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Добірка наукової літератури з теми "Lucinda (1940-....)"

Автор: Grafiati
Опубліковано: 31 серпня 2024

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Статті в журналах з теми "Lucinda (1940-....)"

1

LUCINDA, PAULO H. F., CARLOS A. FIGUEIREDO, and KARSTEN E. HARTEL. "Designation of the lectotype of Poecilia amazonica Garman, 1895 (Cyprinodontiformes, Poeciliidae) and discussion of its nomenclatural status." Zootaxa 2751, no. 1 (January 28, 2011): 63. http://dx.doi.org/10.11646/zootaxa.2751.1.4.

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Анотація:
Poecilia amazonica Garman, 1895 was described based on syntypes collected at Santa Cruz, Pará, Brazil by Mr. Caleb Cooke in October 1859. The type-series was originally deposited at the Museum of Comparative Zoology at Harvard University, under the catalog numbers MCZ 27573 (128 ex.), and MCZ 69635 (97 ex.). Five specimens were subsequently transferred to University of Michigan Museum of Zoology (UMMZ 146750), and six specimens were sent to the National Museum of Natural History (USNM 120286). Carl Hubbs examined parts of the type-series and considered the syntypes to be Micropoecilia parae (Eigenmann, 1894), as inferred from label information handwritten by Hubbs in 1944 and placed inside the jars of lots MCZ 27573 and UMMZ 146750 (ex MCZ 27573). However, Hubbs did not publish anything concerning the nomenclatural status of P. amazonica. Consequently, the name Poecilia amazonica has been considered valid by several authors since Garman's description (e.g. Rosen & Bailey, 1963; Meyer, 1993; Rodriguez, 1997; Parenti et al., 1999; Lucinda, 2003; and Lucinda & Reis, 2005).
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2

Garcia dos Santos, Bruno, and Amailton Magno Azevedo. "Memórias de devoção e saberes ancestrais afrodiaspóricos: A Irmandade de São Benedito da Casa Verde, São Paulo (SP)." ODEERE 3, no. 6 (December 30, 2018): 198. http://dx.doi.org/10.22481/odeere.v3i6.4326.

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Анотація:
Mesmo diante do violento processo de desterritorialização vivido pelas inúmeras comunidades africanas no contexto da dominação colonial europeia, práticas e saberes ancestrais foram ressignificados e reelaborados de forma a impregnar o tecido social das culturas negras das Américas. Nesta perspectiva, este artigo insere-se em um conjunto de reflexões que visam exaltar a importância da preservação de memórias afrodiaspóricas no Brasil. Para tanto, particulariza-se um território negro no município de São Paulo, o bairro da Casa Verde na zona norte da cidade. Com base na História oral e na pesquisa de campo, o objetivo central da presente pesquisa é sugerir possíveis traduções acerca da presença e permanência de ancestralidades negro-africanas na urbe paulistana a partir das narrativas compartilhadas e dos trabalhos de memória de Lucinda de Oliveira Marcelino. A colaboradora/narradora é filha de uma das fundadoras da Irmandade de São Benedito da Casa Verde, inaugurada em 1941. O acesso às memórias reconstruídas de Dona Lucinda permitem sinalizar a presença de práticas ancestrais marcadas por cosmovisões herdadas e protagonizadas por mulheres. Tais concepções constroem identidades afirmadas que singularizam as experiências negras na metrópole, expressando valores civilizacionais e extraocidentais comunitários fundamentais à humanidade. Palavras-chave: Casa Verde; Protagonismos femininos; Irmandades negras; Práticas ancestrais; Territórios afrodiaspóricos.
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3

Phuwapraisirisan, Preecha, Serm Surapinit, and Santi Tip-pyang. "A novel furanocoumarin fromFeroniella lucida exerts protective effect against lipid peroxidation." Phytotherapy Research 20, no. 8 (2006): 708–10. http://dx.doi.org/10.1002/ptr.1930.

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4

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, no. 6 (November 13, 2019): 568–76. http://dx.doi.org/10.11646/zootaxa.4695.6.7.

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Анотація:
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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AMATI, BRUNO, MASSIMO APPOLLONI, ANDREA DI GIULIO, DANILO SCUDERI, CARLO SMRIGLIO, and MARCO OLIVERIO. "Revision of the Recent Alvania scabra (Philippi, 1844) complex (Mollusca, Gastropoda, Rissoidae) from the Mediterranean Sea with the description of a new species." Zootaxa 4767, no. 3 (April 28, 2020): 415–58. http://dx.doi.org/10.11646/zootaxa.4767.3.3.

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Анотація:
Herein we revise several Recent Mediterranean species of the rissoid genus Alvania Risso, 1826: Alvania scabra (Philippi, 1844), Alvania sculptilis (Monterosato, 1877), Alvania sororcula Granata-Grillo, 1877, Alvania lucinae Oberling, 1970, Alvania josefoi Oliver & Templado, 2009 and Alvania scuderii Villari, 2017. They represent a rather homogeneous group of morphologically similar species, referred to as the Alvania scabra complex, which includes also some other species from the northeastern Atlantic. We designate a neotype for Rissoa scabra Philippi, 1844 and a lectotype for Rissoa oranica Pallary, 1900 to stabilize the use of the names. Alvania oranica (Pallary, 1900) is confirmed as a synonym of Alvania scabra (Philippi, 1844), and Alvania asperella (Granata-Grillo, 1877) is proposed as a synonym of Alvania sororcula (Granata-Grillo, 1877) [new synonymy]. Finally, we describe one new Mediterranean species: Alvania pizzinii Amati, Smriglio & Oliverio n. sp. from Levanzo Is., Sicily.
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Pinto, Julie, Paola Magni, R. O’Brien, and Ian Dadour. "Domestic Filth Flies in New Haven, Connecticut: A Case Study on the Effects of Urbanization and Climate Change by Comparing Fly Populations after 78 Years." Insects 12, no. 11 (October 27, 2021): 972. http://dx.doi.org/10.3390/insects12110972.

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Анотація:
Changes in common and widespread insect populations such as the domestic filth fly in urban cities are useful and relevant bioindicators for overall changes in the insect biomass. The current study surveyed necrophagous flies by placing a weekly trap from June–September over a two-year period in the city of New Haven, Connecticut, to compare data on fly abundance and diversity with data collected 78 years earlier. Climate and land cover changes were also assessed in combination with the fly population for each period. The survey results suggest the domestic filth fly population is now less diverse with decreased species richness and changes in the relative abundance of species. In both surveys, 95–96% of the population was composed of only three species. The current survey data indicate the numerical dominance of Lucilia sericata has decreased, the abundance of several species, notably Lucilia coeruleiviridis, has increased, and Lucilia illustris is absent. Species that showed a significant interaction with temperature in the 1940s survey have now increased in abundance, with several of the trapped species continuing to show an interaction with temperature and rainfall. Analysis of the land cover and climate data characterizes the trap site as a region exposed to a prolonged period of industrialization and urbanization, with only 7% of the land cover remaining undeveloped and over 50% impervious, coupled with an increase in temperature and rainfall. This study serves as a model for changes in domestic filth fly populations and other insects in similarly highly urbanized established cities.
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Horowitz, Joel. "Reviews of Books:Del estado liberal a la nacion catolica: Iglesia y ejercito en los origenes del peronismo; 1930-1943 Loris Zanatta, Judith Farberman; Peron y el mito de la nacion catolica: Iglesia y ejercito en los origenes del peronismo (1943-1946) Loris Zanatta, Luciana Daelli." American Historical Review 107, no. 3 (June 2002): 917–18. http://dx.doi.org/10.1086/532578.

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Wall, Richard. "The reproductive output of the blowfly Lucilia sericata." Journal of Insect Physiology 39, no. 9 (September 1993): 743–50. http://dx.doi.org/10.1016/0022-1910(93)90049-w.

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9

ZHANG, JING, JINHUI SHEN, QIAN CONG, and NICK V. GRISHIN. "Genomic analysis of the tribe Emesidini (Lepidoptera: Riodinidae)." Zootaxa 4668, no. 4 (September 12, 2019): 475–88. http://dx.doi.org/10.11646/zootaxa.4668.4.2.

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Анотація:
We obtained and phylogenetically analyzed whole genome shotgun sequences of nearly all species from the tribe Emesidini Seraphim, Freitas & Kaminski, 2018 (Riodinidae) and representatives from other Riodinidae tribes. We see that the recently proposed genera Neoapodemia Trujano, 2018 and Plesioarida Trujano & García, 2018 are closely allied with Apodemia C. & R. Felder, [1865] and are better viewed as its subgenera, new status. Overall, Emesis Fabricius, 1807 and Apodemia (even after inclusion of the two subgenera) are so phylogenetically close that several species have been previously swapped between these two genera. New combinations are: Apodemia (Neoapodemia) zela (Butler, 1870), Apodemia (Neoapodemia) ares (Edwards, 1882), and Apodemia (Neoapodemia) arnacis (Stichel, 1928) (not Emesis); and Emesis phyciodoides (Barnes & Benjamin, 1924) (not Apodemia), assigned to each genus by their monophyly in genomic trees with the type species (TS) of the genus. Surprisingly, we find that Emesis emesia Hewitson, 1867 is not grouped with Emesis, but in addition to Apodemia forms a third lineage of similar rank, here named Curvie Grishin, gen. n. (TS: Symmachia emesia Hewitson, 1867). Furthermore, we partition Emesis into 6 subgenera (4 new): Emesis (TS: Hesperia ovidius Fabricius, 1793, a subjective junior synonym of Papilio cereus Linnaeus, 1767), Aphacitis Hübner, [1819] (TS: Papilio dyndima Cramer, [1780], a subjective junior synonym of Papilio lucinda Cramer, [1775]), Poeasia Grishin, subgen. n. (TS: Emesis poeas Godman, [1901]), Mandania Grishin, subgen. n. (TS: Papilio mandana Cramer, [1780]), Brimia Grishin, subgen. n. (TS: Emesis brimo Godman & Salvin, 1889), and Tenedia Grishin, subgen. n. (TS: Emesis tenedia C. & R. Felder, 1861). Next, genomic comparison of primary type specimens suggests new status for Emesis vimena Schaus, 1928 as a subspecies of Emesis brimo Godman & Salvin, 1889, Emesis adelpha Le Cerf, 1958 with E. a. vicaria Le Cerf, 1958 are subspecies of Emesis heteroclita Stichel, 1929, and Emesis tristis Stichel, 1929 is not a synonym of E. brimo vimena but of Emesis lupina Godman & Salvin, 1886. A new status of a species is given to the following taxa: Emesis furor A. Butler & H. Druce, 1872 (not a subspecies of E. mandana (Cramer, 1780)), Emesis melancholica Stichel, 1916 (not a subspecies of E. lupina Godman & Salvin, 1886), Emesis progne (Godman, 1903) (not a subspecies of E. brimo Godman & Salvin, 1889), and Emesis opaca Stichel, 1910 (not a synonym of E. lucinda (Cramer, 1775)). Emesis castigata diringeri Gallard 2008 is a subjective junior synonym of E. opaca, new status. Finally, Xanthosa Grishin, gen. n. (TS: Charmona xanthosa Stichel, 1910) is proposed for a sister lineage of Sertania Callaghan & Kaminski, 2017 and Befrostia Grishin, gen. n. (TS: Emesis elegia Stichel, 1929) is proposed for a clade without apparent phylogenetic affinities that we place in Befrostiini Grishin, trib. n. In conclusion, genomic data reveal a number of errors in the current classification of Emesidini and allow us to confidently reclassify the tribe partitioning it in three genera: Apodemia, Curvie gen. n. and Emesis.
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PROMMI, TAENG-ON, PRONTHIP PEUMWARUNYOO, and PHARAWEE MANSUKPHOL. "Distribution of Hydropsychidae (Insecta, Trichoptera) and water quality parameters in Mae Tao Creek, Mae Sot District, Tak Province, northern Thailand." Zoosymposia 10, no. 1 (August 9, 2016): 413–23. http://dx.doi.org/10.11646/zoosymposia.10.1.38.

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Анотація:
The distribution of adult Hydropsychidae and physicochemical variables at Mae Tao Creek, Mae Sot District, Tak Province, northern Thailand, were sampled bi-monthly from February to December 2011. Five sampling sites were selected along the creek. Water temperature, dissolved oxygen, turbidity, sulfate, nitrate-nitrogen, and orthophosphate did not vary significantly during the research period, and pH, electrical conductivity, turbidity, and sulfate did not vary significantly among the sampling sites. A total of 1,065 male individuals were caught belonging to 5 genera and 20 species. Cheumatopsyche carmentis Malicky & Chantaramongkol 1997, Cheumatopsyche dhanikari Malicky 1979, Cheumatopsyche globosa Ulmer 1910, Cheumatopsyche lucida Ulmer 1907 and Potamyia flavata Banks 1934 were identified as the most common species of the research area. Pearson’s correlations were used to determine the relationships between water quality variables and the adult caddisfly faunas. Air temperature, turbidity, nitrate-nitrogen, and ammonia-nitrogen were strongly correlated only with the presence of adult caddisflies.
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Більше джерел

Дисертації з теми "Lucinda (1940-....)"

1

Forster, Lou. "Page à la main. ː : Lucinda Childs et les pratiques de danse lettrée". Electronic Thesis or Diss., Paris, EHESS, 2024. http://www.theses.fr/2024EHES0015.

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Анотація:
Lucinda Childs est une figure majeure de la danse au XXe siècle. Au début des années 1960, elle participe à la fondation du Judson Dance Theater, un collectif de danseurs, danseuses, chorégraphes, artistes et compositeurs qui renouvellent à New York les formes et les pratiques de la danse. Avec sa compagnie crée en 1973, elle devient l’une des cheffes de file de la danse minimale et de la danse postmoderne américaines, tout en collaborant à partir des années 1980 avec les plus importantes compagnies de ballet en Europe et aux États-Unis. Dans le processus de création, répétition et représentation que Childs met en œuvre seule, avec sa compagnie, ou des compagnies de répertoire, l’écriture et la lecture jouent un rôle déterminant pour concevoir et incorporer ses danses. Grâce à une enquête anthropologique au cœur des studios de danse, Lou Forster montre que le geste technique consistant à danser page à la main se construit à l’intersection de deux histoires parallèles. Au cours des années 1950, John Cage et Merce Cunningham inventent un ensemble de pratiques de lecture et d’écriture afin de s’opposer, détourner et reconfigurer des approches académiques dans lesquelles l’écrit constitue un support pour assoir des partages disciplinaires et des hiérarchies. Cette approche néo-avant-gardiste joue un rôle primordial au Judson ; et parmi les membres de ce groupe, Childs est l’une des chorégraphes qui se montrent la plus attentive à ces pratiques lettrées car elles rejoignent un aspect méconnu de sa formation de danseuse. En effet, elle étudie la danse moderne de 1955 à 1962 au sein de l’important réseau de la diaspora allemande de New York. Elle suit en particulier la formation dispensée dans l’école de la chorégraphe Hanya Holm (1893-1992) où est enseignée une forme américanisée de danse d’expression (Ausdruckstanz). Childs y découvre la cinétographie Laban ou Labanotation, le système d’analyse et d’écriture du mouvement développé par le chorégraphe austro-hongrois Rudolf Laban (1879-1958), dans lequel les danseurs et danseuses répètent page à la main. C’est vers cet événement de lecture atypique pour le monde de la danse que Childs se tourne quinze ans plus tard pour travailler avec sa compagnie. L’histoire de l’art et l’histoire de la danse ont dissocié ces deux versants des modernités chorégraphiques lorsqu’à partir de 1933 une partie de la danse d’expression se compromet avec le régime nazi. Aux États-Unis se construit alors le mythe d’une originalité de la danse moderne américaine, qui s’accentue encore dans le cadre de la guerre froide. La position privilégiée que Childs occupe dans cette histoire connectée la conduit à faire des pratiques graphiques une matrice du postmodernisme. À partir de 1973, elle aborde l’ensemble des techniques canoniques de la danse occidentale, passant au fil des années de la danse d’expression aux activités piétonnières, au ballet néoclassique puis baroque. Se positionnant comme une appropriationiste, elle développe une perspective historique et critique sur ces techniques d’emprunt. Dans ses pièces, elle tend ainsi à rassembler des genres et des histoires de la danse qui ont été séparées et disjointes, élaborant une véritable poétique de la relation
Lucinda Childs is a major figure in twentieth-century dance. In the early 1960s, she was one of the founding members of the Judson Dance Theater, a group of dancers, choreographers, artists and composers in New York City who reinvigorated dance forms and practices. With the establishment of her company in 1973, she emerged as one of the leading figures of American minimal dance and postmodern dance, while collaborating from the 1980s onward with major ballet companies in Europe and the United States. Whether with her own company, with repertory dance companies, or at Judson, literacy plays a crucial role in the conceiving, embodying, and performing of her dances. Through an anthropological investigation within dance studios, Lou Forster demonstrates that the technical gesture of dancing, page in hand, is constructed at the intersection of two parallel histories. In the 1950s, John Cage and Merce Cunningham devised a range of reading and writing practices in order to oppose, divert and reconfigure academic methods in which literacy serves as a foundation to establish disciplinary divisions and hierarchies. This neo-avant-garde approach played a crucial role at Judson. Among the members of this group, Childs was one of the choreographers who paid the most attention to these literacy practices, as they tied in with a lesser-known aspect of her dance training. From 1955 to 1962, she studied modern dance within the extensive network of the German diaspora in New York. Specifically, she attended the school run by the choreographer Hanya Holm (1893-1992), where an Americanised form of dance of expression (Ausdruckstanz) was taught. There Childs discovered Kinetography Laban or Labanotation, the system of analysing and writing movement developed by the Austro-Hungarian choreographer Rudolf Laban (1879-1958), in which dancers rehearse with page in hand. Fifteen years later she turned toward this literacy event, unusual for the dance world, to work with her company. Art history and dance history dissociated these two aspects of choreographic modernity when, from 1933, part of the dance of expression became involved with the Nazi regime. In the United States, the myth of the originality of American Modern dance began to take shape, further emphasized during the Cold War. Childs' unique position in this connected history meant that graphic practices became a matrix for postmodernism. Since 1973, she embraced all canonical techniques of Western dance, moving over the years from dance of expression to pedestrian activities, to Neoclassical and then to the Baroque. Positioning herself as an appropriationist, she developed a historical and critical perspective on these borrowed techniques. In her pieces, she seeks to bring together practices, genres and histories of dance that have been separated and disjointed, crafting a genuine poetics of relation
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2

Ferreira, Stefânia Jeronimo. "Análise citomorfológica e citomorfométrica do epitélio da mucosa bucal de pacientes com líquen plano / Stefânia Jeronimo Ferreira ; orientadora, Luciana Reis Azevedo-Alanis ; coorientadora, Maria Ângela Naval Machado." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2011. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1960.

Повний текст джерела
Анотація:
Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2011
Inclui bibliografias
Objetivo. Avaliar a morfologia e o tamanho das células do epitélio da mucosa bucal de pacientes com líquen plano bucal (LPB). Materiais e métodos. Os esfregaços foram coletados da mucosa bucal de 20 pacientes com LPB (grupo caso) e 20 pacientes sem LPB (g
Objective. To evaluate the morphology and the size of oral epithelial cells in patients with oral lichen planus (OLP). Study design. Oral smears were collected from mucosa by liquid-based exfoliative cytology of 20 subjects with OLP (case group) and 20 wi
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3

Silva, Cíntia Aparecida da, Marilda Rosa G. C. Gonçalves da Silva, and Universidade Regional de Blumenau Programa de Pós-Graduação em Desenvolvimento Regional. "A construção de uma identidade de Santa :Amabile Lucia Visintainer /." reponame:Biblioteca Digital de Teses e Dissertações FURB, 2010. http://www.bc.furb.br/docs/DS/2010/346438_1_1.pdf.

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Анотація:
Orientador: Marilda R. G. Checcucci Gonçalves da Silva.
Dissertação (mestrado) - Universidade Regional de Blumenau, Centro de Ciências Humanas e da Comunicação, Programa de Pós-Graduação em Desenvolvimento Regional.
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4

Fialho, Neusa Nogueira. "A formação do professor de química e a atualização das TIC'S : novos caminhos para uma prática inovadora / Neusa Nogueira Fialho ; orientadora, Elizete Lucia Moreira Matos." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2010. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=1970.

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Анотація:
Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2010
Bibliografia: f. 200-208
A formação do professor de Química e a utilização de recursos disponibilizados pelas tecnologias da informação e da comunicação marcam o rumo das investigações para o desenvolvimento dessa dissertação, que tem por objetivo analisar de que maneira os profe
The Chemistry professor training and the usage of available resources through Information and Communication establish the routes for investigation and research to the development of this dissertation. Its goal is to analyze in which way the professors who
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Lima, Luciana Vieira. "A cultura como unidade de estilo nas considerações extemporâneas / Luciana Vieira de Lima ; orientador, Antonio Edmilson Paschoal." reponame:Biblioteca Digital de Teses e Dissertações da PUC_PR, 2013. http://www.biblioteca.pucpr.br/tede/tde_busca/arquivo.php?codArquivo=2398.

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Анотація:
Dissertação (mestrado) - Pontifícia Universidade Católica do Paraná, Curitiba, 2013
Esta dissertação busca apresentar a critica nietzscheana à cultura alemã de sua época partindo da premissa que cultura (Ku!tur) para o filósofo é a unidade de estilo em todas as manifestações de vida de um povo. No coniunto de textos intitulados de Consid
This dissertation aims to present the nietzschean critique of German?s culture of his time, with the premise that culture (Kultur), for the philosopher, is the unity of style in every manifestation of lhe of a people. On the set of texts titled Untimely M
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6

Santos, Juliana. "Ficcção e crítica de Lucia Miguel Pereira : a literatura como formação." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/54098.

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Анотація:
Ce travail se penche sur la production fictionnelle de Lucia Miguel Pereira, critique littéraire brésilienne renommée et auteur d’ouvrages célèbres tels que: Prosa de ficção [Prose de fiction] ainsi que les biographies de Machado de Assis et de Gonçalves Dias. Ce nonobstant, sa création n’a pas obtenu le même intérêt critique que sa production historiographique, essayistique et biographique. L’étude procède à une analyse de l’oeuvre fictionnelle de l’auteur en mettant l’accent sur les romans Maria Luísa (1933), Em surdina [En sourdine] (1933), Amanhecer [Aube] (1938) et Cabra-cega [Cache-cache] (1954). L’objectif est de dévoiler leurs caractéristiques et de situer l’auteur dans l’ensemble de la production fictionnelle brésilienne de l’époque (en particulier des années 1930). Le travail évoque sa trajectoire intellectuelle et distingue ses principales prises de position critiques, de nature esthétique et politique, depuis la lecture de sa production intellectuelle; partant de là, les oeuvres fictionnelles sont analysées sur la base des conceptions de la romancière et des fondements théoriques du récit, dont le roman d’introspection et le roman de formation (Bildungsroman). La recherche promeut une vision d’ensemble de sa production, aussi bien critique que fictionnelle, en reprenant certaines de ses prises de positions. D’autre part, elle vise à caractériser sa production narrative en termes de proximité avec les présupposés du roman psychologique et du roman de formation, afin de jeter un nouveau regard sur la fiction produite par la romancière.
O trabalho tem como enfoque a produção ficcional de Lucia Miguel Pereira, figura de destaque entre os críticos literários brasileiros, principalmente pela autoria de textos célebres como a obra Prosa de ficção e as biografias de Machado de Assis e de Gonçalves Dias, mas que não obteve para sua criação o mesmo empenho crítico de sua produção historiográfica, ensaística e biográfica. O estudo analisa a obra ficcional de Lucia, principalmente os romances, Maria Luísa (1933), Em surdina (1933), Amanhecer (1938) e Cabra-cega (1954), procurando destacar suas características e situar a autora no conjunto da produção ficcional brasileira do período (principalmente da década de 30). O trabalho faz uma recuperação da trajetória intelectual de Lucia e destaca os seus principais posicionamentos críticos, de natureza estética e política, a partir da leitura de sua produção intelectual; com esse levantamento, são analisadas as obras ficcionais, tomando por base as concepções da autora e os fundamentos teóricos da narrativa, especialmente do romance de introspecção e do Bildungsroman. A pesquisa promove uma visão sobre o conjunto de sua produção, tanto crítica quanto ficcional, recuperando alguns de seus posicionamentos e caracterizando, especialmente, a produção narrativa da autora, no que tange à sua proximidade com os pressupostos do romance psicológico e do romance de formação, lançando um novo olhar para a ficção produzida por Lucia Miguel Pereira.
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Pontes, Heloisa André 1959. "Historia social e relações de gênero no teatro e no campo intelectual, 1940-1968." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281330.

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Tese (livre-docencia) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Tese (livre-docencia) - Univer
Livre-Docente em Antropologia Social
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Pasqualini, Arianna. "Transcultural memories of German-Namibian history (1978-1990): : Micro-perspectives from the global autobiographies of Lucia Engombe and Stefanie Lahya Aukongo." Thesis, Högskolan Dalarna, Afrikanska studier, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:du-28965.

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The present thesis deals with the Namibian liberation struggle against the South African regime, by focusing on the relationship of solidarity between SWAPO and East Germany. It provides an original perspective of the German-Namibian history between 1978-1990, by using the life stories of Lucia Engombe and Stefanie Lahya Aukongo. They are Namibian women who, according to the pact of solidarity, lived on the brink between Namibia and East Germany, becoming in this way witnesses of the historical upheavals that have changed the global order. Then, this thesis makes use of Child No. 95. My German-African Odyssey – the autobiography of Lucia Engombe – and Kalungas Kind: meine unglaubliche Reise uns Leben – the autobiography of Stefanie Layha Aukongo – as sources to investigate the complexities of that period. The global lives of Lucia Engombe and Stefanie Lahya Aukongo allow the combination of macro and micro history and bring out new facets, which otherwise would remain in the shadow. Through the deconstruction of their life narratives, in fact, the big narrative of the global history become fraught with new meanings, bringing out the power of microhistories. This thesis shows how individual autobiographies can be meaningful to history, and how global history can be reconciled with micro-history through the story of global lives, which provide new and unprecedented points of view.
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Claudel, Paul-André. "Dans l’angle mort de l’histoire : Agostino J. Sinadino (Le Caire, 1876 - Milan, 1956) ou le Grand Livre égaré entre les langues." Paris 4, 2006. http://www.theses.fr/2006PA040136.

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Partagée entre les pays et les langues, l’œuvre d’Agostino J. Sinadino, composée de huit livres publiés entre 1898 et 1934 à des tirages très limités, a totalement sombré dans l’oubli. Pourtant, le parcours de ce poète ne saurait être réduit à celui d’un mineur. Par sa conception très exigeante de l’activité poétique, héritée de Mallarmé, ce poète bilingue, écrivant à la fois en italien et en français, parcourt les souterrains de la modernité : entre Alexandrie, Milan et Paris, son chemin croise les figures les plus influentes de sa génération, de Lucini à Marinetti, de Gide à Valéry. Autour de ce singulier éclaireur, resté à l’écart de la mémoire collective, s’est construite une analyse en trois temps : à une première reconstitution documentaire succède une interprétation interne, qui amène à un élargissement critique, portant sur les catégories de la valorisation et les possibilités d’une réintégration. En montrant comment ce vétéran du symbolisme traverse son époque pour devenir un précurseur de l’hermétisme et de la poésie pure, il s’agit de pointer, à travers un phénomène marginal, le rôle essentiel de l’anachronisme et du contretemps dans les dynamiques de l’histoire littéraire
Divided between countries as well as languages, Agostino J. Sinadino’s work comprises 8 books, published in very limited editions between 1898 and 1934. Despite their significance, these works fell into complete oblivion. Agostino J. Sinadino, a very versatile poet who wrote in French as well as Italian, had a highly demanding conception of poetry-making, inherited from Mallarmé. From Alexandria to Paris and Milan he explored Modernity’s subterraneans and met some of the most influential figures of his generation, including Lucini, Marinetti, Gide and Valéry. Our analysis focuses on three aspects, with a first part on documents, leading to a critical interpretation concerned with the possibility of reintegrating Agostino J. Sinadino’s work in literary history. The purpose of this work is to try and better understand the inner workings of literary history’s dialectics, with an emphasis on the notions of anachronism and historicity, by showing how Agostino J. Sinadino, one of Mallarmé’s first followers, became a forerunner of hermetism and pure poetry
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Santos, Maria Trindade Martins dos. "A memória no espaço da escritura de quarto de hora: contos de Maria Lúcia Medeiros." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/14792.

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Universidade Federal do Pará
The purpose of this dissertation is to study the poetic creation process in the book of short stories Quarto de Hora by Maria Lúcia Medeiros, published in 1994 in Belém do Pará, Brazil. It is a fictional process that, in view of the multiple stylistic marks, has similarities with the oral speech while legends or children s stories, beyond its own literary limits, in the realm of the visual arts. Two hypotheses were operated in this investigation: one relative to the ambivalent nature of the discourse in first person; the other relative to the presence of the memorialist narrative in the poetic essay. Both of them are supported on theories of the Russian Formalists, Paul Zumthor, Henri Bergson, Maurice Halbwachs, Gaston Bachelard, chiefly. The study of short stories was based on the analysis and construction of cinematographic procedures that blow up images processed as recollections of the oral illusional report. The time-space interrelation is operated in the narrative sequence by the imagination and memory, in the three chapters, as a complementary relation that results in the grasping of a fragmented and plural narrative, as a spiral figure, that has no beginning, no middle, and no end incomplete. The memory space provides the principle of creation of the legend s image in Quarto de Hora, which finds its representation in the origin of the human language, in the voice, and in gesticulations of the poetic expression at the threshold of prose
O propósito desta dissertação é estudar o processo de criação poética no livro de contos Quarto de Hora de Maria Lúcia Medeiros, publicado em 1994, em Belém do Pará, Brasil. É um processo ficcional que, em vista das múltiplas marcas estilísticas, apresenta similaridades com o discurso da oralidade, enquanto lendas ou histórias infantis, além das próprias fronteiras literárias, no domínio das artes visuais. Duas hipóteses foram trabalhadas nesta investigação: uma referente à natureza ambivalente do discurso em primeira pessoa; outra referente à presença da narrativa memorialista no ensaio poético. Ambas são fundamentadas nas teorias dos Formalistas Russos, Paul Zumthor, Henri Bergson, Maurice Halbwachs, Gaston Bachelard, principalmente. O estudo dos contos foi baseado na análise e construção de procedimentos cinematográficos, que sugerem imagens processadas como recolhas do relato da ilusão oral. A inter-relação tempo-espaço é trabalhada na seqüência narrativa pela imaginação e memória, nos três capítulos, enquanto uma relação complementar que resulta na apreensão de uma narrativa fragmentada e plural, como uma figura espiral, que não tem início, meio e fim inconclusa. O espaço da memória fundamenta o princípio da criação da imagem da lenda em Quarto de Hora, que encontra sua representação na origem da linguagem humana, na voz, e nas gestualidades da expressão poética, nos limites da prosa
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Книги з теми "Lucinda (1940-....)"

1

House, Katherine L. George Monroe Abell (1841-1900) and Lucinda Ludwell Able (1853-1934): A story of two Nelson County, Kentucky, families. 2nd ed. Louisville, KY (12009 Vanherr Dr., Louisville 40299): K.L. House, 2005.

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2

Velásquez, Lucila. Lucila Velásquez: 50 años de creatividad de la palabra : poesía, 1949-1999. Caracas: Fundarte, 1998.

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3

Joyce, Auguste, Gash Katy J, and Royal Saint Lucia Police Band., eds. The Royal Saint Lucia Police Band 60th Anniversary: 1947-2007. Saint Lucia: Right Angle Imaging, 2007.

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4

Day, Reed B. Two families: A history of the lives and times of the families of Isaac Newton Day and Lucilla Caroline Blachly, 1640-1940. McMurray, Pa (238 Tepee Rd., McMurray 15317): R.B. Day, 2000.

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5

Holt, Tom. Lucia in wartime. London: Macmillan, 1985.

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6

Jones, Harvey. Mathews: Masterpieces of the California decorative style. Layton, UT: G.M. Smith, Inc., Peregrine Smith Books in association with the Oakland Museum, 1985.

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7

Holt, Tom. Lucia in wartime: Based on the characters created by E.F. Benson. London: Black Swan, 1986.

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8

Holt, Tom. Lucia in wartime. New York: Perennial Library, 1986.

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9

Holt, Tom. Lucia in wartime. London: Macmillan, 1985.

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10

Holt, Tom. Lucia in wartime. Seattle, WA: Coffeetown Press, 2013.

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Частини книг з теми "Lucinda (1940-....)"

1

Åker, Patrik. "Roland Barthes (1980) Camera Lucida." In Classics in Media Theory, 268–83. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003432272-20.

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2

van Tiggelen, Brigitte. "Lucia de Brouckère (1904-1982)." In European Women in Chemistry, 157–60. Weinheim, Germany: Wiley-VCH Verlag GmbH & Co. KGaA, 2011. http://dx.doi.org/10.1002/9783527636457.ch38.

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3

Camargo Molano, Jessica, and Alfonso Amendola. "Women Behind the Camera: How Lucia Schulz and Hortense Ribbentrop-Leudesdorff Changed the History of Photography and Cinematography." In Cinematic Representations of Women in Modern Celebrity Culture, 1900–1950, 40–59. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003174134-4.

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4

Szwast, Miriam. "Lucia Moholy (1894–1989) Hundert Jahre Fotografie." In Kunsthistorikerinnen 1910–1980, 188–203. Dietrich Reimer Verlag, 2021. http://dx.doi.org/10.5771/9783496030508-188.

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5

de Oliveira, Maria A. "Virginia Woolf’s Reception and Impact on Brazilian Women’s Literature." In The Edinburgh Companion to Virginia Woolf and Contemporary Global Literature, 246–66. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474448475.003.0014.

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This chapter discusses Woolf’s reception in Brazil as revealed through the work of Brazilian women writers. As a theoretical framework, the chapter relies on a transnational approach including Jessica Berman’s Modernist Commitments: Ethics, Politics and Transnational Modernism; Chandra Talpade Mohanty’s ‘Under Western eyes: Feminist scholarship and colonial discourse’, Gayatri C. Spivak’s article ‘Can the subaltern speak?’ and Pelogia Goulimari’s Women Writing Across Cultures. The chapter traces the waves of feminism in Brazil over the decades, examines Woolf’s surge of popularity in Brazil following the publication of Brenda Silver’s Virginia Woolf Icon (1999), and analyses Woolf’s impact on multiple Brazilian women writers: Tetrá de Teffé (1897–1995), Lucia Miguel Pereira (1901–59), Clarice Lispector (1920–77), Carolina Maria de Jesus (1914–77), Ana Cristina Cesar (1952–83), Lygia Fagundes Telles (1923–), Hilda Hilst (1930–2004), Sônia Coutinho (1939–), Adriana Lunardi (1964–), Luiza Lobo (1948–) and Hilda Gouveia de Oliveira (1946–). By the twenty-first century, Woolf’s work has become truly global. Woolf died more than sixty years ago, but her texts are still alive, and she is still moving and inspiring other women writers, to the point that we can talk about a multiplicity of Woolfs.
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Kennedy, Sue. "‘The Lure of Pleasure’." In British Women's Writing, 1930 to 1960, 73–90. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789621822.003.0005.

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Sue Kennedy considers how Marghanita Laski’s provocative novel To Bed with Grand Music addresses the fantasy of fulfillable desires through the story of a young, married woman taking advantage of everything available in the ‘lucid abnormality’ of London during World War Two. This interfeminist counter-narrative of the protagonist’s libidinal life and her failure to perform as a good mother and faithful wife deviates from the propaganda of the People’s War rendering Laski’s undermining of this ideal at a raw moment in the nation’s psyche contentious. The essay considers the representation of the actions of a young woman and questions whether she is deserving of admiration or censure for her refusal to conform to expectations of feminine conduct. It suggests that her progress is in many ways more eighteenth than mid-twentieth century in tone presenting a woman who begins by embracing her own pleasure but later engages in ‘infamous commerce’.
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Joseph, Tennyson S. D. "The Politics of St. Lucian Decolonization, 1970–1982." In Decolonization in St. Lucia, 51–81. University Press of Mississippi, 2011. http://dx.doi.org/10.14325/mississippi/9781617031175.003.0004.

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Joseph, Tennyson S. D. "St. Lucia under Global Neoliberal Hegemony, 1982–1990." In Decolonization in St. Lucia, 82–111. University Press of Mississippi, 2011. http://dx.doi.org/10.14325/mississippi/9781617031175.003.0005.

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Joseph, Tennyson S. D. "Deepening Globalization and the Unmaking of the Postcolonial Order, 1990–1997." In Decolonization in St. Lucia, 112–36. University Press of Mississippi, 2011. http://dx.doi.org/10.14325/mississippi/9781617031175.003.0006.

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"Lucia Mae Pitts (1904 –1973)." In Shadowed Dreams, 233–35. Rutgers University Press, 2020. http://dx.doi.org/10.36019/9780813586205-034.

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Тези доповідей конференцій з теми "Lucinda (1940-....)"

1

Maino Ansaldo, Sandro. "Le Corbusier, el punto de partida de Juan Borchers." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.631.

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Resumen: La figura de Le Corbusier ejerció una influencia sin contrapeso en la arquitectura moderna chilena, caracterizada salvo excepciones, por una adopción superficial y figurativa de sus ideas y formas. Entre estas excepciones está el singular caso del arquitecto Juan Borchers Fernández (1910-75) quien mediante sus agudas observaciones y lúcida crítica expone su adhesión mientras al mismo tiempo desmonta las contradicciones, los errores de interpretación y las falencias de las tesis lecorbuserianas. Para el análisis se utilizaron dos libros fundamentales (Vers une Architecture, 1923; Le Modulor, 1950) y dos artículos (L’angle droit, 1923; L’espace indicible, 1946) de Le Corbusier y las referencias a ellos en los libros, artículos, manuscritos, correspondencia y libretas de viajes de Borchers. Abstract: Corbusier’s influence in Chilean modern architecture is unique and it is characterized, with few exceptions, by superficial and figurative adoptions of his ideas and forms. Among these exceptions is the singular case of the architect Juan Borchers Fernández (1910-1975), whose acute observations and lucid review expose his adherence while at the same time they reveal the contradictions, misinterpretations and shortcomings about corbuserian’s thesis. This analysis is based on two fundamental original books (Vers une Architecture, 1923; Le Modulor, 1950) and two articles (L’angle droit, 1923; L’espace indicible, 1946) by Le Corbusier and references to them in Borchers’ books, articles, manuscripts, correspondence and travel journals. Palabras clave: Chile, teoría de la arquitectura, plástica, escala. Keywords: Chile, Architectural theory, plastic, scale. DOI: http://dx.doi.org/10.4995/LC2015.2015.631
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2

Novais, Aurea Maria Lago, Beatriz Santos Rogério, and Renan Carvalho Castello Branco. "Stroke profile in patients with high risk of obstructive sleep apnea: a transversal study." In XIV Congresso Paulista de Neurologia. Zeppelini Editorial e Comunicação, 2023. http://dx.doi.org/10.5327/1516-3180.141s1.558.

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Introduction: Obstructive sleep apnea (OSA) is a disease of upper airways, diagnosed with polisomnography, that is well associated with stroke throught diverse mechanisms. Despite that, it still lacks studies about stroke profile in patients with high risk of OSA. Objectives: This study aims to describe the diferences between stroke in patients with high and low risk of OSA. Methods: We performed a transversal study, part of a cohort of stroke patients. Patients were evaluated of risk of OSA with STOP-Bang and SOS scores; also, data of wake-up stroke, stroke type and etiology, transient ischemic attack (TIA), thrombolysis, circulation evolved, ASPECTS (Alberta stroke program early computed tomography score), PC-ASPECTS (posterior circulation - acute stroke prognosis early computed tomography score), hemorragic transformation and its type (ECASS), ABCD2, National Institute of Health Stroke Scale (NIHSS) and death during internment were colectted. Results: We obtained 190 patients. 62.1% were classified as high risk with STOP-Bang and (mean NIHSS 6.59 ± 5.13) and 8.5% died: 5.9% had a TIA (mean ABDC2 5.14 ± 1.21), 22% a wake-up stroke and 81.4% had a ischemic stroke (24 patients were cardioembolic, 34 atherotrombotic and 26 indeterminate), of which 12.7% were thrombolysed and 15.3% had hemorragic transformation. In ´patients with low risk, 2.8% died and we had mean NIHSS 7.64 ± 5.55, 18.3% had wake up stroke and 8.5% a TIA (mean ABCD2 4.17 ± 1.60), 74.6% were ischemic strokes (24% cardioembolic, 23 indeterminated); 12.7% patients were thrombolysed and 21% evolved with hemorragic transformation. Conclusion: We verified a lower NIHSS mean and a higher rate of wake-up stroke, hemorragic transformation and TIA in patients with low risk of OSA. Althought this would suggest better outcomes in population with high risk, they had 5% more deaths: so, despite the aparent better initial state (that we can hypothesize about a type of “lucid interval” in this group), they still evolve worst.
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