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Bibliografias temáticas / 1920-1993

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Literatura científica selecionada sobre o tema "1920-1993"

Autor: Grafiati

Publicado: 4 de junho de 2021

Última modificação: 29 de julho de 2024

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Artigos de revistas sobre o assunto "1920-1993"

1

Casanova, Jean-Claude. "Jean Lecanuet (1920-1993)". Commentaire Numéro62, n.º 2 (1993): 341. http://dx.doi.org/10.3917/comm.062.0341.

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2

Gershoff, Stanley N. "Jean Mayer 1920–1993". Journal of Nutrition 131, n.º 6 (1 de junho de 2001): 1651–54. http://dx.doi.org/10.1093/jn/131.6.1651.

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3

Raphael, D. D. "Maurice Cranston (1920–1993)". Utilitas 6, n.º 1 (maio de 1994): 1–7. http://dx.doi.org/10.1017/s095382080000128x.

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Professor Maurice Cranston, who died suddenly on 5 November 1993, was a man of many talents. Pre-eminent as a biographer of Locke and Rousseau, he was also distinguished for his own contribution to political philosophy and for his capacity to expound the political thought of others in clear, simple language. He did this with great success not only in the lecture room but also in numerous broadcast talks and discussions, notably on the Third Programme (later called Radio 3) of the BBC. In his academic work he was particularly well informed on French political thought, contemporary as much as classical, and he wrote extensively on Sartre and more briefly on Camus and Foucault. He was himself fluent in the French language (though he spoke it with a pronounced English accent) and he translated Rousseau's Social Contract and Discourse on Inequality for the Penguin Classics series. He was proficient in German and Italian too, and he knew enough Danish to translate a book on Wittgenstein written in that language. His love of literature often led him to illustrate philosophical points with apt examples from classical novels. He even wrote a couple of novels (of detection) himself in his youth. It will be plain from this brief catalogue that he was an eminently civilized person. He was, in addition, an exceptionally friendly man and engagingly modest about his own abilities.

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Wortis, Joseph. "Charles Shagass 1920–1993". Biological Psychiatry 35, n.º 6 (março de 1994): 365–66. http://dx.doi.org/10.1016/0006-3223(94)90001-9.

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5

Abramsky, Chimen. "Lukasz Hirszowicz 1920–1993". East European Jewish Affairs 23, n.º 2 (dezembro de 1993): 5–7. http://dx.doi.org/10.1080/13501679308577747.

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Lerman, Antony. "Dr Lukasz Hirszowicz 1920–1993". East European Jewish Affairs 24, n.º 2 (dezembro de 1994): 11–13. http://dx.doi.org/10.1080/13501679408577774.

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7

Dahneke, Barton E., e Paul E. Morrow. "Thomas T. Mercer (1920–1993)". Journal of Aerosol Science 24, n.º 6 (setembro de 1993): 705–6. http://dx.doi.org/10.1016/0021-8502(93)90041-7.

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8

Gaddis Offutt, Elaine, e Amelia Catakis. "Edith A. Jones — 1920–1993". Journal of the American Dietetic Association 93, n.º 8 (agosto de 1993): 917. http://dx.doi.org/10.1016/0002-8223(93)91537-z.

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9

Malinin, Theodore I. "George W. Hyatt, M.D. (1920-1993)". Cryobiology 31, n.º 5 (outubro de 1994): 413. http://dx.doi.org/10.1006/cryo.1994.1050.

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10

Shapiro, Burton L. "Carl J. Witkop, Jr.(1920-1993)". American Journal of Medical Genetics 47, n.º 2 (15 de agosto de 1993): 161–62. http://dx.doi.org/10.1002/ajmg.1320470202.

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Mais fontes

Teses / dissertações sobre o assunto "1920-1993"

1

Marcotte, René. "Politique commerciale Américaine et délégation législative, 1920-1993". Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25457/25457.pdf.

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2

Amaral, Ignez Teixeira Gurgel do. "As varias faces de Cabiria". [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253185.

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Orientador: Carlos Eduardo Albuquerque Miranda
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-04T04:41:50Z (GMT). No. of bitstreams: 1 Amaral_IgnezTeixeiraGurgeldo_M.pdf: 1638056 bytes, checksum: 151fff1515b84ffbdc1afab3cb38f044 (MD5) Previous issue date: 2005
Resumo: Construção através de alegorias, cenas e imagens, dos diversos e possíveis caminhos percorridos por Cabiria, de Federico Fellini. As várias faces da prostituta Cabiria sendo desvelada num universo metafórico, literário, imaginário e fantástico através de memórias e lembranças que compõem as impressões do personagem-narrador
Abstract: Construction among allegories, scenes and images of the diverse and possible ways walked by Cabiria, by Federico Fellini. The several faces of the prostitute Cabiria being revealed in a metaphoric world as well as literary, imaginary and fantastic through memories and recollections which compose the impressions of this character-narrator
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação

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3

Eades, Caroline. ""Fellini-Satyricon"". Paris 3, 1986. http://www.theses.fr/1987PA030125.

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Le film de federico fellini, fellini-satyricon (italie, 1969), est le fruit d'influences litteraires, historiques et cinematographiques, tant sur le plan stylistique qu'au niveau de la narration. L'influence la plus notable est celle du roman de petrone, le satiricon, qui daterait du regne de neron et a fourni au film ses personnages principaux, la moitie de ses sequences et une grande partie de sa structure; les musees de naples et de rome, les sites de pompei et d'herculanum, les reconstitutions historiques de jerome carcopino ont contribue a l'elaboration des decors et des costumes. Le film de fellini s'inscrit aussi dans le contexte contemporain d'un genre - le peplum -, d'une pensee de type formaliste - les archetypes jungiens- et des conceptions esthetiques des annees soixante
Federico fellini's film, fellini-satyricon (italy, 1969), its the result of several literary, historical and cinematographic influences at the level of stylistics as well as in the narrative structure. The major influence comes from petronius' novel, the satiricon, which dates from nero's reign and provided the film with its main characters, half of its scenes and a major part of its structure; rome and naples museums, the sites of pompei and herculanum, jerome carcopino's historical reconstitutions also contributed to the conception of sets and costumes. Moreover fellini's film is to be viewed in the context of a genre - the peplum -, of a formalist style of analysis - the jungian archetypes - and of the aesthetics of the sixties

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4

Costa, Fabienne. "Le corps sous influences dans l'oeuvre de Federico Fellini". Paris 3, 2000. http://www.theses.fr/2000PA030149.

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L'esthetique du spectaculaire est d'ordinaire associee a l'oeuvre de fellini. Cette perspective conduit a determiner une categorie du corps dit << fellinien >>, essentiellement definie par les formes abondantes des acteurs. Un autre corps, plus discret mais nullement secondaire, traverse pourtant les films du cineaste italien. Saisi par le film qui ne se contente pas de le camper en personnage, il depasse la chair des acteurs, leur simple apparence qui compte moins que l'ensemble des relations dans lequel il est pris. Il montre sa capacite de diffusion, excede ses propres contours et devient alors un pur effet. Subtilement modele par le film, perpetuellement sous influences, il ne se manifeste pas dans sa seule representation et parvient a << faire presence >>. Le corps, dans l'oeuvre de fellini, a lieu au-dela des phenomenes visibles et sonores qui le fondent. Il ne peut etre definitivement localise. Il est le travail d'une limite toujours repoussee et se constitue dans la transformation. En revanche, il est possible de voir dans quel mouvement il s'implique en soulignant la reprise de certains elements fondateurs. Ambigu et paradoxal, constamment decale, il est issu d'un rythme expansif et contracte ; tensions contraires qui absorbent son actualite dans l'image et le conduisent a se soustraire du film et, a la fois, a s'y perdre. Cette etude cherche a rendre sensible ce corps a travers l'analyse detaillee de passages precis de l'oeuvre de fellini, des notti di cabiria (1957) a intervista (1987). Elle releve ses zones d'echanges, ses ecarts avec son environnement filmique quifaconnent son mode d'existence. Elle s'attache a definir sa multiplicite en suivant notamment ses << devenirs >> et ses variations a travers le temps du film.

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5

Souza, Christiane Pereira de. "A construção em abismo como construção critica em 8 1/2 de Fellini". [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284876.

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Orientador : Roberto Berton de Angelo
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Mestrado

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6

Méjean, Jean-Max. "Fellini-Cinéma, une approche analytique de l'oeuvre de Federico Fellini". Paris 7, 1992. http://www.theses.fr/1992PA070076.

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Cette etude tente de pratiquer une analyse psychanalytique de l'ensemble de l'oeuvre de fellini, sur le plan de la psychanalyse jungienne. Une sorte d'itineraire tenant compte de l'aspect labyrinthique du cinema de fellini. Quelques films sont analyses de facon sequentielle, d'autres ont ete abordes de facon plus generale mais avec une insistance toute particuliere sur certains plans. L'etude comporte en outre des analyses de photgrammes comme tentative d'approche de l'image afin de denoter les aspects essentiels du double, de l'androgynie, du masque et de la femme que le heros fellinien recherche vainement. Sur une totalite de 24 films, cette these comprend aussi des entretiens avec des personnes ayant travaille avec fellini et se conclut sur l'apport de la synchronicite jungienne sur l'ensemble de l'oeuvre, une oeuvre magistrale qui laisse une grande place a la fantasmagorie et a l'humanisme
This study attempts to give a psychoanalytic analysis of the whole of fellini's work, related to the jungian psychoanalysis. A sort of itinerary relevant of the labyrinthic aspect of fellini's art. Some films are analyzed on a sequencial mode, others have been approached on a general mode but with a more particular insistance on some sequences. This study also includes an analysis of some photograms like an attempt to an approach of the image in fellini's work in order to explore some essential aspects : the doudle, the androgyny, the mask and the ideal woman that the fellinian hero vainly seeks. Out of a total of twenty four films, this thesis also contains thirteen interviews of people who have collaborated with fellini and concludes on the contribution of the jungian synchronicity in the whole of fellini's films, a master-work which gives a great place to fantasmagory and humanism

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7

Diana, Jean-François. "L'image mentale au cinéma : un regard particulier sur certaines oeuvres de Frederico Fellini". Metz, 1995. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1995/Diana.Jean_Francois.LMZ9509_1.pdf.

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Le but de cette thèse est tout d'abord d'élaborer les éléments d'une théorie générale de l'image mentale au cinéma à partir d'oeuvres majeures issues de l'histoire du cinéma et plus précisément de certains films de Frederico Fellini, principalement Huit et Demi (1963) et Juliette des esprits (1965). La première partie se consacre aux paramètres d'une représentation spécifique en étudiant d'une part, les éléments du contenu d'univers mentaux cinématographiques (spatialité diégétique et mentalisée, temporalité diégétique et mentalisée, actorialité diégétique et mentalisée) et d'autre part, en s'intéressant aux stratégies d'expression (matières de l'expression et procédés d'écriture) et à quelques figures filmiques mobilisées (fondu-enchaïné, surimpression, travelling subjectif et modalisé, panoramique subjectif et modalisé, image subjective). L'objectif de la première partie est donc de mettre en évidence la complexité multidimensionnelle que réclame l'image mentale cinématographique. Pour ce faire une approche du synchrétisme au cinéma est proposée. La seconde partie s'inscrit dans une perspective narratologique et se soucie de préciser la place que l'image mentale cinématographique offre à tout type d'observateur. En reprenant la hiérarchie des instances du film (méga-narrateur, narrateurs implicite et explicite), l'étude se préoccupe ainsi des relations entre le voir et le vu, le voir et le sa voir mobilisées par les différents niveaux de récits. En construisant la figure d'une instance intermédiaire nommée tiers observateur, la progression théorique souhaite élaborer une réflexion sur l'affichage d'une dimension subjective de l'énonciation au cinéma
The aim of this thesis is, first of all, to work out elements for an overall theory about the film mental image, from main works in the history of the cinema, precisely from some films by Frederico Fellini, and most of all from Otto e mezzo (1963) and Giuletta degli spiriti (1965). The first part deals with the parameters of a specific representation, firstly by studying the elements included in the contents of film mental universes (diegetic and mentalized spatiality, diegetic and mentalized temporality, diegetic and mentalized actoriality), and secondly by tackling the expression strategies (expression purports and writing devices) along with the used filmic figures (fade over, exposure, subjective image). The overall purpose of this first part is therefore to hightlight the multidimensional complexity of the film mental image ; to this end, an approach to the syncretism is exposed. The second part refers to the narratology and tries to settle the status conferred by the cinematographic mental image to every type of observer. By mentionning the filmic instances hierarchy (mega-narrator, implicit and explicit narrators), the study is thus devoted to the links between, on the one hand, the seeing and the beeing seen, and, on the the other hand, the seeing and the seeing oneself ; these links are taken into account in the different narrative levels. Building up the figure of an intermediate instance called third observer, the theorical progression of this thesis is to work out an issue over a subjective approach to the cinematic enunciation

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8

Gallico, Vittoriano. "L'influenza di Federico Fellini e di Martin Scorsese sull'opera di Paolo Sorrentino". Thesis, Nantes, 2020. http://www.theses.fr/2020NANT2005.

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Paolo Sorrentino est un réalisateur et écrivain italien contemporain, né à Naples en 1970. Dès son premier longmétrage, intitulé L’uomo in piu (2001), nous relevons un intérêt critique régulier vis-à-vis de ses oeuvres cinématographiques et, par la suite, littéraires. Les prix récemment décernés à l’auteur napolitain, notamment pour La grande bellezza (2013), n’ont fait qu’accroître la curiosité des commentateurs. Comptant autant d’admirateurs que de détracteurs chez les critiques journalistiques, Sorrentino est aujourd’hui l’un des auteurs cinématographiques les plus célèbres d’Italie, ainsi que l’un des réalisateurs italiens les plus connus à l’international. Sa notoriété auprès du grand public s’est sans doute accrue dernièrement, grâce aux deux séries télévisées qu’il a lui-même réalisées : The young pope (2016) et The new pope (2020). Lors du discours qu’il adressa à l’académie des Oscars après avoir remporté le prix du meilleur film étranger en 2014, Sorrentino cita et remercia ses sources d’inspiration cinématographiques : Federico Fellini et Martin Scorsese. C’est à partir de la volonté du plus jeune réalisateur d’inscrire ses oeuvres dans le sillage des deux mentors que nous avons élaboré une étude sur les influences de Fellini et de Scorsese sur Sorrentino. Dans notre travail nous nous sommes concentré sur les traits distinctifs du cinéma et de la littérature de Sorrentino. Parallèlement, nous avons identifié des affinités et des dissonances avec les oeuvres de Fellini et de Scorsese
Paolo Sorrentino is an Italian filmmaker and writer, born in Naples in 1970. Ever since his first feature (L’uomo in piu, 2001), reviewers have been showing a growing interest in Sorrentino’s work. Recently, some award-winning films, such as La grande bellezza (2013) increased spectators’ curiosity and led to various scientific articles. Having as many detractors as admirers, Sorrentino is one of the main Italian filmmakers nowadays, and one of the most famous Italian filmmakers in the world. Recently released TV shows The young pope (2016) and The new pope (2020) contributed to build his international success. They also turned out to be interesting subjects for critics to work on. When winning Best Foreigner Film Academy Award in 2014, Sorrentino thanked his sources of inspiration: Federico Fellini and Martin Scorsese. Therefore, in the following research, we have studied the influences of the two mentors on Sorrentino’s films and novels. We have focused our attention on Sorrentino’s distinctive cinematographic and literary particularities and, at the same time, pointed out similitudes and dissimilarities with Fellini and Scorsese

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9

Cunha, Renato José Pinto da. "Fellinimaginário : por uma teoria imaginativa do cinema". reponame:Repositório Institucional da UnB, 2018. http://repositorio.unb.br/handle/10482/34178.

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Tese (doutorado)—Universidade de Brasília, Faculdade de Comunicação, Programa de Pós-graduação em Comunicação, 2018.
Por meio da identificação na cinematografia de Federico Fellini de quatro categorias estéticas não canônicas — o onírico, o mnêmico, o espetacular e o utópico —, aqui tratadas como categorias estéticas imaginativas, esta tese propõe uma teoria felliniana imaginativa do cinema, que também se revela representativa para se pensar outras cinematografias. E isso se dá pelo desenvolvimento da ideia de imaginidades, ou ciências imaginativas, como o lugar de conhecimento das artes em geral, e pela percepção de que, no âmbito das imaginidades, teoria e estética se complementam e se confundem, e pela proposição das bases do que se entende por teoria imaginativa do cinema, e pela demonstração de que tais categorias estéticas imaginativas são compostas por conceitos visuais, ou mais especificamente por aquilo que o filósofo Julio Cabrera estruturou como conceitos-imagem.
Through the identification in Federico Fellini’s cinematography of four non-canonical aesthetic categories — the oneiric, the mnemic, the spectacular and the utopic —, here understood as imaginative aesthetic categories, this thesis proposes an Fellini’s imaginative theory of cinema, that also reveals itself representative to think about other cinematographies. And this is due to the development of the idea of imaginities, or imaginative sciences, as the place of knowledge of the arts in general, and to the perception that, in the framework of the imaginities, theory and aesthetics are complemented and confused, and to the proposition of the bases of what is meant by the imaginative theory of cinema, and to the demonstration that such imaginative aesthetic categories are composed of visual concepts, or more specifically by what the philosopher Julio Cabrera structured like concept-images.
Attraverso l’identificazione nella cinematografia di Federico Fellini di quattro categorie estetiche non canoniche — l’onirico, il mnemonico, lo spettacolare e l’utopico —, qui trattate come categorie estetiche immaginative, questa tesi propone una teoria felliniana immaginativa del cinema, che si dimostra anche rappresentativa per pensare ad altre cinema-tografie. E ciò si verifica per lo sviluppo dell’idea di immaginistica, o scienze immaginative, come il luogo di conoscenza delle arti in generale, e per la percezione che, nell’ambito dell’immaginistica, teoria ed estetica si completano e si confondono, e per la proposizione delle basi di quello che si intende per teoria immaginativa del cinema, e per la dimostra-zione che tali categorie estetiche immaginative sono composte da concetti visivi, o più precisamente da quello che il filosofo Julio Cabrera ha strutturato come concetti-immagine.

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Mendes, Euclides Santos 1980. "Cristais de tempo : o neorrealismo italiano e Fellini". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284506.

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Orientador: Francisco Elinaldo Teixeira
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-23T12:54:47Z (GMT). No. of bitstreams: 1 Mendes_EuclidesSantos_D.pdf: 1403678 bytes, checksum: 99882588c5a417d98f7a94f8e9331831 (MD5) Previous issue date: 2013
Resumo: O cineasta italiano Federico Fellini aprendeu o ofício de roteirista nos anos 1940, enquanto colaborava em filmes neorrealistas, e o manteve ao longo da sua vida. Consagrou-se internacionalmente como diretor no início dos anos 1960, ao transformar seu primevo olhar de matriz neorrealista numa reelaboração realístico-subjetiva. Fellini, por meio do neorrealismo, levou a imagem puramente ótica e sonora para além do neorrealismo, moldando-a, segundo o filósofo Gilles Deleuze, como um cristal de tempo
Abstract: The Italian filmmaker Federico Fellini learned the art of screenwriting in the 1940s, while collaborating in neorealistic movies, and mantained it throughout his life. He established himself internationally as a director in the early 1960s, when he transformed his primal neorealist matrix approach into a subjective-realistic reelaboration. Through neorealism Fellini took the pure optical-sound image beyond the neorealism, shaping it as a crystal of time, according to the philosopher Gilles Deleuze
Doutorado
Multimeios
Doutor em Multimeios

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Mais fontes

Livros sobre o assunto "1920-1993"

1

Dayan, Nisim. Federiḳo Felini, 1920-1993. [Israel]: Miśrad ha-ḥinukh, ha-Minhal le-madaʻe ṭekhnologyah, ha-Pikuaḥ ʻal megamot ṭekhnologyot tikshoret, 2006.

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2

dr, Majer Vladimir prof, e Hrvatska akademija znanosti i umjetnosti, eds. Nikola Škreb, 1920-1993. Zagreb: Hrvatska akademija znanosti i umjetnosti, 1994.

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3

Correa, Marcial Rubio. Legislación peruana sobre drogas, 1920-1993. Lima: CEDRO, 1994.

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4

Turkey. Millı̂ Eğitim Bakanlığı. Araştırma, Planlama, ve Koordinasyon Kurulu Başkanlığı., ed. T.C. hükümet programlarında eğitim, 1920-1993. Ankara: Millı̂ Eğitim Basımevi, 1993.

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5

1938-, Labbé Gabriel, ed. Musiciens traditionnels du Québec (1920-1993). Montréal: VLB, 1995.

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6

Peña, Luis Medina. Hacia el nuevo estado: México, 1920-1993. México: Fondo de Cultura Económica, 1994.

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7

Syd, Erhvervsudviklingscenter, e Institut for Sønderjysk Lokalhistorie, eds. Erhvervsuddannelser i grænselandet: Aabenraa tekniske skole 1920-1993. Sønderborg, Grundtvigs Allé 88, 6400]: EUC Syd, 2005.

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8

Khayr, Hānī. al-Ḥayāt al-niyābīyah fī al-Urdun, 1920-1993. ʻAmmān: Lajnat Tārīkh al-Urdun, 1993.

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9

Khayyir, Hānī. al- Ḥayāh al-niyābīyah fī al-Urdun, 1920-1993. ʻAmman: Lajnat Tārīkh al-Urdun, 1993.

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10

Marien, Marcel. Marcel Marien: 1920 - 1993 Jeden surrealistický zivot = Une vie surréaliste. Prague: Ceské muzeum vt́arných umení, 1996.

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Capítulos de livros sobre o assunto "1920-1993"

1

Aldrich, John H. "William H. Riker (1920–1993)". In Readings in Public Choice and Constitutional Political Economy, 135–41. Boston, MA: Springer US, 2008. http://dx.doi.org/10.1007/978-0-387-75870-1_10.

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Dykeman, Therese Boos. "Oodgeroo of the Noonuccal (Kath Walker) of Australia 1920–1993". In Women in the History of Philosophy and Sciences, 433–43. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-28563-9_20.

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Turner, David A. "Brian Holmes (1920–1993)". In British Scholars of Comparative Education, 71–84. Routledge, 2020. http://dx.doi.org/10.4324/9780429285615-5.

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Lelental, Stefan. "In memoriam - Filomena Bortkiewicz (1920-1993)". In Studia z Dziejów Państwa i Prawa Polskiego, tom 2, 164–65. Wydawnictwo Uniwersytetu Łódzkiego, 1995. http://dx.doi.org/10.18778/7016-902-3.10.

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"Phyllis Ann Wallace – A Female Pioneer (1920?–1993)". In A Critical Analysis of the Contributions of Notable Black Economists, 86–90. Routledge, 2017. http://dx.doi.org/10.4324/9781315263960-11.

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"Semblanza biográfica de Sergio Rojas Fajardo (Popayán 1920 - Bogotá 1993)". In Popayán en las canciones de Sergio Rojas Fajardo, 21–32. Universidad del Cauca, 2020. http://dx.doi.org/10.2307/j.ctv2cmrb28.7.

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"Chapter 1. Policing Racial Boundaries and Riots in New York (1920–1993)". In Police Power and Race Riots, 41–87. University of Pennsylvania Press, 2014. http://dx.doi.org/10.9783/9780812209860.41.

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Pimm, Stuart L., Michael P. Moulton e Lenora J. Justice. "Bird extinctions in the central Pacific". In Extinction Rates, 75–87. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198548294.003.0005.

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Abstract The Pacific islands faunas and floras are well known for their high extinction rates (Diamond 1984a,h; Smith et al. 1993; Milberg and Tyrberg 1993; Humphries and Fisher 1994). Human colonization has driven these changes in the last few millennia. The first wave spread eastwards from the East Indies reaching Melanesia and Micronesia about 4000 ya (years ago), Fiji and Samoa 3500 ya, the Marquesas 2000 ya, and the outliers of Hawai’i, Easter Island, and New Zealand within the last 1500 years. European exploration started with Magellan and Mendana in the 16th century and was all but complete when Cook died at Kealakekua, Hawai’i in 1779. Colonization started later: the first missionaries arrived in ‘Tahiti in 1795 and Hawai’i in 1820, for example. Both waves brought alien species to the region although the peak period of introductions is much more recent. Most bird introductions to Hawai’i occurred since 1920.

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Torrance, Isabelle. "Trojan Women and Irish Sexual Politics, 1920–2015". In Classics and Irish Politics, 1916-2016, 254–67. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864486.003.0013.

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This chapter traces representations of the status of women in Ireland through three twentieth-century productions based on the Trojan Women of Euripides. As a tragedy about the brutalities of colonialism, the play was immediately topical when it was produced by the Dublin Drama League in 1920, with Maud Gonne in the starring role as Hecuba. The play’s reception, however, underlined women’s lack of political agency, as did Brendan Kennelly’s Trojan Women (1993) and Marina Carr’s Hecuba (2015). Kennelly’s Trojan women are inspired by suffering Irish women from rural villages, but his Hecuba represents female collusion in sexist oppression from which men escape responsibility. Carr’s women are sexually liberated but they remain prisoners. Female sexuality continues to be connected with disempowerment at a moment when the absence of women from the Abbey Theatre’s 1916 commemoration programme was generating significant public criticism.

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Smith, Kenneth M. "A Linguistic Theory of Chromatic Harmonic Substitution and Progression in the Diatonic Unconscious". In Desire in Chromatic Harmony, 1–52. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190923426.003.0001.

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The chapter constructs an energetic model of harmonic progression in which tense chords are signifiers of tonal functions (Riemann’s T, S, and D functions). The paradigm adopts the linguistic axes that Lacan mapped as metaphor and metonymy, which were crucial to the formation of a human subject at whose center lies désir. The theoretical claims build on the recent work of David Lewin (2007), Richard Cohn (2012a), Steven Rings (2011a), Dmitri Tymoczko (2011a), Brian Hyer (2011), and others but also reevaluate the earlier work of Ernest Kurth (1920), Hugo Riemann (1893), and Ernö Lendvai (1993). The chapter seeks to account for voice leading, modulation, and tonal diversity in a broad range of works

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