation of fireworks. The faraway eye, standing on the Faito Mountain just in front of the City, catches all its raging sense of vengeance against the deathly power of Vesuvius, as a sort of exhibition of euphoria in a state of trance, in the momentary victory over Death symbolized by the passage to a new year of Life. It’s an exorcism, a rite. New Year’s Day in Naples is something more than a simple celebration. It’s a state of mind: the city is notorious all over the world for its black market of illegal, dangerous fireworks, a hidden business which reveals all the iconoclastic fury of its inhabitants against Time and History. At midnight a kind of cyclic Potlatch begins, in which people get rid of everything belonging to the Past, throwing out of the windows furniture, objects, old stuff not worthy of surviving the Big Fire, aiming for the illusion of an eternal Present Time of everlasting Youth. Amura gives a human soul to what is lifeless: the city itself explodes, challenging Nature (Serafino Murri). Napoli Explosion is a project started in 2006. From 2006 to 2015 the photos were shot solo by Amura. Since 2016, a "polyphonic" team was formed including Christian Arpaia, Claudia Ascione, Eleonora Grieco, Raffaele Losco, Marco Rambaldi, Marco Ricci, Armando Serrano, Maurizio Valsania. Original music by Louis Siciliano. (https://it.wikipedia.org/wiki/Louis_Siciliano).Resumen Explosión en Nápoles es la síntesis combinatoria de una transición emocional. Un año muere fluyendo y desvaneciéndose en uno nuevo. Un ojo temerario viaja tan rápido como un parpadeo desde la lejanía en la ciudad de Nápoles sin una forma humana a la vista. Una Humanidad invisible como un todo, cien mil luces en su ilusión de desafiar el inmenso poder de la naturaleza, personificado en la tranquila y silenciosa amenaza del volcán Vesubio. Parece una escena de guerra en la distancia: la constelación de una miríada de fuegos artificiales de la Ciudad como si se tratara de un bombardeo antiaéreo contra la amenaza imaginaria que yace en el paso del tiempo. Por un lado, una minúscula multitud invisible de seres humanos obsesionados con, y devorados por, el Tiempo celebran su muerte y resurrección en el caos de los fuegos artificiales de Año Nuevo. Por otro lado, está el volcán, esperando silenciosamente en la sombra el momento en que su furia explote sin aviso: fuera del Tiempo, guiado por la respiración y latido de la tierra, sincronizado con el ritmo del universo. La Ciudad lo rodea, las luces lo iluminan mientras permanece quieto y mudo: una enorme sombra azul de un cono volcado cuyas raíces se sumergen en las entrañas de la tierra, en su caos de fuego y energía. Parece vivir fuera del Tiempo Humano. La Ciudad de Nápoles explota en la constelación temporal de fuegos artificiales. El ojo lejano, situado en la montaña Faito justo frente a la ciudad, capta todo su iracundo sentido de venganza frente al poder mortal del Vesubio, como una especia de exhibición de euforia en un estado de trance, en la victoria momentánea sobre la Muerte simbolizada por el paso a un año nuevo de Vida. Es un exorcismo, un rito. El día de Año Nuevo en Nápoles es algo más que una simple celebración. Es un estado mental: la ciudad es conocida en todo el mundo por su mercado negro de fuegos artificiales peligrosos e ilegales, un negocio escondido que revela la furia iconoclasta de sus habitantes contra el Tiempo y la Historia. A medianoche una especie de Potlatch cíclico comienza, en el que la gente se deshace de todo lo que pertenece al pasado, lanzando por las ventanas muebles, objetos, cosas viejas que no merecen sobrevivir el Gran Fuego, con la ilusión de un Tiempo Presente eterno de Juventud interminable. Amura da un alma humana a lo que no tiene vida: la ciudad misma explota, desafiando a la Naturaleza (Serafino Murri). Explosión en Nápoles es un proyecto que comenzó en 2006. De 2006 a 2015 sólo Amura tomó las fotos. Desde 2016, se formó un equipo “polifónico” incluyendo a Christian Arpaia, Claudia Ascione, Eleonora Grieco, Raffaele Losco, Marco Rambaldi, Marco Ricci, Armando Serrano, Maurizio Valsania. Música original de Louis Siciliano (https://it.wikipedia.org/wiki/Louis_Siciliano).

La transformación del mito. Furia de Titanes (2010) pretende ser un estudio que equipare las dos bases principales que alimentara?n y nutrira?n este ana?lisis: las obras de la literatura cla?sica grecorromana y su correspondiente puesta en escena en el film producido en el an?o 2010 y dirigido por el france?s Louis Leterrier: Furia de Titanes. Con ello, este trabajo se propone como objetivo principal analizar la manera en la que un film siglo XXI acoge una de las figuras ma?s importantes de la mitologi?a cla?sica, el he?roe griego Perseo. En este sentido, analizaremos de que? forma el arte cinematogra?fico ha captado, adaptado y reescrito los hechos que las fuentes cla?sicas cuentan del mito del hijo de Zeus y Da?nae. Y ma?s alla? de su historia, de que? modo ha asumido, variado o descontextualizado la personalidad, los valores y la actitud de un ser muy de su tiempo, en un momento totalmente diferente como es el siglo XXI.

This year, the transformation of the Slovenian Armed Forces continues. Last year, the guidance on reduction of defence budget continued from the previous years. This required a thorough reflection, preparation of measures and constant upgrades in the defence system functioning. In the overall effort to apply cuts to defence budgets, NATO member states searched for various solutions and each of them tackled this challenge in a slightly different way. The term transformation is thus a very topical term. We have heard and read a lot about it. However, in the last year, Smart Defence was certainly the one most related to the reduction in defence budgets. And what is the essence of Smart Defence? It is no longer about how to achieve more with less, but how to use the given resources to maximise the efficiency. This also requires changes in thinking, approaches, and mainly solutions. NATO member states considered different options to achieve best results in the current situation. The synergy of effects is supposed to be the right option for everything, whereby all of the engaged entities should contribute to the best of their abilities and in a way to best build an effective whole. In the Slovenian Armed Forces, we have considered the given circumstances, studied our possibilities and with a new year we started a journey down the path of optimal functioning and changes. This process was called transformation of the Slovenian Armed Forces. It is just that topical issues from the domestic and inter- national security environment are also discussed in our contributions. Some of the authors thus present their works and findings developed recently during the transfor- mation process. In this issue, Vinko Vegič is publishing his article »NATO crisis interventions – lessons learned and challenges of the operation in Libya”. He describes what such a vast NATO operation means and what it brings in practice, i.e. in a situation where different doctrines and theoretic debates should provide appropriate solutions. Branimir Furlan wrote the article »Professional armed forces without professional autonomy – is this possible?” where he shares a view on the developmental phases of the professionalization of the armed forces and military profession as the final goal bringing to foreground the question of competence and responsibility of the military for its own professional development. Valter Bosotina and Branko Lavtar discuss “The renovation of uniform-supply system in the Slovenian Armed Forces”. In their article, they present the solutions for the improvement of the process used so far, which is necessary for the functioning of the Slovenian Armed Forces. The process is, at the same time, affected by various circumstances and influences, which require changes. In his article “New approach to prediction and decision-making in the targeting process” Jurij Jurtela presents a subject which deals with fire support systems. He acquaints readers with the dilemmas that occur during individual military operations and require decisions about a great variety of matters. He provides suggestions on how to tackle those dilemmas and what tools to use for the best effect and superiority. Erik Kopač and Janja Vuga from the Faculty of Social Sciences write about Individual’s choice to seek employment in the Slovenian Armed Forces contract reserve. They used socio-psychological approach to study, which factors are the most decisive for this type of employment, and established that economic stimula- tion plays an important role in this, while the essence lies in the personal attitude of each individual. More details are available in the article. Canadian anthropologist Donna Winslow studied modern defence forces. She authored a number of articles and reached many interesting findings. Two of the most famous include the findings about a scandal in Somalia and about the war in Chechnya. Maja Garb, Jelena Juvan and Uroš Svete honoured her memory with their article “From the questions of military culture to the analysis of anthropologi- sts’ role in the armed forces – the work of Donna Winslow”.

The purpose of this thesis is to see how film can be used to invigorate children’s language development. There is not much research regarding this, which is why we have chosen to study this particular topic. The study consists of questionnaires, an interview and a pilot study. We have chosen to proceed from a socio-cultural perspective, language perspective and learning perspective, thus we are interested in the teacher’s views and thoughts about film as a learning tool complemented by what children can gain through film. The result from our surveys show that teachers are divided into two camps, film is a good tool and film is not a part of the preschool mission. We have gained many insights into how film can be efficiently used to invigorate children’s language development and we also have support from the curriculum which has a couple of different points on how film and media is something that could belong in the preschool mission. Finally, the curriculum states that that the preschool activities should be fun, safe and that preschool teachers work for lifelong learning. The study concludes that film should be a part of preschool teachers backpacks because film fulfills many of the goals in the curriculum.

Jag syftar att undersöka hur klipp från spelfilmer baserade på litterära texter kan förmedla kunskaper inom litteratur och historia. Under tre lektioner används en kvantitativ metod där samma undersökningsgrupp svarar på hur och om filmklipp integrerade i undervisningen har tillfört dem kunskaper. För att analysera materialet utgår jag ifrån Roger Säljö och resonerar kring ett sociokulturellt perspektiv där Filmen är ett redskap som elever använder för att förstå och behandla sin omvärld. Jag utgår även ifrån en neoformalism och en receptionsteori, där eleverna anses vara audiovisuellt läskunniga och bärare av en förväntningshorisont. Resultatet visar inte på att kunskaper i historia förts vidare, men däremot i litteraturförståelse där klippen gjorde det lättare för eleverna att ta till sig ett innehåll och skapa helhetsintryck i en svår text. Men även då det inte går att säga något om korta klipp förmedlar kunskaper i historia är filmen ett välkommet inslag i skolan där den blir en uppskattad variation i undervisningen.