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Artigos de revistas sobre o tema "Cameria Lucidas"

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Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 26 de julho de 2024

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1

Olin, Margaret. "Touching Photographs: Roland Barthes's ''Mistaken'' Identification". Representations 80, n.º 1 (2002): 99–118. http://dx.doi.org/10.1525/rep.2002.80.1.99.

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IN CAMERA LUCIDA, ROLAND BARTHES'S subject is the significance of photography's defining characteristic: the photograph's inseparable relation to its subject, that which ''must have been'' in front of the camera's lens. Or so it would seem. The present reading of Camera Lucida argues that Barthes's essay actually shows photography's nature as dependent not only on the intimate relation to its object, commonly termed ''indexical,'' but in accord with its relation to its user, its beholder. An examination of Barthes's encounters with photographs in Camera Lucida reveals the way in which identification and misidentification figure into the viewing of images, and suggests that contact between the beholder and the photograph actually eclipses the relation between the photograph and its subject. Barthes's focus on the emotional response of the viewer disguises the fact that he misidentified key details in Camera Lucida's photographs, most significantly in a 1927 portrait by James Van Der Zee and in the ''Winter Garden Photograph.'' This latter photograph of Barthes's recently deceased mother as a small child is famously not illustrated in the book. This essay argues that it is fictional. These ''mistakes'' suggest that Camera Lucida undermines its ostensible basis in indexicality. The subject did not have to be in front of the camera after all. The present rereading of the text from this point of view articulates a notion of performativity according to which the nature of the contact that exists between the image and the viewer informs the way an image is understood. Barthes's desire to find his mother again through her photograph to a large extent acts out his desire to re(per)form and make permanent his relation to her, a desire that he elucidates in the process of describing his search for her picture and his reaction to it when he finds it. This performative element is charged with identification; the person the narrator (Barthes) seeks, in his mother, is himself. A close analysis of the ''Winter Garden Photograph,'' as described by Barthes, shows how performances of identification are inscribed with gender and familial configurations.

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2

Greenslade, Thomas B. "The camera lucida". Physics Teacher 27, n.º 1 (janeiro de 1989): 48–49. http://dx.doi.org/10.1119/1.2342659.

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3

Bell, Natalie. "Re-Rereading Camera Lucida". Afterimage 35, n.º 1 (1 de julho de 2007): 8–10. http://dx.doi.org/10.1525/aft.2007.35.1.8.

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4

Gratton, Johnnie. "Camera Lucida : Obscured in Translation". Mosaic: an interdisciplinary critical journal 53, n.º 4 (dezembro de 2020): 49–74. http://dx.doi.org/10.1353/mos.2020.0037.

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5

Shurkus, Marie. "Camera Lucida and Affect: Beyond representation". Photographies 7, n.º 1 (2 de janeiro de 2014): 67–83. http://dx.doi.org/10.1080/17540763.2014.896276.

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6

Wilson, Harry Robert. "The Theatricality of the Punctum: Re-Viewing Camera Lucida". Performance Philosophy 3, n.º 1 (25 de junho de 2017): 266. http://dx.doi.org/10.21476/pp.2017.31126.

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I first encountered Roland Barthes�s Camera Lucida�(1980) in 2012 when I was developing a performance on falling and photography. Since then I have re-encountered Barthes�s book annually as part of my practice-as-research PhD project on the relationships between performance and photography. This research project seeks to make performance work in response to Barthes�s book � to practice with Barthes in an exploration of theatricality, materiality and affect. This photo-essay weaves critical discourse with performance documentation to explore my relationship to Barthes�s book. Responding to Michael Fried�s claim that Barthes�s Camera Lucida is an exercise in �antitheatrical critical thought� (Fried 2008, 98) the essay seeks to re-view debates on theatricality and anti-theatricality in and around Camera Lucida. Specifically, by exploring Barthes�s conceptualisation of the pose I discuss how performance practice might re-theatricalise the punctum and challenge a supposed antitheatricalism in Barthes�s text. Additionally, I argue for Barthes�s book as an example of philosophy as performance and for my own work as an instance of performance philosophy.

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7

Domnitch, Evelina, e Dmitry Gelfand. "Camera Lucida: A Three-Dimensional Sonochemical Observatory". Leonardo 37, n.º 5 (outubro de 2004): 391–96. http://dx.doi.org/10.1162/0024094041955962.

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Camera Lucida is an interactive “sonic observatory” that directly converts sound waves into light by employing a phenomenon called sonoluminescence. The project was conceived both as an artwork and as a musical instrument that allows its player to see and shape sounds while moving through space.

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8

Schaaf, L. J. "JOHN HERSCHEL, PHOTOGRAPHY AND THE CAMERA LUCIDA". Transactions of the Royal Society of South Africa 49, n.º 1 (janeiro de 1994): 87–102. http://dx.doi.org/10.1080/00359199409520294.

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9

Bloor, C. E. "The camera lucida in art and science". Endeavour 12, n.º 2 (janeiro de 1988): 97. http://dx.doi.org/10.1016/0160-9327(88)90124-x.

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10

Gee, Brian. "The Camera Lucida in Art and Science". Physics Bulletin 38, n.º 12 (dezembro de 1987): 466. http://dx.doi.org/10.1088/0031-9112/38/12/033.

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11

Jung, Byungsam. "Lolita in Humbert Humbert’s Camera Obscura and Lolita in Vladimir Nabokov’s Camera Lucida". Comparative Literature 74, n.º 3 (1 de setembro de 2022): 326–44. http://dx.doi.org/10.1215/00104124-9722376.

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Abstract This article analyzes two types of visual perception in Vladimir Nabokov’s Lolita (1955): camera obscura and camera lucida, terms that are taken from photography and painting, respectively. By applying these terms, this article identifies a visual dilemma in how an artist perceives the object during the process of artistic creation—in a sense, a photographer cannot see the object itself at the moment of capturing the exposure, and a painter has to cease looking at the object and depict it from memory. Based on this visual dilemma, this article analyzes the two types of writing in Lolita: Humbert Humbert’s private diary written with his photographic memory and his manuscript for publication, his confession, written with his painterly imagination. This article argues that Humbert’s two ways of inscribing, camera obscura and lucida, fail to capture the full reality of the object because they are both based on his memory and inspiration rather than a vision of reality. Humbert is seized by his own inspiration that has been derived from his illusion, Lolita, that does not necessarily represent the reality of the object, Dolores. These examples epitomize Nabokov’s view that art has no or minimal relation to life.

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12

Gutiérrez de Velasco, Luz Elena. "El paso a la textualidad en "Camera lucida"". Revista Iberoamericana 56, n.º 150 (1 de março de 1990): 235–42. http://dx.doi.org/10.5195/reviberoamer.1990.4681.

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13

Watson, James R. "Hegel's camera lucida: manufactured transparency in Holocaust imagery". Philosophy & Social Criticism 21, n.º 3 (abril de 1995): 111–25. http://dx.doi.org/10.1177/019145379502100306.

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14

Sidorchuk, E. A., e D. D. Vorontsov. "Computer-aided drawing system – substitute for camera lucida". Acarologia 54, n.º 2 (30 de junho de 2014): 229–39. http://dx.doi.org/10.1051/acarologia/20142130.

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15

Tenório da Motta, Leda, e Rodrigo Fontanari. "Roland Barthes in The camera lucida, the infidel semiologist". Matrizes 6, n.º 1-2 (11 de dezembro de 2012): 161. http://dx.doi.org/10.11606/issn.1982-8160.v6i1-2p161-168.

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16

Barzilai, M. "Reading Camera Lucida in Gaza: Ronit Matalon's Photographic Travels". Comparative Literature 65, n.º 2 (1 de março de 2013): 200–219. http://dx.doi.org/10.1215/00104124-2143172.

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17

Levy, Lior. "The Question of Photographic Meaning in Roland Barthes’ Camera Lucida". Philosophy Today 53, n.º 4 (2009): 395–406. http://dx.doi.org/10.5840/philtoday20095347.

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18

Scalia, Bill. "The Icon Machine: Expenditure and Third Meaning in Camera Lucida". Mosaic: an interdisciplinary critical journal 53, n.º 4 (dezembro de 2020): 95–115. http://dx.doi.org/10.1353/mos.2020.0039.

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19

DIAS, FERNANDO MAIA SILVA, MIRNA MARTINS CASAGRANDE e OLAF HERMANN HENDRIK MIELKE. "Biology and external morphology of immature stages of Memphis appias (Hübner) (Lepidoptera: Nymphalidae: Charaxinae)". Zootaxa 2668, n.º 1 (5 de novembro de 2010): 21. http://dx.doi.org/10.11646/zootaxa.2668.1.2.

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The biology and the external morphology of Memphis appias (Hübner) immature stages collected on Croton floribundus (Euphorbiaceae) in various localities in the state of Paraná, Brazil, are described. Morphological descriptions and illustrations are given, based upon observations through stereoscopic and optic microscopes attached to camera lucida. Results are compared and discussed with immature stages of other species of Fountainea and Memphis known to date.

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20

Mutney Al-Anbaki, Hussein Ali, e Iman Mohammed Al-Malo. "NEW RECORD FOR TWO SPECIES OF Psallopsis reuter, 1901 (HEMIPTERA: HETEROPTERA: MIRIDAE) FROM IRAQ". Diyala Agricultural Sciences Journal 12, n.º 2 (30 de dezembro de 2020): 33–39. http://dx.doi.org/10.52951/dasj.20120204.

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New record of two species of genus Psallopsis Reuter, 1901 belongs to Subfamily phylinae and to the Family Miridae and to the suborder of Heteroptera of order Hemiptera, these species as Psallopsis minimus (Wagner, 1967) and P. kalidiicola Konstantinov, 1997, which collected 23 twenty three insects from Baghdad / Al- Husayniya and Abu-Gharib, the other collected 20 twenty insects from Baghdad / Taji and Abu-Gharib and Al- Rashdiya, this species are a new record in Iraq during the study at 2018 – 2019. The insects Indented by used taxonomic keys depended on morphological characters and male genitalia. Used camera Lucida to draw bodies' part and picture by Dino- Lite microscope camera.

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21

Al-Anbaki, Hussein Ali Mutney, Tareq Saadi Abbas Al-Hayali, Sanaa N. Alhadidi e Liqaa Mohammed Ahmed Shiblawi. "New Record Species of Tytthus chinensis (Stål, 1859) (Hemiptera: Heteroptera: Miridae) from Iraq". IOP Conference Series: Earth and Environmental Science 1262, n.º 3 (1 de dezembro de 2023): 032034. http://dx.doi.org/10.1088/1755-1315/1262/3/032034.

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Abstract By utilizing the light traps for the purpose of analyzing two specimens Insects were gathered from Diyala and Baqubah for the purpose of this study. The species Tytthus chinensis (Stl, 1859), which was discovered in China, was discovered in Iraq for the first time in March of 2022 in Diyala. This species is classified under the Hemiptera order and the Heteroptera suborder, as well as the Miridae family and the phylinae subfamily. utilized camera Lucida to sketch bodies’ portion, and image by Dino-Lite microscope camera for diagnostic characteristics for the species are supplied with the morphological characters and male genitalia are provided.

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22

Burnett, Ron. "Camera Lucida: Roland Barthes, Jean‐Paul Sartre and the photographic image". Continuum 6, n.º 2 (janeiro de 1993): 5–24. http://dx.doi.org/10.1080/10304319309359396.

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23

Tapia, Ruby C. "Suturing the Mother: Race, Death, and the Maternal in Barthes' Camera Lucida". English Language Notes 44, n.º 2 (1 de setembro de 2006): 203–8. http://dx.doi.org/10.1215/00138282-44.2.203.

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24

Manandhar, Laxmi, e Shyam Ratna Shakya. "Cytotaxonomical Notes on Two Nepalese Varieties of Desmodium heterocarpon (L.) DC." Journal of Natural History Museum 24 (9 de outubro de 2009): 130–36. http://dx.doi.org/10.3126/jnhm.v24i1.2289.

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The paper deals with cytotaxonomical accounts of the two varieties of Desmodium heterocarpon (L.) DC such as var. strigosum and var. heterocarpon collected from Nepal. Somatic chromosome number of both the varieties was found to be 2n=22. Smaller chromosomes with median constrictions predominated in both the cases. The slight differences in relative and absolute lengths between the karyotypes of the two varieties have been recorded.Key word: Varieties; Cytological analysis; Camera lucida; Abnormal stucture.Journal of Natural History Museum Vol. 24, 2009 Page: 130-136

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25

Lachica, Edward. "Keeping Life in Focus New Systems Prevent Z-axis Drift in Time Lapse Studies". Microscopy Today 14, n.º 4 (julho de 2006): 42–46. http://dx.doi.org/10.1017/s1551929500050276.

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Just two decades ago, life scientists studied biological structure, developmental anatomy and intracellular processes by describing individual snapshots of kinetic events. Today, with so much bioscience research focusing on dynamic processes that occur on the molecular, cellular and whole organ level, it is important to record events as they happen, over seconds, minutes or hours, in living cells. Photographs and camera lucida drawings of fixed, stained cells have given way to live cell imaging using fluorescent probes, warming trays to promote cell viability and cinemicrography as a method of recording events.

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26

Badmington, Neil. "Punctum Saliens: Barthes, Mourning, Film, Photography". Paragraph 35, n.º 3 (novembro de 2012): 303–19. http://dx.doi.org/10.3366/para.2012.0061.

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In the light of the publication of Roland Barthes's Mourning Diary (2009), this essay examines how the influential theory of the photographic punctum has cinematic roots which are repressed in Barthes's Camera Lucida (1980). My aim is not to repeat familiar arguments about how Barthes's ‘The Third Meaning’ (1970) anticipates the photographic punctum in a cinematic context; it is, rather, to attend specifically to Mourning Diary as a much closer, more precise precursor which has been visible only since 2009, and which casts new light upon the work of Roland Barthes.

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27

Nonzom, Skarma, e Geeta Sumbali. "A new record of psychrotrophic Paecilomyces formosus (Eurotiales: Ascomycota) from India: morphological and molecular characterization". Journal of Threatened Taxa 13, n.º 13 (26 de novembro de 2021): 20118–23. http://dx.doi.org/10.11609/jott.6967.13.13.20118-20123.

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A filamentous fungus Paecilomyces formosus (Eurotiales, Ascomycota) was detected for the first time from the region while surveying fungal diversity of a cold arid high-altitude pass (4,000 msl) located in Kargil district (Ladakh), India. The fungal isolate was characterized morphologically with camera lucida drawings and microphotographs, and identified using internal transcribed spacer (ITS) ribosomal DNA sequences. P. formosus has not been reported from India, or from arid/semi-arid/cold regions before, thus this represents a new record of Indian hot/cold desert mycoflora that is psychrotrophic in contrast to the more common thermophilic fungi.

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28

Dorjey, Konchok, Sanjeev Kumar e Yash Sharma. "Eight Coprinoid Macromycetes (Agaricaceae & Psathyrellaceae) from Trans-Himalayan Region of Ladakh (J&K), India". Indian Journal of Forestry 40, n.º 1 (1 de março de 2017): 47–61. http://dx.doi.org/10.54207/bsmps1000-2017-n1y1ho.

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Eight coprinoid macrofungi representing three genera (Coprinus, Coprinellus and Coprinopsis) collected between 2012 to 2014 from various altitudinal locations of Ladakh have been studied.These include two Coprinus (C. comatus and C. quadrifidus), three Coprinellus (C. disseminatus, C. micaceus and C. truncorum) and three Coprinopsis (C. atramentarea, C. lagopus and C. picacea) species which were recorded for the first time from Ladakh region Jammu and Kashmir State. In the present paper, all the eight taxa have been described and illustrated with field photograph and camera lucida drawings. A taxonomic key for identification of all these species has also been incorporated.

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29

Felisberto, S. A., e L. Rodrigues. "Periphytic desmids in Corumbá Reservoir, Goiás, Brazil: genus Cosmarium Corda". Brazilian Journal of Biology 64, n.º 1 (fevereiro de 2004): 141–50. http://dx.doi.org/10.1590/s1519-69842004000100016.

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With the objective of investigating the taxa of Cosmarium, four collection stations along the Corumbá Reservoir were set up. This resulted in the first work done on the genus in the State of Goiás. The collections of the material, of the epilithon type, were carried out in July 1996 and in the period between December 1996 and July 1997. The samples were preserved with 0.5% acetic lugol. The qualitative analysis was done by optical microscopic on non-permanent slides. Twenty-one taxa of the Cosmarium were described, each one illustrated by means of a camera lucida attachment.

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30

McNerney, Sheila. "A Vehicle for Discovery: Theatre SKAM’s Volaré Venue". Canadian Theatre Review 95 (junho de 1998): 83–88. http://dx.doi.org/10.3138/ctr.95.011.

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In the opening remarks of Camera Lucida, Roland Barthes informs us that his investigation into photography has been propelled forward by a very personal “‘ontological’ desire” (3). The following reflections on Theatre SKAM’s production of Norm Foster’s Louis and Dave, which was experienced by 202 spectators at the 1996 Victoria Fringe Festival, are similarly driven. My interest in this particular production is fuelled by a need to understand what are the essential features of the actor/audience relationship, of the audience experience. I wish to get at the heart of why and how live theatre delights.

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31

Sentilles, Sarah. "The Photograph as Mystery: Theological Language and Ethical Looking in Roland Barthes’s Camera Lucida". Journal of Religion 90, n.º 4 (outubro de 2010): 507–29. http://dx.doi.org/10.1086/654822.

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Черкашина, Маргарита. "Язык в ожидании Годо: Барт о пьесе Беккета". Palladion, n.º 4 (17 de outubro de 2022): 93–112. http://dx.doi.org/10.55167/46fbd1630d19.

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Roland Barthes in his review “The Adult «Godot»” in 1954 claims that the language itself of Becketts’ play Waiting for Godot at last makes the audience take it as comic and understandable, though at the premiere just 17 months before the same text has been condemned as highbrow. The article examines several Barthes’ works (The Third Meaning, S/Z, Camera Lucida), Becketts’ short movie The Film (1964) as well as Stéphane Mallarmé’s article The Impressionists and Edouard Manet (1876) in order to clear up the key question: how the modernity painting method of “cutting down” the picture on canvas could help to analyse those language phenomenon Barthes discovered.

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Zaluzec, Daniel, Joseph Ramzy, Robert Wotring e Lincoln Gray. "Microsphere Determination of Cochlear Blood Flow in Chickens". Otolaryngology–Head and Neck Surgery 96, n.º 4 (abril de 1987): 341–48. http://dx.doi.org/10.1177/019459988709600407.

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Chickens were injected with 9-micron-diameter radioactive microspheres. Cochleas were removed through the external auditory meatus, and the positions of all embedded microspheres were drawn under camera-lucida. Constant measurements of arterial pressures and postinjection blood-gas determinations confirmed that injections were made into normal circulatory systems. The averaged estimate of cochlear blood flow in chickens is 0.75 μl/min. Variability in these data from chickens is similar to that reported from mammals. A potentially important but puzzling observation is an inverse relationship between blood flow to the cochlea and to the brain. The ease of cochlear extraction makes chickens ideal models for study of cochlear blood flow.

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Mustafa, M. B., L. F. Khalil e A. E. Bianco. "Adult worms of a ‘Dipetalonema’ sp. from the dermis of cattle in the Sudan". Journal of Helminthology 59, n.º 4 (dezembro de 1985): 361–62. http://dx.doi.org/10.1017/s0022149x00025979.

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Adult worms of a filarial parasite have been found during a survey of cattle at Wau Municipal Abbatoir, Bahr El Ghazal Province, Sudan. Two intact male worms were recovered but no females have been encountered as yet. Both worms were found within intradermal tissues at the umbilicus, and came from separate animals of the longhorned variety of indigenous Zebu cattle, Bos indicus. They were unencapsulated in the tissues from which they were isolated by dissection, fixed in 10% (v/v) formal saline and examined by phase microscopy. Dimensions were calculated from camera lucida drawings and are given as mean values for the two specimens.

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Grigsby, Darcy Grimaldo. "Negative-Positive Truths". Representations 113, n.º 1 (2011): 16–38. http://dx.doi.org/10.1525/rep.2011.113.1.16.

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Opening with a consideration of the role played by Richard Avedon's photograph of William Casby in Roland Barthes's Camera Lucida, this essay examines Sojourner Truth's precocious and knowing use of the technology of photography. Inscribed with the caption "I Sell the Shadow to Support the Substance," Truth's inexpensive cartes-de-visite functioned as a form of paper currency during the years immediately following the Civil War. As a chemical process, photography transformed precious metals into paper images; as an optical registration of light and shadow, photographic negatives turned white into black and black into white, a reversal noted by Oliver Wendell Holmes in an essay that suggests that racial difference informed understandings of the new medium.

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Lennon, Kathleen. "The Feel of the Past". Sartre Studies International 28, n.º 1 (1 de junho de 2022): 67–84. http://dx.doi.org/10.3167/ssi.2022.280105.

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This article addresses the distinction which Sartre draws between memory and imagination. The article is in two parts. In the first part it is suggested that, in common with the distinction he draws between imagining and perceiving, the separation of memory and imagination is undermined by Sartre’s own phenomenology. Memories are part of the family of imaginings to which Sartre directs us. Nonetheless, in the second part of the article, Sartre’s distinction is revisited. The working of imagination in memory does not mean that we are making up our past. Utilising Barthes’ discussion, in Camera Lucida it is argued that memory provides a distinctive relation to our past, which makes evident to us what it is to live a life in time.

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Chavda, K. M. "LIMNOLOGICAL STUDY OF PRANTIJ BOKH, DIST: SABARKANTHA, GUJARAT". International Association of Biologicals and Computational Digest 1, n.º 1 (2 de maio de 2022): 72–75. http://dx.doi.org/10.56588/iabcd.v1i1.18.

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Changes in water chemistry and algal composition of different sites of Prantij Bokh, which is an irrigation tank, are correlated in the present communication. Season wise analysis of water chemistry was carried out during different seasons and algal flora occurring during three seasons i.e. Monsoon, Winter and Summer were correlated with changes in water chemistry with changing season both water chemistry and algal composition also changed. Water samples of the Bokh were examined for various physico-chemical parameters as pH, Total Hardness, Chloride, Carbonates, Bicarbonates, Calcium and Magnesium Contents, Calcium and Magnesium Hardness, Alkalinity and Electric Conductivity (EC) etc. by standard international methods algae were identified by repeatedly making slides and Camera Lucida drawing were also made. Standard monographs were referred for confirming identification of algae.

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Dunlop, J. A. "Baltic amber harvestman types (Arachnida: Opiliones: Eupnoi and Dyspnoi)". Fossil Record 9, n.º 2 (1 de agosto de 2006): 167–82. http://dx.doi.org/10.1002/mmng.200600006.

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Abstract. Baltic amber eupnoid and dyspnoid types (Arachnida: Opiliones) in the Berendt collection are redescribed from their repository in the Museum für Naturkunde, Berlin. Type specimens of Caddo dentipalpis (Koch & Berendt, 1854), Dicranopalpus ramiger (Koch & Berendt, 1854), Nemastoma (?) incertum Koch & Berendt, 1854, Mitostoma (?) denticulatum (Koch & Berendt, 1854) and Histricostoma (?) tuberculatum (Koch & Berendt, 1854) are all redescribed and the first photographs and camera lucida drawings of this material are presented. N. (?) incertum is removed from synonymy with M. (?) denticulatum. The status of the other Baltic amber harvestman types and their affinities are discussed. The type of Sabacon bachofeni Roewer, 1939 (= S. claviger (Menge, 1854)) held in the Bavarian State collection, Munich is also redescribed here, but the repository of three other Roewer harvestman types and all of Menge’s types remains uncertain. The problematic Cheiromachus coriaceus Menge, 1854 is considered a nomen dubium, as is Phalangium succineum Presl, 1822, which may not even be a harvestman. Typenmaterial der Weberknecht-Gruppen Eupnoi und Dyspnoi (Arachnida: Opiliones) vom Baltischen Bernstein aus der Berendt-Sammlung des Museums für Naturkunde Berlin wurde bearbeitet. Dabei wurde das Typusmaterial von Caddo dentipalpis (Koch & Berendt, 1854), Dicranopalpus ramiger (Koch & Berendt, 1854), Nemastoma (?) incertum Koch & Berendt, 1854, Mitostoma (?) denticulatum (Koch & Berendt, 1854) und Histricostoma (?) tuberculatum (Koch & Berendt, 1854) revidiert und die ersten Fotografien und camera lucida-Zeichnungen dieses Materials hergestellt. N. (?) incertum wurde aus der Synonymie von M. (?) denticulatum herausgenommen. Der Status der anderen Weberknecht Typen aus dem Baltischen Bernstein und ihre Stellung werden diskutiert. Sabacon bachofeni Roewer, 1939 (= S. claviger (Menge, 1854)) wird anhand des Holotypus aus der Bayerischen Staatssammlung München wiederbeschrieben. Der Aufbewahrungsort dreier weiterer Weberknecht-Typen von Roewer und sämtlicher Typen von Menge bleibt weiterhin unklar. Der problematische Cheiromachus coriaceus Menge, 1854 wird als nomen dubium interpretiert; gleiches gilt fürPhalangium succineum Presl, 1822, welcher vielleicht gar kein Weberknecht ist. doi:10.1002/mmng.200600006

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DUBEY, ANIL KUMAR. "Neotype designation and generic re-definition of the monotypic genus Dialeurotrachelus Takahashi (Hemiptera: Aleyrodidae), and first record of its occurrence in the Andaman and Nicobar Islands, India". Zootaxa 4695, n.º 6 (13 de novembro de 2019): 568–76. http://dx.doi.org/10.11646/zootaxa.4695.6.7.

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Takahashi (1942) described Dialeurotrachelus cambodiensis, the type species of the monotypic whitefly genus, Dialeurotrachelus Takahashi from three syntype specimens collected on an unidentified tree in Cambodia, which were subsequently lost or destroyed. It was rediscovered after eight decades in the Indian territories of the Andaman and Nicobar Islands. A neotype is designated for D. cambodiensis Takahashi, from specimens collected on Diospyros kurzii Hiern (Ebenaceae) from Andaman Island, India. It is recorded for the first time from the Indian territories, Andaman and Nicobar Islands. Pupal morphology is assessed for redefining the generic description with differential diagnoses from related genera, and anomalies involved with structure of the vasiform orifice and associated structures are discussed. Illustrations are provided of the puparia in life, camera lucida drawings, slide mounts, and scanning electron photomicrographs.

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Almeda, Frank, e Ricardo Pacifico. "Chromosomal observations on Eliea (Hypericaceae), a monospecific Madagascar endemic". Journal of the Botanical Research Institute of Texas 17, n.º 1 (21 de julho de 2023): 265–70. http://dx.doi.org/10.17348/jbrit.v17.i1.1295.

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A meiotic chromosome number of n=9 is reported for Eliea articulata, a monospecific genus of Hypericaceae endemic to Madagascar. This first report for the genus is a new number for the small tribe Cratoxlyeae which includes only one other genus, Cratoxylum. A hypothetical scenario for the origin of n=9 is provided in the context of known chromosome numbers for Cratoxylum and the two other tribes in the Hypericaceae. Given that x=12 has been proposed as the basic chromosome number for the family with numbers of n=11 and n=10 also reported for related species and genera, n=9 appears to have arisen as a descending dysploid from these higher numbers. Field photos of Eliea articulata are provided along with a distribution map and camera lucida drawings of meiotic chromosome figures.

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Kermani, Saeed, Fateme Vahabi, Zahra Vahabi e Nader Pestechian. "Automated camera lucida method with colored images through integration of hardware and software in microscopic zooming". Journal of Medical Signals & Sensors 13, n.º 2 (2023): 160. http://dx.doi.org/10.4103/jmss.jmss_125_21.

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Socolovsky, Maya. "The Homelessness of Immigrant American Ghosts: Hauntings and Photographic Narrative in Oscar Hijuelos's The Fourteen Sisters of Emilio Montez O'Brien". PMLA/Publications of the Modern Language Association of America 117, n.º 2 (março de 2002): 252–64. http://dx.doi.org/10.1632/003081202x61980.

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Cuban American literature and Oscar Hijuelos's texts in particular have generally been approached through a consideration of their material, multicultural aspects. This essay analyzes Hijuelos's The Fourteen Sisters of Emilio Montez O'Brien, on which there is little critical work, by combining the novel's descriptions of photography and immigrant experiences with theories of photography. My reading considers the placing of ghosts and memory in the narrative and problematizes the undialectical presence of death in it. Referring to Hijuelos's text as an “imagetext” (photographs exist in it only through descriptions, never appearing visually), I read it through Roland Barthes's Camera Lucida and his development of the wounding punctum of a photograph, which produces a melancholy lingering trace of the past in the present moment. In this reading, the immigration experience in Hijuelos's novel exceeds narrativization and is unrepresentable by it.

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Mantovani, André, Thaís Estefani Pereira e Marcus A. Nadruz Coelho. "Leaf midrib outline as a diagnostic character for taxonomy in Anthurium section Urospadix subsection Flavescentiviridia (Araceae)". Hoehnea 36, n.º 2 (junho de 2009): 269–77. http://dx.doi.org/10.1590/s2236-89062009000200005.

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The external morphology of the midrib of the leaf lamina is used as a diagnostic character for the taxonomy of species of Anthurium subsection Flavescentiviridia (section Urospadix) (Araceae). Our aims in this study are: characterize using morphological analysis the variation of the outline of the midrib along the leaf lamina using 22 of the 35 species of the subsection; evaluate the potential of this variation as a diagnostic tool for taxonomy. For each species, the leaf lamina was divided into three pieces of identical length. The median point of each region was transversely sectioned and its outline drawn with the aid of a camera lucida and microscope. Five distinct types of outlines were classified using current terminology. Considering the difficulty of diagnosing many of the species, this character could be useful for the taxonomy of this subsection.

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Lèal, Alfredo. "El fracaso de la fotografía: una respuesta intermedial al programa fenomenológico de camera lucida de Roland Barthes". Fotocinema. Revista científica de cine y fotografía 2, n.º 19 (22 de julho de 2019): 189. http://dx.doi.org/10.24310/fotocinema.2019.v2i19.6652.

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El presente artículo pretende dar cuenta de las limitantes de la propuesta teórica de Roland Barthes para analizar la fotografía en tanto ésta se considere a la luz del programa fenomenológico del filósofo francés. Dada la importancia de la teoría de Barthes en el campo de la fotografía, creemos que dichas limitantes sólo son perceptibles si el programa de Barthes se lee desde una postura intermedial, es decir, desde la relación que la fotografía —en tanto re-presentación material de la realidad— presupone y desarrolla en torno a sí con respecto a instancias histórico-mediáticas que se encuentran en contradicción a las esencias regionales reconocidas por Barthes, tal como lo intentamos hacer en el presente trabajo. De esta forma, la fotografía se presenta como un suplemento que pretende colmar, materialmente, la realidad. Un suplemento que, tanto en su constitución como en sus consecuencias, se basa en un sustrato metafísico, a saber, el aparecimiento absoluto o absoluto aparecimiento del objeto fotografiado.

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Silverman, M. "Black and Blue: The Bruising Passion of 'Camera Lucida', 'La Jetee', 'Sans soleil', and 'Hiroshima mon amour'". French Studies 68, n.º 1 (1 de janeiro de 2014): 130. http://dx.doi.org/10.1093/fs/knt265.

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O'MEARA, LUCY. "Atonality and Tonality: Musical Analogies in Roland Barthes's Lectures at the Collège de France". Paragraph 31, n.º 1 (março de 2008): 9–22. http://dx.doi.org/10.3366/e0264833408000035.

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Though explicit references to music are infrequent in Barthes's Collège de France lectures, Barthes's use of music in other work from the 1970s makes it clear that music can act as a fruitful analogy in consideration of the text. This article uses the serialist or atonal analogy, as set up by Barthes in ‘From Work to Text’ and elsewhere, to examine the structuring of Comment vivre ensemble and The Neutral. In viewing these courses as serial or open works we can, it is hoped, arrive at a fuller understanding of their methodology and the role they ascribe to the listener or reader. The atonal analogy, however, is left behind in 1978, as Barthes's major projects (La Préparation du roman and Camera Lucida) employ more conventional, developmental structuring. It is here, then, that the analogy with tonality, again suggested by Barthes, can be usefully employed.

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Feichtinger, Daniela. "Wrestling with the Unspeakable". Interdisciplinary Journal for Religion and Transformation in Contemporary Society 6, n.º 1 (2 de julho de 2020): 216–35. http://dx.doi.org/10.30965/23642807-00601013.

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Abstract The reader’s subjective experience cannot be easily integrated into an interpretation that claims a certain objectivity and adequacy to the text. For the exegesis of sacred texts, this means that something unspeakable remains, the encounter of which is traditionally described with the theological categories revelation and salvation. This raises the suspicion that by methodically excluding subjectiveness, at least part of the theological character of a text gets lost in interpretation. In order to exemplify the challenge subjectivity poses to scientific interpretation, especially within the framework of a religious community, this paper analyzes documents of the Catholic Church on the interpretation of the bible since 1965. In a next step, the categories of revelation and salvation are traced in Roland Barthes’ essay Camera Lucida (1980). His concepts shed light on the shortcomings of the documents and provide fresh impulses for a transformed understanding and appreciation of the reader’s experience.

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Uttieri, Marco, Euan R. Brown, Geoff A. Boxshall e Maria Grazia Mazzocchi. "Morphology of antennular sensors in Clausocalanus furcatus (Copepoda: Calanoida)". Journal of the Marine Biological Association of the United Kingdom 88, n.º 3 (maio de 2008): 535–41. http://dx.doi.org/10.1017/s0025315408000854.

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The success of planktonic copepods in aquatic environments is dependent on efficient sensing of their three-dimensional surroundings. The detection of external cues is of importance for the localization of other organisms (prey, predators and mates), and is mediated by an array of mechano- and chemoreceptors located on the paired antennules (A1).We investigated the morphology and distribution pattern of A1 sensory structures in the adult female of Clausocalanus furcatus (Copepoda: Calanoida) using different techniques (camera lucida, scanning and transmission electron microscopy and laser scanning confocal microscopy) each focusing on a specific aspect of the structures analysed. Integration of the information collected shows that C. furcatus possesses an array of mechanical, chemical and dual-function sensors over its A1, by which the copepod can detect different stimuli from the environment. Results are discussed in the light of the unique swimming behaviour displayed by this widespread epipelagic copepod.

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MARTINS, M. L., R. Y. FUJIMOTO, F. R. MORAES, P. M. ANDRADE, A. A. NASCIMENTO e E. B. MALHEIROS. "Description and prevalence of Thynnascaris sp. larvae Dollfus, 1933 (Nematoda: Anisakidae) in Plagioscion squamosissimus Heckel, 1840 from Volta Grande Reservoir, State of Minas Gerais, Brazil". Revista Brasileira de Biologia 60, n.º 3 (agosto de 2000): 519–26. http://dx.doi.org/10.1590/s0034-71082000000300017.

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The present work studied helminth parasites of freshwater "corvina" Plagioscion squamosissimus from Volta Grande Reservoir, MG, Brazil. Sixty eight fishes with averages of 25.2 cm length and 180.9 g weight were collected with net, bimonthly from December 1995 thru December 1996. Parasites were carefully removed from their cysts that were present in the intestinal mesentery. Specimens were fixed in AFA 65°C and preserved in alcohol 70% with 5% of glicerine. In camera lucida 21 nematodes were drawned after clarification with acetic acid or Amann lactophenol. Nematode larvae were identified as Thynnascaris sp. (Nematoda: Anisakidae). From examined fishes 30 out of 68 presented nematode larvae with a prevalence of 44.1%. The average number of parasites per host was 0.0 to 13.8 and mean intensity of 0.0 to 16.0. Statistical analysis according to Fisher's Exact Test showed that these infections were dependent on the pluviosity and air temperature

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Baker, George. "Sharing Seeing". October 174 (dezembro de 2020): 163–75. http://dx.doi.org/10.1162/octo_a_00412.

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In 2007, artist Sharon Lockhart made a large-scale photograph of two young girls reading braille, based on a specific photograph by August Sander from the 1930s made in an institute for blind children. Turning to the widespread iconography of blindness in the history of photography, this essay considers the importance of such images for a larger theory of photographic spectatorship. Lockhart's image of blind children relates to Sander's photograph, but does not duplicate it in all respects; her alteration of the historical image opens onto the larger non-coincidence of vision that photographic seeing instantiates. Ultimately, Lockhart's relational practice of photography-connecting each photograph she makes to prior images, while never fully duplicating or replicating them-provides a model for understanding the relational dynamics of photographic spectatorship. The essay also discusses Paul Strand, Roland Barthes's Camera Lucida, Kaja Silverman's World Spectators, “straight photography,” and Michael Fried.

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