Статті в журналах з теми "DORMA (Firm)"
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1
Whitehead, Peter. "Dora, Film Treatment." Framework: The Journal of Cinema and Media 52, no. 2 (2011): 578–83. http://dx.doi.org/10.1353/frm.2011.0111.
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Hanifah, Anisa, Mahi M. Hkikmat, and Nurholis Nurholis. "RELIGIOUS DOGMA IN SEBASTIÁN LELIO’S THE WONDER (2022)." Saksama 2, no. 1 (July 14, 2023): 55–63. http://dx.doi.org/10.15575/sksm.v2i1.26975.
Повний текст джерелаАнотація:
Religious issues that are no longer relevant to modern living are represented in The Wonder (2022) film by Sebastián Lelio. This research aims to unravel the Religious Dogma in the film by focusing on examining the religious situation of Irish society in the nineteenth century. Tracing the religious life of the Irish community in the nineteenth century, where the majority adhered to Roman Catholicism, this research uses the sociology of literature method. In more detail, this research applies Max Weber's theory of the sociology of religion approach. The Wonder film entirely is the research data, but specifically, the writer takes the socio-religious context, screenshots from several scenes, and film dialogues as the secondary data. So it can be said that data collection in this research used documentation and literature study techniques. Analysis of the sociology of religion in The Wonder (2022) film by Sebastián Lelio is still rare to find, so this research is essential so that it can add to criticism resources of the sociology of literature. Aside from that, the results of this research are that the modernization and logicalization of religion can occur along with times of development and the relevance of public interest.
3
Germann, Peter F. "HESS Opinions: Unsaturated infiltration – the need for a reconsideration of historical misconceptions." Hydrology and Earth System Sciences 25, no. 2 (March 2, 2021): 1097–101. http://dx.doi.org/10.5194/hess-25-1097-2021.
Повний текст джерелаАнотація:
Abstract. Briggs (1897) deduced capillary flow from deviation of the equilibrium between capillarity and gravity. Richards (1931) raised capillary flow to an unproven soil hydrological dogma. Attempts to correct the dogma led to concepts of non-equilibrium flow, macropore flow, and preferential flow during infiltration. Viscous film flow is proposed as an alternative approach to capillarity-driven flow during unsaturated infiltration.
4
Wheatley, Grayson H. "Breaking dogma: Fire, brimstone, and aortic arch surgery." Journal of Thoracic and Cardiovascular Surgery 149, no. 5 (May 2015): 1284–85. http://dx.doi.org/10.1016/j.jtcvs.2014.12.048.
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Morhssey, Kim. "Dora: A Case of Hysteria." Canadian Theatre Review 65 (December 1990): 31–45. http://dx.doi.org/10.3138/ctr.65.007.
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Caution: © Kim Morrissey 1991. This play is protected under the copyright laws of Canada and all other countries of the Copyright Union and all performances are subject to royalty. Change to the script is expressly forbidden without written consent of the author. Rights to produce, film or record, in whole or in part, in any language, by any group, amateur or professional, are retained by the author. Interested persons are requested to apply for permission and terms to: Kim Morrissey, c/o Playwrights Union of Canada, 54 Wolseley St. 2nd Floor, Toronto, Ontario, Canada, M5T 1A5.
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Moritz, Joshua M. "Doubt, Deception, and Dogma: Science and Religion in Film." Theology and Science 7, no. 3 (August 2009): 207–12. http://dx.doi.org/10.1080/14746700903035066.
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Abdul Ghani, Dahlan, Nurul Mirza Syazwina Binti Rohizat, and Luqman Bin Mohd Razali. "Exploring Colors Inside the Dogma of 3D Malaysian Animated Film." Journal of Engineering and Applied Sciences 14, no. 21 (October 10, 2019): 7809–20. http://dx.doi.org/10.36478/jeasci.2019.7809.7820.
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8
White, Sam. "The Real Little Ice Age." Journal of Interdisciplinary History 44, no. 3 (November 2013): 327–52. http://dx.doi.org/10.1162/jinh_a_00574.
Повний текст джерелаАнотація:
The Little Ice Age is not a dogma. It is an increasingly firm consensus backed by considerable evidence across a variety of sources. To disprove it, or even to call it into question, would mean finding systematic errors in several types of proxy data. Kelly and Ó Gráda have not cleared any of these hurdles, or even come close. The refutation of their arguments demonstrates just how strong the evidence for the Little Ice Age has become and just how important it is for historians to take it seriously.
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Dolgin, Elie. "Trial puts niacin—and cholesterol dogma—in the line of fire." Nature Medicine 17, no. 7 (July 2011): 756. http://dx.doi.org/10.1038/nm0711-756.
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KENNEDY, TIM. "Wedding in Galilee (Urs al-jalil)." Film Quarterly 59, no. 4 (2006): 40–46. http://dx.doi.org/10.1525/fq.2006.59.4.40.
Повний текст джерелаАнотація:
ABSTRACT Michel Khleifi's Wedding in Galilee continues to astound, nearly 20 years after release, with its clear-sighted analysis of the forces constraining the development of Palestinian society. Transcending dogma, the film calls for internal change and for space in which the people may advance their rights for self-determination and the creation of a Palestinian state.
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Chaerowati, Dede Lilis. "Representasi Simbolik Film Kartun “Dora the Explorer”: Ethnographic Content Analysis." Mediator: Jurnal Komunikasi 8, no. 2 (December 29, 2007): 377–88. http://dx.doi.org/10.29313/mediator.v8i2.1250.
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Dokou, Christina. "Gendering Globalized Flows in Bertrand Bonello’s Tiresia." Amaltea. Revista de mitocrítica 9 (September 15, 2017): 15–23. http://dx.doi.org/10.5209/amal.54283.
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Presented as the conciliatory voice of wisdom, Teiresias, the blind Theban seer who had been both man and woman, exemplifies how transcending gender can lead to a questioning of normative, victimizing cultural mandates within the polis. This gender-bending acquires further applications in Bertrand Bonello’s 2003 film, Tiresia, about the myth-informed travails of a transsexual Brazilian illegal immigrant prostitute in France. The film daringly deconstructs the dividing lines within contemporary globalized flows: immigrants vs. citizens, men vs. women, dogma vs. humanity. The performative gender of “Tiresia” exposes but also exacerbates the effects of cultural violence, yet also intimates peaceful alternatives.
13
Derham, Ruth. "Bible Studies: Frank Russell and the "Book of Books"." Russell: the Journal of Bertrand Russell Studies 40 (August 6, 2020): 43–51. http://dx.doi.org/10.15173/russell.v40i1.4418.
Повний текст джерелаАнотація:
Religion was as much a concern for Frank Russell throughout his life as it was for younger brother Bertrand and their father before them. Each advocated its rational study untainted by Christian dogma. The chance discovery of an amusing film review by Frank Russell of the biblical epic The Dawn of the World (1921) became the catalyst for an exploration of this theme in the paper that follows, as well as providing the opportunity to explore the foundations of Frank’s agnosticism and demonstrate his erudition and wit through the reprinting of his article “The Bible on the Film”.
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Krank, Eduard Osvaldovich. "Thomas Winterberg's Danish Experiments." Ethnic Culture 3, no. 1 (March 25, 2021): 48–57. http://dx.doi.org/10.31483/r-98023.
Повний текст джерелаАнотація:
The article is devoted to the work of the Danish film director T. Winterberg. The aim of the article is to study the plot originality of the stories told by T. Winterberg by methods of cinema, to understand the genre specificity of his films, highlighting the experiment as the most significant component of their artistic and mental originality. Descriptive, hermeneutic, diachronic, historical-genetic, comparative, analytical and biographical methods, used in a complex manner, allow one to come to certain conclusions. These conclusions are that T. Winterberg's cinematography relies on experiment as a way of plotting, which determines the genre character of the director's films. This is confirmed by the luck that accompanied exactly those films of T. Winterberg, which are built on Danish material, and the much less success of films created on plots that are associated with other toposes (Soviet, American, British). T. Winterberg became world famous after the release of the film "Family Celebration", made within the framework of such originally Danish phenomenon as «Dogma-95». Collation of the author's manner of T. Winterberg with the master of Danish (and world) cinema and originator of «Dogma» L. von Trier allows us to compare the ways of organizing the narrative of two famous film directors: if L. von Trier's films are based on provocation, then T. Winterberg – exactly on experiment. Being rooted on national soil, this experiment transcends ethnic narrow-mindedness itself, acquiring a universal, between-national character.
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DOĞANER, Saygın Koray. "DANCER IN THE DARK AS A HYBRID NARRATION." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 12, no. 3 (July 1, 2022): 833–45. http://dx.doi.org/10.7456/11203100/018.
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In this article, in Dancer in the Dark, the third film of Lars Von Trier's Golden Heart Trilogy (Breaking the Waves 1996, Idioterne, 1998, Dancer in the Dark 2000), how music and dance are used, what principles its technique is based on, the mise-en-scene elements used in creating meaning. and the narrative structure of the film was examined. Dancer in the Dark stands out as one of the films where Trier takes naive, childlike, pain-tested, strong and yet fragile women to the center. The film, which has little in common with the musicals in classical narrative cinema, has a musical feature with melodramatic features. The narration of the film creates a hybrid structure between European art cinema and classical Hollywood cinema. The narrative technique of the film also partially complies with the Dogma 95 manifesto published by Trier and three Danish directors.
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Ong, Donna. "Liu Na'ou: The Fate of “Middling Modernity” and the Global Pure Film Movement in Republican-Era Shanghai." Film Quarterly 72, no. 2 (2018): 26–37. http://dx.doi.org/10.1525/fq.2018.72.2.26.
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The Pure Film movement to elevate cinema as an art form enjoyed a global following amongst commercial to avant-garde filmmakers and theorists during the interwar period. In East Asia, the influence of this vibrant discourse is perhaps best represented by the widely studied Japanese Pure Film movement, but little is known about its presence in China or the enigmatic figure Liu Na'ou who imported these discourses from the West, via Tokyo to Shanghai. Intended to improve the quality of Chinese films, these modernist film theories inevitably became embroiled in Liu's political campaign to protect freedom in the arts and entertainment against leftist political dogma of national defense and rising proletarianism. Following Liu's violent assassination for treason during the Sino-Japanese war, what is now considered Western Classical film theory became subject to the same stigma and taboo that has plagued the writing of Republican-era Chinese film history.
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Astell, Ann W. "Artful Dogma: The Immaculate Conception and Franz Werfel's Song of Bernadette." Christianity & Literature 62, no. 1 (December 2012): 5–28. http://dx.doi.org/10.1177/014833311206200102.
Повний текст джерелаАнотація:
An international bestseller when it first appeared in 1941 and the inspiration for an Academy-award winning film, Franz Werfel's historical novel The Song of Bernadette has received surprisingly little critical attention. Written against the background of the Nazi persecution of the Jews, the Song chronicles the Marian apparitions at Lourdes, France, in 1858 and the life of the young visionary, Bernadette Soubirous. A once-celebrated émigré writer, Werfel identified himself as both Jewish and Christian. His Song of Bernadette deserves recognition not only as a masterpiece of realistic hagiography, but also as a complex philosophical and theological commentary on modernism and Judeo-Christianity.
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Ali, Qaisar, Asma Salman, Shazia Parveen, and Zaki Zaini. "Green Behavior and Financial Performance: Impact on the Malaysian Fashion Industry." SAGE Open 10, no. 3 (July 2020): 215824402095317. http://dx.doi.org/10.1177/2158244020953179.
Повний текст джерелаАнотація:
The dogma of conscious environmental behavior has laid the paradigm for sustainable consumer behavior. Modern-day corporates have introduced innovative business models to add a new value to manage fluctuations in consumer behaviors and rejuvenate their financial performance. Similarly, in fashion industry, textile firms have warmly embraced the new business models and widely adopted environmental management systems (EMSs) to contribute to environmental sustainability. This research aims to explore eco-consumerism and its impacts on the financial performance of textile firms in Malaysia. The secondary data of textile firms’ performance from 2013 to 2015 were collected from an online database and annual reports of firms’ web portals. The findings reveal that the textile firms which successfully adopted EMS such as ISO 14001 show significant changes in performance compared with firms which are yet to adopt EMS certification. Moreover, eco-consumerism directly impacts EMS-adopted firms’ performance. Our findings are robust for practical, research, and managerial implications to classify and understand the impacts of consumers’ green behavior on corporate performance. This study contributes to understand the influence of consumers’ eco-behavior to adopt EMS and its impact on the financial performance of textile firms in Malaysia.
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Yasmansyah, Yasmansyah, Iswantir Iswantir, and Mega Adyna Movitaria. "Analisis Aplikasi Moderasi Beragama Pada Pembelajaran Agama Islam." IQRO: Journal of Islamic Education 6, no. 2 (December 6, 2023): 107–22. http://dx.doi.org/10.24256/iqro.v6i2.4300.
Повний текст джерелаАнотація:
The rise of fanatics and terrorist attacks carried out in the name of Islam is soaring rapidly around the world, especially in Indonesia, which poses a threat to religious freedom. Islam is still a target of criticism in the country, and jihadist dogma has been perverted into a pretext to exert pressure on Muslims under the guise of religion. The purpose of this study was to analyze the application of religious moderation in Islamic religious education at SMA Negeri 1 Batusangkar. The research method used is a qualitative method with a field study approach. The results of the study found that SMAN 1 Batusangkar can instill moderation in the student community, even students who have a religious disposition, very significantly. Some religious attitudes in students are firm, caring and fair.
20
Mazur, Daria. "Czyściec Michała Kondrata wobec współczesnej nauki Kościoła a popkulturowy zwrot w dogmatyce katolickiej." Studia Religiologica 55, no. 12 (2022): 137–52. http://dx.doi.org/10.4467/20844077sr.22.009.17249.
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Czyściec by Michał Kondrat in the Light of Contemporary Teaching of the Church and the Pop-Cultural Turn in the Catholic Dogma This article presents an attempt at an analysis of the fictionalised documentary Czyściec by Michał Kondrat (2020) in the context of the contemporary teaching of the Church and postulate of a popcultural turn in Catholic theology, formulated by Józef Majewski. Directing strategies, topoi, and graphic metaphors from this hybrid film – the script of which refers to Stefania Horak’s mystical experiences – are interpreted in the context of a long tradition of reflections on the topic of purgatory and the key principles of the post-conciliar teachings of the Catholic Church on this subject. These analyses and interpretations enable consideration of whether the said film aims at refreshing the forms of expression of purgatory-related topics. They also let the reader explore whether the mass-culture elements included in the film can help the viewer become more spiritually mature and whether they deepen the eschatological reflection.
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Philipsen, Heidi. "En rammefast filmskolekultur." K&K - Kultur og Klasse 35, no. 104 (October 2, 2007): 110–31. http://dx.doi.org/10.7146/kok.v35i104.22286.
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Om dogmer på Den Danske Filmskole A firmly framed Film School Culture: About The dogma of The National Film School of DenmarkThis article is dealing with the fact that culture is not only something we can study through a tradition of cultural studies. In a much younger and less explored field we find a growing interest in studying the way culture is established in different organizations. I introduce theories from this field and employ The National Film School of Denmark as an illustration of an organization that has developed a certain kind of culture based on a mix between trust and restrictions. In explaining the use of restrictions further, I introduce and elaborate on the educational term ‘scaffolding’. Through the use of several levels of scaffolding – in the learning methods and in the way the Film School is organized – this organization has created an interesting culture that produces innovation in new Danish film. My point is elaborated with help from Barry Schwartz, an American psychologist and author of the book The Paradox of Choice (2004). His research and my article are helpful for understanding how the use of scaffolding can reduce stress and complexity and thereby produce good results within the culture of an organization like The National Film School of Denmark.
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Grzechowiak, Jarosław. "The audience and reception of the films from the Profil Film Unit in 1982-1989." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 32, no. 41 (January 5, 2023): 113–27. http://dx.doi.org/10.14746/i.2022.41.07.
Повний текст джерелаАнотація:
The subject of this article is an analysis of the distribution, attendance results and reception of feature films made by the Profil Film Unit in 1982–1989. The Profil Film Unit was the second film group (alongside Iluzjon, headed by Czesław Petelski) to be reactivated by the cinematography management after martial law was declared in Poland. The artistic director of Profil, Bohdan Poręba, enjoyed the trust and support of the Party authorities, linking his allegiance to communist dogma to his activity in the nationalist ‘Grunwald’ Patriotic Association. Profil’s productions were boycotted by a large part of the acting community (also due to an appeal by the Solidarity Stage and Film Artists published in the newspaper “Tygodnik Mazowsze”), and some of the films made by this unit in the 1980s clearly followed the guidelines of the cultural policy of the Polish United Workers’ Party. The following questions will be answered: How did the political circumstances outlined above affect the distribution and reception of the films made by Profil? What attendance results did the films produced by Profil achieve and to what extent did they differ from the cinema ticket revenues of the films produced by other groups? How was the activity of the Profil Film Unit and the financial results achieved evaluated by the Supreme Board of Film Affairs? How were the productions of Profil received by film critics in the daily press and magazines?
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Sutiyarti, Ulfah, Haris Supratno, Tengsoe Tjahjono та Yulia Hapsari. "Hasrat Kepribadian Skizofrenik Tokoh Utama dalam J-Dorama: Bokura wa Kiseki de Dekite iru「僕らは奇跡でできている」Perspektif Skizoanalisis Deleuze dan Guattari". Ayumi : Jurnal Budaya, Bahasa dan Sastra 8, № 1 (22 червня 2021): 1–19. http://dx.doi.org/10.25139/ayumi.v8i1.3915.
Повний текст джерелаАнотація:
Penelitian ini bertujuan untuk mengidentifikasi hasrat kepribadian tokoh utama yang terdapat dalam J-Dorama Bokura wa Kiseki de Dekite iru karya sutradara Hoshino Kazunari dan Kono Keita (2018). Teori yang digunakan dalam penelitian ini adalah skizoanalisis Deleuze dan Guattari. Penelitian ini menggunakan metode analisis teks berupa deskripsi adegan dalam film dan kutipan dialog antartokoh. Pengumpulan data dilakukan melalui teknik metode analisis teks dengan mengambil bentuk kutipan percakapan dalam drama. Data diperoleh dari data percakapan pelaku utama dari drama Jepang dengan judul Bokura wa Kiseki de Dekite iru yang mengidentifikasikan hasrat kepribadian berdasarkan kajian skizoanalisis Deleuze dan Guattari. Kutipan percakapan pada drama yang diambil adalah kutipan yang mengandung unsur-unsur hasrat kepribadian berdasarkan kajian teori Deleuze dan Guattari. Langkah selanjutnya adalah menganalisis kutipan percakapan dari drama tersebut untuk mendeskripsikan hasrat kepribadian apa saja yang ditemukan dalam drama Bokura wa Kiseki de Dekite iru. Hasil penelitian ini menunjukkan bahwa tokoh utama dalam drama ini menunjukkan hasrat kepribadaian sesuai dengan yang dideskripsikan oleh Deleuze dan Guattari yaitu, 1) hasrat manusia sebagai manusia kreatif dan bereksperimen, 2) hasrat manusia yang bergerak menolak untuk mematuhi dan tunduk pada kode-kode sosial, 3) hasrat manusia menciptakan koneksi baru, membuka pengalaman, permulaan baru, dan memungkinkan berpikir secara berbeda.
Kata kunci: hasrat kepribadian; J-Dorama; skizoanalisis Deleuze dan Guattari
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Hochscherf, Tobias. "Dänemark – Hollywood – Europa." European Journal of Scandinavian Studies 51, no. 2 (October 1, 2021): 277–97. http://dx.doi.org/10.1515/ejss-2021-2037.
Повний текст джерелаАнотація:
Abstract Thomas Vinterberg is one of Scandinavia’s well-respected contemporary directors. His career is best noted for his involvement in the launch of the Dogma 95 Manifesto and it was his acclaimed Festen (DK 1998) that started the prolific film movement that followed. Yet, as this article shows, Vinterberg repeatedly tried to reinvent himself as an artist, taking on different genres, themes and aesthetic approaches. When his all-star science fiction film It’s All about Love (2003) and his pan-European co-productions met with the disapproval of critics and audiences alike, he returned to realist films. The subsequent success of his dramas – including Submarino (2010), Jagten (2012) and Druk (2020) – reinstated his status of an auteur filmmaker. The three films share a number of continuities, including a penchant for themes of homecoming, dysfunctional family relations and everyday socio-cultural conflicts within the limits of close-knit communities or circles of friends.
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Hochscherf, Tobias. "Dänemark – Hollywood – Europa." European Journal of Scandinavian Studies 51, no. 2 (October 1, 2021): 277–97. http://dx.doi.org/10.1515/ejss-2021-2037.
Повний текст джерелаАнотація:
Abstract Thomas Vinterberg is one of Scandinavia’s well-respected contemporary directors. His career is best noted for his involvement in the launch of the Dogma 95 Manifesto and it was his acclaimed Festen (DK 1998) that started the prolific film movement that followed. Yet, as this article shows, Vinterberg repeatedly tried to reinvent himself as an artist, taking on different genres, themes and aesthetic approaches. When his all-star science fiction film It’s All about Love (2003) and his pan-European co-productions met with the disapproval of critics and audiences alike, he returned to realist films. The subsequent success of his dramas – including Submarino (2010), Jagten (2012) and Druk (2020) – reinstated his status of an auteur filmmaker. The three films share a number of continuities, including a penchant for themes of homecoming, dysfunctional family relations and everyday socio-cultural conflicts within the limits of close-knit communities or circles of friends.
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O'Keeffe, Michael E., and Kathleen Waller. "Hollywood's Absent, Impotent, and Avenging God in the Classroom." Horizons 30, no. 1 (2003): 92–110. http://dx.doi.org/10.1017/s0360966900000062.
Повний текст джерелаАнотація:
ABSTRACTThe focus of this article is twofold. First, recognizing the influence of the mass media on the religious views of many undergraduate students, it examines the negative depiction of God in several popular American films and concludes that the image of God as absent, impotent and demonic ought to be addressed in the classroom. The second issue concerns the use of film in the classroom—both to encourage students to sharpen their understanding of contemporary theology, and to then use this theology as a basis for understanding and evaluating the religious messages carried by contemporary films. The films explored are What Dreams May Come, Dogma, The End of the Affair, The Rapture, and Stigmata.
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Yan, Zheng Joseph, Peter Zámborský, and Hongji Liang. "A sociological view toward the economic and technological development zones in China." Chinese Management Studies 15, no. 3 (January 26, 2021): 598–612. http://dx.doi.org/10.1108/cms-04-2020-0140.
Повний текст джерелаАнотація:
Purpose This paper aims to introduce a sociological view to analyze the Economic and Technological Development Zones (ETDZs) in China. The ETDZs are established to foster concentrated regional economic development. Currently, there are 219 national level ETDZs throughout the country, and they account for more than 10% of China’s total GDP. Given the scale of the Chinese economy, the economic significance of the ETDZs indicates an important phenomenon for better understanding. Design/methodology/approach This paper conceptualizes the Chinese ETDZs with sociology concepts of place, institutional logics and habitus. Findings The sociological view centers on how the ETDZs can naturally evolve with the participation of firms. The authors show that firms operating in the ETDZs can unintentionally alter the dynamics of the policy environment. A process model of place, logics and practice is developed to encapsulate these ideas. Originality/value Conventional research on the connections between Chinese Government policies and business operations has been largely conducted under a political economy view which outlines a top-down logic (policymaking, followed by firms’ strategic response). The authors move away from this dogma by introducing a sociological view of the ETDZs. This new view highlights that a government-initiated policy environment in China can also evolve when firms are seeking to blend into the regulatory system, instead of trying to shape the coercive arrangements to suit their best interests.
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Dolidze, Zviad. "The Georgian period of the filmmaker Otar Ioseliani." Arta 30, no. 2 (December 2021): 74–81. http://dx.doi.org/10.52603/arta.2021.30-2.11.
Повний текст джерелаАнотація:
The creation of the film director Otar Ioseliani has a significant role in the evolution of Georgian cinematographic art. Since the 1950s, Ioseliani had been active in RSS Georgia, and since the 1980s, thanks to ideological circumstances, he continued his work as a filmmaker in France. Ioseliani imposed himself through a special style in the detection and cinematic expression of the negative parts of everyday life. That is why most of his films were not accepted by Soviet film critics, acclaiming them as negative works that did not fit the Soviet reality and lifestyle. Those works corresponded more to the conditions of critical realism than to socialist realism - the dogma of the totalitarian regime. As arguments for these ideas will serve the analysis (thematic, ideational background, cinematic expression, etc.) of Otar Ioseliani’s films from the Georgian period, starting with the bachelor’s thesis Watercolor (1958) and continuing with the films that became known to the general public: November, The Last Leaf, Pastoral, Once Upon a Time there was a Blackbird.
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Nugroho, Sri Nugroho. "PETITION AS INDONESIAN FILM’S ROBBER: Theodor Adorno’s Perspective on Majority-Leaning Group’s Criticisms." Capture : Jurnal Seni Media Rekam 13, no. 1 (December 13, 2021): 1–16. http://dx.doi.org/10.33153/capture.v13i1.3631.
Повний текст джерелаАнотація:
Filmmakers have felt the impact of numerous films that have been petitioned or rejected by groups acting in the majority’s interests. The groups carry religious issues and view films as a new force capable of undermining the values (dogma) they believe. The views were infiltrated by efforts to homogenize discourses for a particular purpose rather than pure objectivity, resulting in petitions opposing certain films. In this regard, Adorno’s perspective on the revolutionary objective basis leads to the eradication of critical thinking against individuals associated with capitalism. The term “capitalists” refer to persons who control the Indonesian film industry. The underlying phenomena of this research are alienation and oppression, and the research sources are film industry actors who are directly affected by the phenomena above. Using Bogdan’s and Taylor’s qualitative approach in Moleong (2018), this study reveals that capitalists attempt to paralyze the joints of critical thinking to steer Indonesian films toward uniform themes, namely religious ones, that are “safe” from mass organizations’ petitions and rejections. These efforts mark the end of critical thinking and ideas in the creative filmmaking process.
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Gao, Yu. "Black humor in Daniil Kharms`s works." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 60 (2021): 208–23. http://dx.doi.org/10.37816/2073-9567-2021-60-208-223.
Повний текст джерелаАнотація:
Daniil Kharms` s works have been a hot topic of research worldwide for several years. The present study discusses Kharms’s black humor writings of the 1930s, exposes aesthetic potential and humanistic content of black humor as an avant-garde phenomenon, and defines the role of black humor in the plot of works containing allusions to arrest in secret, hospitals and the life of Soviet children. As paper suggests the themes and subjects of Kharms’s black humor are designed to enhance humanistic content. In Kharms’s art world of black humor, “purity” is a kind of harmonious world order representing the earth as “a space, filled with madness and fear” on a real level while on an artistic level it functions as the purity of creative mind generating circular compositional structure and using semantic shift and narrative interruption. In other words, purity embodies the real world while belonging to it. The popularity of Kharms may be, firstly, explained by a clear feeling of absurdism and black humor, the root of which is his requirement for humanization of life and firm faith in God. Kharms believed that religion is “ambiguous and amorphous” and should be expressed in some form or object, without which the essence of religiosity would be lost, even if the most reliable authority and firm dogma are there. Thus, overtly inhuman elements which give a false impression of writer’s spiritual value, do not express the essence of his worldview, but reflect surrounding senseless reality. Out of dissatisfaction with reality, Kharms uses black humor to respond to the evil and absurdity of life.
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Saadah, Siti Waliyatus, and Lusi Susilawati. "Exploring Imperative Mood in the Movie Dora and the Lost City of Gold." Syntax Idea 5, no. 5 (May 24, 2023): 593. http://dx.doi.org/10.46799/syntax-idea.v5i5.2193.
Повний текст джерелаАнотація:
This study aims to analyze the use of imperative mood in the film "Dora and the Lost City of Gold". Descriptive qualitative method is used to analyze the data deeply and explain it descriptively. Data collection techniques used a combination of basic methods, namely observation, and advanced techniques, namely note-taking techniques. The syntactic approach is used to examine the structure of sentences, clauses, phrases, and word patterns in language. Data analysis techniques use qualitative analysis methods, including data condensation, data presentation, and conclusion drawing and verification. The findings of this study show that there are several forms of imperative mood, including Simple Imperative, Prohibitive Imperative, Let's Imperative, Polite Imperative, and Future Imperative. Data analysis shows that the most common form of imperative mood used in movies is Simple Imperative. The implication of these findings in theoretical and practical contexts is that the use of imperative mood in movies can provide insight into the relationship between language and culture. The contribution of this study to the field of research is to provide a better understanding of the use of imperative mood in movies, especially in the context of the movie "Dora and the Lost City of Gold".
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Hart, D. G. "Poems, Propositions, and Dogma: The Controversy over Religious Language and the Demise of Theology in American Learning." Church History 57, no. 3 (September 1988): 310–21. http://dx.doi.org/10.2307/3166575.
Повний текст джерелаАнотація:
One of the ironies in the annals of nineteenth-century American Protestantism is the impact that Horace Bushnell's famed address “Dogma and Spirit” had upon the theological scene. In his remarks before the Porter Rhetorical Society at Andover Seminary in September 1848, the Congregationalist minister from Hartford established his reputation as one of the more controversial, if not gifted, theologians in New England. Bushnell offered a vision of Christianity that he hoped would eliminate the theological bickering that, as he saw it, had plagued the church throughout its history. To be sure, many in Andover's audience would not have been surprised if Bushnell's quirky views on the Trinity and the Atonement drew fire from New England Calvinists. But few would have predicted that this reconciliatory address would provoke one of the era's more noteworthy debates, a lengthy one-and-a-half-year, 250-page quarrel between America's two most prominent Calvinist theologians, Princeton Seminary's Charles Hodge and Andover's Edwards A. Park.
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Broadus, Victoria. "OS SERTÕES ONSCREEN IN PAULO GIL SOARES’S O HOMEM DE COURO (1969/70)." Oficina do Historiador 14, no. 1 (July 29, 2021): e39582. http://dx.doi.org/10.15448/2178-3748.2021.1.39582.
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This article examines filmmaker Paulo Gil Soares’s early work with a particular focus on the documentary O Homem de Couro (1969/70), in the context of Brazil’s military dictatorship (1964-85), the documentary-film initiative known as the “Farkas Caravan,” and 1960s-era Brazilian documentary more broadly. I argue that Soares’s O Homem de Couro represents an audiovisual renewal and revision of Euclides da Cunha’s portrayal of the northeastern vaqueiro in Os Sertões (1902). In the film, Soares’s depiction of the vaqueiro served as both a tribute to these national folk heroes and a reminder to viewers that da Cunha’s scathing turn-of-the-century portrait of the northeastern social order should not be considered a relic of the past. Timeless northeastern verses drive the narrative, reinforcing that message. In this way, Soares made a film that was both beautiful and denunciatory without resorting to pedagogical voiceovers or orthodox dogma. He meanwhile updated key elements of Os Sertões for the 1960s and ‘70s. Soares offered subjectivity that was lacking in da Cunha’s account, discrediting da Cunha’s nineteenth-century biological and geographical determinism. He also documented inauspicious shifts in this labor market that threatened the vaqueiro’s future. In the early 1970s, Soares would go on to found the influential documentary-journalism program Globo Repórter. By focusing on his work with the Farkas Caravan, this article contributes a new perspective on a key but previously overlooked element in the formation of the Brazilian school of documentary film and journalism, and on the enduring legacies of da Cunha’s work.
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Rees, Ellen. "Norwave: Norwegian Cinema 1997-2006." Scandinavian-Canadian Studies 19 (December 1, 2010): 88–110. http://dx.doi.org/10.29173/scancan51.
Повний текст джерелаАнотація:
ABSTRACT: This article will examine Norwegian cinema from 1997 to 2006, a period marked by a growing awareness of both the international film market and the demands of an increasingly sophisticated domestic market on the part of Norwegian filmmakers. This period has come to be known as “Norwave.” It will be argued that the films of the Norwave attempt a two-fold task—on the one hand they seek to gain international acclaim of the kind associated with the likes of the Danish Dogma 95 directors and Finnish director Aki Kaurismäki, while on the other hand they attempt to create a public forum for the working out of specific issues in contemporary Norwegian identity and ideology. By analyzing eight of the most successful Norwegian films from the decade, the study maps out this tension between these global and local aspirations.
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Rheinheimer, Martin. "The Resurrection of the Body." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 8, no. 3 (January 26, 2018): 243–60. http://dx.doi.org/10.1558/post.33679.
Повний текст джерелаАнотація:
This article analyses visual and written materials which indicate some of the interesting changes that the authoritative, Christian doctrine of bodily resurrection underwent in modernity. These materials document a growing gap between the authoritative creed and people’s beliefs, which cannot, I argue, be attributed solely to intellectual changes, but which was also highly reliant on changes in material living conditions and medical and hygienic progress. The article suggests that the belief in the resurrection of the body was quite firm in the general population even in the eighteenth century - the century of the Enlightenment, but that it faded towards the end of the nineteenth century due to changes in the material life conditions, such as medical progress and a decline in child mortality. My sources are gathered from the predominantly Lutheran former Duchy of Schleswig, and particularly from northern Friesland, and consist of personal letters, sermons, and visual sources such as church paintings and gravestone images. By means of selected examples, I investigate what the authoritative dogma of belief in the resurrection of the body meant to ordinary people. I trace the causes of this belief, and I discuss why it faded towards the end of the nineteenth century.
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Moyer, Robert C. "‘When that great ship went down’: Modern maritime disasters and collective memory." International Journal of Maritime History 26, no. 4 (November 2014): 734–51. http://dx.doi.org/10.1177/0843871414551898.
Повний текст джерелаАнотація:
The aim of this article is to examine the social and psychological impact of modern maritime disasters upon the population of a technologically developed nation. Through an innovative research approach using various indirect measurements of public interest including the internet, media response, music and film, the article explores the interest displayed by the American public following the loss of ships such as the Titanic, Andrea Doria, Edmund Fitzgerald, and Andrea Gail. In order to provide a basis for qualitative comparison, disasters involving other modes of transportation are also considered, including the Hindenburg crash, the ‘Great Train Wreck of 1918’ in Nashville, TN, the Tenerife air disaster of 1977, and the Concorde crash of 2000. The article seeks to explain why the American public seems to display more short-term and long-term interest in maritime disasters than in disasters involving other forms of transportation.
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Oronsky, Bryan, Scott Caroen, and Tony Reid. "What Exactly Is Inflammation (and What Is It Not?)." International Journal of Molecular Sciences 23, no. 23 (November 28, 2022): 14905. http://dx.doi.org/10.3390/ijms232314905.
Повний текст джерелаАнотація:
In medicine, inflammation is a fuzzy, overused word first coined by the Romans, the intended meaning and precise definition of which varies according to the person and the clinical context. It tends to carry a negative connotation as a response gone awry, like a raging, out-of-control wildfire that requires immediate control and containment lest it destroy all in its path; however, frequently overlooked or lost in the shuffle is the primordial importance of inflammation to health and survival. The precise definition of inflammation matters for several reasons, not least because of the over-liberal use of anti-inflammatory drugs to inhibit inflammation, which may, contrary to prevailing dogma that all inflammation is harmful, act counterproductively to prevent restitutio ad integrum. Using fire as a central analogy, this overview attempts to define inflammation, the better to determine how to manage it, i.e., whether to fan its flames, let it burn out, or suppress it entirely.
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Campillo, Margarita, Juan Sáez, and Andrés Zaplana. "Nuevos lenguajes fílmicos en la vieja Europa: el cine social de los hermanos Dardenne." Fotocinema. Revista científica de cine y fotografía, no. 6 (March 17, 2013): 97–121. http://dx.doi.org/10.24310/fotocinema.2013.v0i6.5911.
Повний текст джерелаАнотація:
Resumen:Las películas de los hermanos Dardenne son documentos vivos, poblados de perso-najes marginales y excluidos, que ofrecen enormes posibilidades para reflexionar desde múltiples espacios educativos. Su obra presenta un reconocido estilo personal autoral, tanto en la forma como en las historias que aborda, susceptible de análisis y profundización. Adentrarse en ella y bucear su estilo narrativo es el objetivo de este estudio. Para materializarlo se esboza, al inicio, la tradición europea creadora de nuevas formas de expresión fílmica a lo largo del siglo XX -desde el naturalismo poético francés hasta llegar al movimiento nórdico “Dogma 95”- para explorar, más detenidamente, a continuación la produc-ción de los directores belgas: siguiendo un planteamiento evolutivo que transita desde sus primeros trabajos que antecederán a “La promesa” (1996) hasta su último film, “El niño de la bicicleta”( 2011), en este texto se analizan las obras de ficción de los hermanos y el estilo característico que pre-domina en ellas. Planos cortos, que trans-miten su propia vida interior, y de larga duración para que se pueda seguir atentamente la acción, filmación continua-da en el mismo orden programado en el guión, ausencia de música intrusiva, imá-genes despojadas de toda clase de buenos sentimientos… el sello personal de los Dardenne abre cauces novedosos de expresión comunicativa tan poderosos como creativos. Abstract: The movies of the Dardenne brothers are living documents filled with marginalized characters that offer a great opportunity to think and reflect from different educational perspectives. Their work has a very personal composition; for being ahead of its time and for the depth of its analysis. With this essay, we try to explore and dive deep in their narrative style. For that, we first draft their influences taken from the European tradition with its new ways of filmic expressions, throughout the XX century: from the poetic French naturalism to the Nordic movement “Dogma 95”, to explore in bigger detail, after that, the influence of the productions of Belgian directors: all of these following an evolutionary approach that goes from their first movies before “La promesse” (1996), to their last film, “The kid with a bike” ( 2011),in this text, we analyze their fictional tales and their characteristic style. Close ups that describe an inner life and long shots to attend to the events in detail. The filming is always done in the order planned in the screenplay, there is always a lack of intrusive music, images without any kind of good feelings...the style of the Dardenne brothers which is an open door to new communicative styles, all of them powerful and creative. Palabras clave: Cine; historia del cine; análisis fílmico; narrativa audiovisual; exclusión social Keywords: Cinema; cinema history; film analysis; audiovisual narration; social exclusion
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Dietz, Bettina. "Making Natural History: Doing the Enlightenment." Central European History 43, no. 1 (March 2010): 25–46. http://dx.doi.org/10.1017/s0008938909991324.
Повний текст джерелаАнотація:
The image of the Enlightenment as an era has proved to be remarkably constant, repeatedly resisting protracted and subtle attempts to de-ideologize, pluralize, and reperiodize it. Historians have turned away from a pure history of ideas in favor of a cultural history of publishing and reading, a social history of intellectual sociability, and the situating of ideas within historical-political constellations. The concept of a homogeneous, quasi-monolithic Enlightenment has been pluralized and parceled into a large number of geographically and thematically distinct Enlightenments. At the same time, the chronological scope of research interests has been extended and refined. Whereas the decades of the high Enlightenment in Britain and France were the initial focus of interest, the phase of the radical early Enlightenment has since achieved a firm place in a total panorama that also takes account of chronologically different developments in various national contexts. Nonetheless it is true, although necessarily a generalization, to say that the interpretation of the Enlightenment as a whole concentrates on an “Enlightenment thinking” characterized as rational, critical of dogma, and systematic, and whose main emphases are seen as political ideas, philosophy, criticism of superstition, and the experimental sciences. The intention here is to focus on the aspect of active mass participation in the intellectual project of the Enlightenment and to supplement the image of an intellectual history centered on the triad of ideas, authors, and texts (more rarely books) with a perspective that focuses on learned practice.
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Bazzanella, Sandro Luiz, and Danielly Borguezan. "Considerações a partir do filme “O Capital” sobre a financeirização do mundo e da vida / Considerations from “The Capital” film: on the financing of the world and life." Profanações 5, no. 1 (July 18, 2018): 45. http://dx.doi.org/10.24302/prof.v5i1.1836.
Повний текст джерелаАнотація:
O presente artigo é resultado da análise do filme “O Capital” (Le Capitale), lançado em 4 de outubro de 2013 (1h53min). Direção: Costa-Gavras. Elenco: Gad Elmaleh, Gabriel Byrne, Natacha Régnier; Gêneros: Drama, Suspense. Nacionalidade: França. A referida obra cinematográfica coloca em debate a financeirização do mundo, das relações sociais e individuais em que a sociedade contemporânea esta envolvida. O crédito que substituiu no imaginário individual e social a ideia de dinheiro, mas que preserva a sua condição “essencial” como aquilo que desperta reações, paixões, desejos mobilizando forças vitais, determinando as expectativas de vida, de futuro dos seres humanos e sociedades, apresenta-se na forma de transcendência. Assim, na condição de transcendência exige culto, sacrifico e, sobretudo crença incondicional em suas condições de efetivação de suas promessas de uma economia da salvação. A financeirização dos espaços e tempos vitais nas quais se movem sociedades e indivíduos demarca o recrudescimento da ação política realizada entre homens com o fim de potencialização do espaço público como lócus por excelência do bem viver, da busca da felicidade. O dogma da financeirização afirma diuturnamente que a felicidade pode ser comprada e, usufruída individualmente basta ter crédito, ter fé no futuro.AbstractThis article is the result of the analysis of the film "The Capital" (Le Capitale), released on October 4, 2013 (1h53min). Direction: Costa-Gavras. Cast: Gad Elmaleh, Gabriel Byrne, Natacha Régnier; Genres: Drama, Thriller. Nationality: France. The aforementioned cinematographic work challenges the financialization of the world, of the social and individual relations in which contemporary society is involved. The credit that replaced the idea of money in the individual and social imaginary, but which preserves its "essential" condition as that which awakens reactions, passions, desires mobilizing vital forces, determining the expectations of life, the future of human beings and societies, Presents itself in the form of transcendence. Thus, in the condition of transcendence requires worship, sacrifice and, above all, unconditional belief in its conditions of realization of its promises of an economy of salvation. The financialisation of spaces and vital times in which societies and individuals move, marks the intensification of the political action carried out among men with the aim of enhancing the public space as the locus par excellence of well-being and the pursuit of happiness. The dogma of financialization affirms day after day that happiness can be bought and, enjoyed individually, it is enough to have credit, to have faith in the future.
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Anand, Dibyesh, Jim Chandler, and Robert J. Bennett. "Review: Marxism and Social Science, Rolling Back the Market: Economic Dogma and Political Choice, the Business of Networks: Inter-Firm Interaction, Institutional Policy and the Tec Experiment." Environment and Planning C: Government and Policy 18, no. 6 (December 2000): 773–76. http://dx.doi.org/10.1068/c1806rvw.
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Malovic, Marko. "A note about price competitiveness impact on conventional theory and overall pay-off of intraindustry trade." Ekonomski anali 51, no. 169 (2006): 166–83. http://dx.doi.org/10.2298/eka0669166m.
Повний текст джерелаАнотація:
Contrary to much of the mainstream literature on trade in monopolistic competition setting, we point out the importance of departure from CES dogma and consequently revealed, if thus far neglected, price competitiveness effect, as a supplement to the classical Dixit-Stiglitz "love of variety". Quite apart from initial price and cost cuts due to greater competition as well as increased consumer welfare as a corollary of more substitutes being available for consumption, there is additional room for price-cost competitiveness boost in terms of scale economies grasped by global market expansion of successful varieties (firms). Analytical framework developed in the paper has led us to conclude that intra industry trade does lower prices and enable greater variety, in as much as it raises efficiency by melting the gap between the zero-profit equilibrium utility and the constrained optimum utility. However, unlike some most recent contributions, our supposition of further downward flexibility of marginal costs prevents us from unambiguously claiming that national firms in the open economy must be fewer as opposed to the autarky case. Put differently, profit margins need not necessarily be falling pro rata (or at all, for that matter) with world prices. That might be one plausible explanation for just why in spite of evident procompetitive effects within the Ell-automobile industry, its price-cost wedges did notfall, but have rather related still. <br><br><font color="red"><b> This article has been retracted. Link to the retraction <u><a href="http://dx.doi.org/10.2298/EKA0670190U">10.2298/EKA0670190U</a></u></b></font>
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Borkowska, Ewa. "Wielogłosowość i milczenie w poetyce żydowskiej — ,,gdy ciało staje się słowem”: kilka uwag o poezji Zuzanny Ginczanki." Iudaica Russica, no. 1(4) (June 22, 2020): 56–71. http://dx.doi.org/10.31261/ir.2020.04.04.
Повний текст джерелаАнотація:
The article is an attempt at presenting an inspiring writing of Zuzanna Ginczanka (Polina Gincburg) who was a Ukrainian-born Jewish poet writing in Polish. Due to her multifarious identity, it is in her poetry that one finds voices that reverberate from various nations and cultures, which makes an original polyphonic, geographic and mythological texture. Ginczanka’s poetics venerates the body since, in her view, contrary to the dogma of incarnation, it was the ‘flesh that was made word’. In her poems it is the Songs of So gs whose physicality more than metaphoricity inspires the poetic images. It is also nature that becomes an incentive for the poetic creation, which proves that poetry derives from the Greek word poiesis . In the times of the Holocaust atrocities, the language of poetry became for her the ‘house of poetic Being’ and several geographical places served her as security which, however, she had to constantly abandon in fear of Nazi repressors. Her monumental poems, chief among which is ‘The Fire-Bird’, due to its orchestration and almost sonorous imagery can compare with Igor Stravinsky’s ballet of the eponymous title. Her attachment to the earth and the living place, no matter how insecure, brought about that several geo-poetic images can be traced in her poetic works.
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Ncube, Gibson. "Queer, Christian and Afrikaans: The libidinal, sexuality and religion in Kanarie and Skeef." Tydskrif vir Letterkunde 60, no. 1 (April 24, 2023): 22–30. http://dx.doi.org/10.17159/tl.v60i1.14054.
Повний текст джерелаАнотація:
Religion is often viewed as incompatible with queer sexualities and genders. In the Afrikaans-speaking communities of South Africa, Calvinist doctrine and dogma have been used to marginalise and ostracise those sexual and gender identities that stray from the heteronormative scripts sanctioned by cultural and religious practices. In this article, I examine how the libidinal is central to the way in which queer and faith communities interact in Afrikaans-speaking communities in two films: Kanarie and Skeef. The two films represent different filmic genres with Kanarie a fictional feature film and Skeef being a documentary. The two films, despite their different genres, broach the difficulty of being queer and religious. At the same time, the films show that it is possible to rethink religions/faith communities. Such rethinking creates accommodative spaces within faith communities in a way in which queerness is not viewed as a deviance or an abomination. I read these Afrikaans-language films against the conceptualisation of the libidinal offered by Keguro Macharia together with the ideas of queer agency proposed by Adriaan van Klinken. This queer agency marks not just a transgression of heteronormative Christian norms but also engenders expansive ways of understanding human sexuality and gender identities.
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Schudel, Ingrid. "Enabling STE(A)M in Sustainability Education Through Dialogic/Dialectic Reconciliation." Educational Research for Social Change 13, no. 1 (May 9, 2024): 64–84. http://dx.doi.org/10.17159/2221-4070/2023/v13i1a5.
Повний текст джерелаАнотація:
In the context of a need for finding and enabling alternatives to unequal and extractivist perspectives on development, growth, and human well-being, this positioning paper explores possibilities for STEAM (science, technology, engineering, arts, and mathematics) education with an education for sustainable development focus that counters disciplinary alienations particularly between the arts and the STEM (science, technology, engineering and mathematics) disciplines. The paper argues that unnecessary alienations between cultural-emblematic and mathematical-logical epistemes, especially those linked to narrow interpretations and restricted developments in dialogism and dialectics, respectively, are influenced by restricted understandings of epistemological, ontological, and praxiological philosophical drivers in meaning making and responsive action. In response, the paper develops a series of philosophical principles that, it argues, could usefully underpin STEAM education practices. These are a) iterations of epistemological expansion and contraction (in response to monologic meaning making), b) an expansive and deepening ontology (in response to ontological collapse in describing the world), c) critical and judgmental rationality (finding a middle ground between radical relativism and dogma), and d) concrete utopianism (in response to idealism and additive holisticism). The emergence of the four philosophical principles is developed through illustrative examples of a broad range of arts (fine art, performance art, photography, film, poetry, prose, and music).
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Schudel, Ingrid. "Enabling STE(A)M in Sustainability Education Through Dialogic/Dialectic Reconciliation." Educational Research for Social Change 13, no. 1 (May 9, 2024): 64–84. http://dx.doi.org/10.17159/2221-4070/2024/v13i1a5.
Повний текст джерелаАнотація:
In the context of a need for finding and enabling alternatives to unequal and extractivist perspectives on development, growth, and human well-being, this positioning paper explores possibilities for STEAM (science, technology, engineering, arts, and mathematics) education with an education for sustainable development focus that counters disciplinary alienations particularly between the arts and the STEM (science, technology, engineering and mathematics) disciplines. The paper argues that unnecessary alienations between cultural-emblematic and mathematical-logical epistemes, especially those linked to narrow interpretations and restricted developments in dialogism and dialectics, respectively, are influenced by restricted understandings of epistemological, ontological, and praxiological philosophical drivers in meaning making and responsive action. In response, the paper develops a series of philosophical principles that, it argues, could usefully underpin STEAM education practices. These are a) iterations of epistemological expansion and contraction (in response to monologic meaning making), b) an expansive and deepening ontology (in response to ontological collapse in describing the world), c) critical and judgmental rationality (finding a middle ground between radical relativism and dogma), and d) concrete utopianism (in response to idealism and additive holisticism). The emergence of the four philosophical principles is developed through illustrative examples of a broad range of arts (fine art, performance art, photography, film, poetry, prose, and music).
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Al-Gubory, Kaïs H., Philippe Bolifraud, and Catherine Garrel. "Regulation of Key Antioxidant Enzymatic Systems in the Sheep Endometrium by Ovarian Steroids." Endocrinology 149, no. 9 (May 29, 2008): 4428–34. http://dx.doi.org/10.1210/en.2008-0187.
Повний текст джерелаАнотація:
Reactive oxygen species (ROS) and their control by antioxidant enzymes are involved in the physiology of the female reproductive system. Thus, it is important to understand the regulation of key antioxidant enzymatic pathways. The roles of estrogen and progesterone in regulating the physiological functions of the endometrium have become central dogma. We examined the effects of ovarian steroids on superoxide dismutases (SOD1 and SOD2), catalase (CAT), glutathione peroxidase (GPX), and glutathione reductase (GSR) activities in the aglandular caruncular and glandular inter-caruncular endometrial tissues of ovariectomized (OVX) ewes and in OVX ewes treated with estradiol (E2), progesterone (P4), or both hormones according to schedules designed to produce physiological changes of these hormones during the estrous cycle. The activities SOD2, CAT, GPX and GSR in both endometrial tissues were unaffected by P4 treatment. The activity of SOD1 in the aglandular tissue was unaffected by P4 treatment, however this treatment decreased SOD1 activity in the glandular tissue (P < 0.01). Treatment with E2, either alone or in combination with P4, decreased SOD1 (P < 0.01), CAT (P < 0.01) and GPX (P < 0.05) activities in both endometrial tissues. The activity of GSR decreased only in the glandular tissue (P < 0.05) after E2 treatment, either alone or in combination with P4. No change in SOD2 activity was detected in both endometrial tissues after administration of E2, P4 or both hormones. This study provides the first firm evidence for the role of ovarian steroid hormones in the regulation of the activities of key antioxidant enzyme in the endometrium of female mammals.
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Rippin, Andrew. "Narrating Muhammad’s Night Journey." American Journal of Islam and Society 26, no. 4 (October 1, 2009): 116–18. http://dx.doi.org/10.35632/ajis.v26i4.1369.
Повний текст джерелаАнотація:
The story of Muhammad’s night journey to Jerusalem and ascent to heavenenjoys huge popularity across the Muslim world. It has functioned as a vehiclefor many forms of artistic expression throughout the ages as well as havingbeen subject to much literary development. In addition, it has impactedand interacted with legal and theological dogma that may be seen in elementsranging fromthe establishment of the five daily prayers (on which seethe fascinating essay by Ron Buckley, “The Isra’/Mi`raj and the prescriptionof the five daily prayers,” in Andreas Christmann, Robert Gleave [eds.],Studies in Islamic Law: A Festschrift for Colin Imber [Oxford: Oxford UniversityPress, 2007], 23-49) to the conceptualization of paradise and hell (see the treatment in Nerina Rustomji, The Garden and the Fire: Heaven andHell in Islamic Culture [NewYork: Columbia University Press, 2008], especiallypp. 26-39).Historically, the narrative makes its basic appearance in some of the earliestMuslim texts, for example, in Ibn Ishaq’s eighth-century work entitledLife ofMuhammad. The emergence of the story has been seen (in, for example,Brooke Olson Vuckovic, Heavenly Journeys, Earthly Concerns: TheLegacy of the Mi`raj in the Formation of Islam [New York and London:Routledge, 2005]) as an important element in the historical formation ofIslamic identity; it has also been seen by some as having had a powerfulimpact on European imaginings of the hereafter, as found in medieval writerssuch as Dante ...
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Guenther, Frank, Petra Stroh, Christof Wagner, Ursula Obst, and Gertrud Maria Hänsch. "Phagocytosis of Staphylococci Biofilms by Polymorphonuclear Neutrophils: S. aureus and S. epidermidis Differ with Regard to Their Susceptibility Towards the Host Defense." International Journal of Artificial Organs 32, no. 9 (September 2009): 565–73. http://dx.doi.org/10.1177/039139880903200905.
Повний текст джерелаАнотація:
Bacteria organized in biofilms are a common cause of relapsing or persistent infections. In patients receiving orthopedic implants, such as endoprostheses or osteosynthesis materials, Staphylococcus aureus and S. epidermidis are prevalent and it is widely assumed that bacteria in biofilms are not only relatively resistant towards antibiotics and biocides, but also towards host defense mechanisms. In that context, we addressed the question how polymorphonuclear neutrophils (PMN), the “first line defense” against bacterial infection, interact with biofilms generated in vitro. By time-lapse video microscopy, we observed migration of PMN towards the biofilms. In the case of S. aureus, the PMN moved across the biofilm and took up bacteria as they moved along. On S. epidermidis, in contrast, the PMN were rather immobile, and phagocytosis was limited to bacteria in the immediate vicinity. By labeling the bacteria within the biofilm with 3H-thymidine we found that S. aureus biofilms were more sensitive towards the PMN attack than S. epidermidis. Following phagocytosis of either bacteria strain, the PMN underwent apoptosis, in line with the dogma, that phagocytosis induces programmed cell-death in order to prevent spilling of the bactericidal and cytotoxic entities. In conclusion, biofilms are not inherently protected against the attack by phagocytic cells; their sensitivity, however, varies among bacterial strains, presumably due to properties of the extracellular biofilm matrix affecting the motility of PMN on the film.
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Azizi, Mahshid, Ghasem Ghalamfarsa, Fatemeh Khosravani, Hassan Bardania, and Shahriar Azizi. "Nanoliposomal Coencapsulation of Dorema aucheri Extract and Curcumin; Enhanced Cytotoxicity, Apoptosis Induction, and Inhibition of EGFR Gene Expression in Oral Cancer Cells OCC-02." IET Nanobiotechnology 2023 (October 26, 2023): 1–9. http://dx.doi.org/10.1049/2023/1745877.
Повний текст джерелаАнотація:
Curcumin is one of the natural anticancer drugs but its efficiency is limited by low stability, insufficient bioavailability, poor solubility, and poor permeability. Dorema aucheri (Bilhar) is a herb with precious pharmaceutical properties. This study aimed to develop a nanoliposome-based curcumin and Bilhar extract codelivery system. The nanocompounds were synthesized using the lipid thin-film hydration method and characterized by transmission electron microscopy, and dynamic light scattering techniques, and their cytotoxicity and apoptotic effect on the primary oral cancer cell line were evaluated via 2,5-diphenyl-2H-tetrazolium bromide assay and flow cytometry. Moreover, the expression of the epidermal growth factor receptor (EGFR) gene in the treated cells was assessed using the real-time polymerase chain reaction technique. Based on the results, nanoliposomes had a size of 91 ± 10 nm with a polydispersity index of 0.13. Free curcumin, the extract, and the curcumin-extract combination showed dose-dependent toxicity against cancer cells; yet, the extract (IC50: 86 µg/ml) and curcumin-extract (IC50: 65 µg/ml) activities were much more than curcumin (IC50: 121 µg/ml). Also, the curcumin and extract loaded on liposomes showed a dose and time-dependent cytotoxicity. After loading the curcumin-extract compound on nanoliposomes, their IC50 decreased from 180 µg/ml (within 24 hr) to 43 µg/ml (within 72 hr), indicating their sustainable release and activity. Likewise, this compound induced the highest apoptosis percentage (95%) in cancerous cells and inhibited the expression of the EGFR gene in the cells by 81% ± 3%. These findings demonstrated the effectiveness of the Bilhar extract against oral cancer cells. Also, in combination with curcumin, it showed an additive activity that considerably improved after loading on nanoliposomes.