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Zeitschriftenartikel zum Thema „Arts noirs“

Autor: Grafiati

Veröffentlicht am 28. Juli 2024

Zuletzt aktualisiert am 31. Juli 2025

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1

Lowe, Kate. "Black Africans' Religious and Cultural Assimilation to, or Appropriation of, Catholicism in Italy, 1470-1520." Renaissance and Reformation 31, no. 2 (2008): 67–86. http://dx.doi.org/10.33137/rr.v31i2.9184.

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Dans cet article, j’examine trois exemples d’africains sub-sahariens présents dans l’Italie de la Renaissance et qui ont assimilé avec succès les fondamentaux du catholicisme. On considère qu’il était impossible pour les noirs africains en Europe de se réinventer une nouvelle identité sans être préparés à apprendre comment mener une vie de catholique pieux. Toutefois, ce niveau d’assimilation était contesté régulièrement par les Européens ‘blancs’. On en examine trois exemples: le premier concerne les préjugés courants qui empêchaient qu’un couple d’esclaves noirs donne leur enfant le nom d’un

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2

Casares, Aurelia Martín, and Marga G. Barranco. "Popular Literary Depictions of Black African Weddings in Early Modern Spain." Renaissance and Reformation 31, no. 2 (2008): 107–21. http://dx.doi.org/10.33137/rr.v31i2.9187.

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Les caractéristiques des noirs d’Afrique sont abondamment décrites dans la littérature espagnole de la Renaissance. Ces descriptions littéraires révèlent beaucoup au sujet de l’image que l’on en avait dans les représentations collectives. La création de protagonistes et de personnages secondaires africains offre une cristallisation des observations des réalités sociales et de l’élaboration artistique de préjugés et de stéréotypes sociaux. Cet article analyse deux textes présentant des mariages de noirs d’Afrique: le premier texte est une courte pièce du XVIIe siècle de Francisco de Avellaneda,

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3

Hondius, Dienke. "Black Africans in Seventeenth-Century Amsterdam." Renaissance and Reformation 31, no. 2 (2008): 87–105. http://dx.doi.org/10.33137/rr.v31i2.9185.

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Les hommes et les femmes d’Afrique noire sont arrivés dans les villes d’Europe du Nord en tant que serviteurs, esclaves, amants et employés des marchands portugais et espagnol, ou en tant que diplomates. Le statut de ces noirs d’Afrique était une nouveauté et fluctuait, et on constate une surprenante variété de leurs expériences au Pays-Bas. En 1596, un premier groupe de plus de 100 africains — hommes, femmes et enfants — est arrivé de manière imprévue dans le port de Middlebourg. Étonnamment, les autorités locales ont proclamé leur libération, mais le capitaine qui considérait ces gens comme

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4

Belo, André. "Language as a Second Skin: The Representation of Black Africans in Portuguese Theatre (Fifteenth to Early-Seventeenth Century)." Renaissance and Reformation 36, no. 1 (2013): 3–29. http://dx.doi.org/10.33137/rr.v36i1.20018.

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Cet article analyse le langage et le personnage de l’Africain Noir dans le théâtre portugais du XVIe siècle, en particulier dans les pièces ou autos de Gil Vicente et d’António Ribeiro Chiado, ainsi que celles d’autres auteurs moins connus et quelques intermèdes espagnols. On accompagne l’évolution du stéreotype du Noir considéré incapable de parler correctement les langues ibériques, depuis sa première apparition littéraire, dans le Cancioneiro Geral de Garcia de Resende. La première partie de cet article, plus méthodologique, met en cause la possibilité d’utiliser le langage attribué aux Noi

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5

Miller, Laurence. "How Many Films Noirs are there?: How Statistics can Help Answer this Question." Empirical Studies of the Arts 7, no. 1 (1989): 51–55. http://dx.doi.org/10.2190/1a3q-a3dq-23xg-6vg4.

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Film noir refers to a body of films made in America from 1940–1959 and which is defined by a characteristic and particular content and style. Although there is agreement as to what constitutes this content and style, there is considerable disagreement as to which films constitute film noir. Appropriate statistical analyses are performed given the constraints imposed by the current method of film scholars of independently deriving their particular lists of films noirs. Much more powerful statistical analyses are discussed. These would facilitate consensus regarding which films are film noir, bu

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6

Lafont, Anne. "La représentation des Noirs : quel chantier pour l’histoire de l’art ?" Perspective, no. 1 (June 30, 2013): 67–73. http://dx.doi.org/10.4000/perspective.1854.

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7

Papadopoulos, Leonidas, Anna Poupou, and Eva Stefani. "The reception of American and French film noir in post-war Greece, 1945‐58." Journal of Greek Media & Culture 8, no. 1 (2022): 59–82. http://dx.doi.org/10.1386/jgmc_00047_1.

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The aim of this article is to examine the distribution, promotion and critical reception of American and French film noir in Greece from 1944 to 1958 and to shed light to the reasons of the belated appearance of Greek noir examples. It is based on archival research that was made in the framework of the project ‘Film noir in Greece: Reception, assimilation, and imitation of a US film genre, from the post-war period until today’ (National & Kapodistrian University of Athens), financed by the Operational Programme Human Resources Development, Education and Lifelong Learning, P.A. 2014‐20. Cri

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8

Larson, Barbara. "The Franco-Prussian War and Cosmological Symbolism in Odilon Redon's "Noirs"." Artibus et Historiae 25, no. 50 (2004): 127. http://dx.doi.org/10.2307/1483791.

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9

Alba, Richard, and Roxane Silberman. "Decolonization Immigrations and the Social Origins of the Second Generation: The Case of North Africans in France." International Migration Review 36, no. 4 (2002): 1169–93. http://dx.doi.org/10.1111/j.1747-7379.2002.tb00122.x.

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Immigrations resulting from decolonization challenge the ability of researchers to track accurately the incorporation of the second generation through classifications based on country of origin. This article considers a classic example of such an immigration - from North Africa to France at the time of and after the independence of Algeria, Morocco, and Tunisia. This immigration was ethnically complex, composed - to take a rough cut - of the former colonists of European background (the pieds noirs) and low-wage laborers belonging to the indigenous population (the Maghrebins). A historical revi

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10

Martin, Denis-Constant. "De l’excursion à Harlem au débat sur les « Noirs »." L'Homme, no. 158-159 (January 1, 2001): 261–78. http://dx.doi.org/10.4000/lhomme.112.

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11

LITTLE, Roger. "Les Noirs dans la fiction française, d'une abolition de l'esclavage à l'autre." Romantisme 139, no. 1 (2008): 7. http://dx.doi.org/10.3917/rom.139.0007.

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12

Sall, Leyla. "Les Noirs des Maritimes et les pièges de la fiction consensuelle." Canadian Review of Sociology/Revue canadienne de sociologie 57, no. 4 (2020): 729–32. http://dx.doi.org/10.1111/cars.12312.

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13

Zito Araújo, Joel. "Les tensions créées par l’arrivée progressive des Noirs dans le cinéma brésilien des 30 dernières années." Cinémas d’Amérique latine, no. 26 (August 1, 2018): 92–101. http://dx.doi.org/10.4000/cinelatino.4314.

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14

Foray, Caroline Keisha. "Afrofuturisme et féminisme : culture pop, culture de résistance." Revue Possibles 47, no. 2 (2023): 17–24. http://dx.doi.org/10.62212/revuepossibles.v47i2.726.

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Cet article explore la futurité noire à travers l’Afrofuturisme. En contestant le droit futur d’exister et les conditions d’existence pour les communautés noires, l’article propose des réflexions sur le pouvoir de l’imagination et de la résistance par les arts. Ancré dans les théories critiques et féministes noires, l’article aborde la subversion, la réappropriation et la resignification à travers l’œuvre de Janelle Monáe.

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15

Marin, Richard. "Présentation. Indiens, Noirs et marrons dans le Brésil septentrional : xviie-xixe siècle." Caravelle, no. 107 (December 31, 2016): 9–14. http://dx.doi.org/10.4000/caravelle.2039.

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16

Duprat, Anne. "Renégats du siècle d’or : Naissance des héros noirs de la course en Méditerranée (1570-1630)." Seizième Siècle 5, no. 1 (2009): 75–92. http://dx.doi.org/10.3406/xvi.2009.940.

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17

Minogue, Valerie. "“N'est-on pas tous pareils?”: Nathalie Sarraute and the Question of Gender." Theatre Research International 23, no. 3 (1998): 267–74. http://dx.doi.org/10.1017/s0307883300020046.

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In Nathalie Sarraute's Ici (1995), the textual voice is attacked for using ‘on’ instead of ‘je’, and masculine agreements instead of feminine. That voice, in characteristic Sarrautean fashion, justifies its practice with the words: ‘N'est-on pas tous pareils?’, explaining that ‘C'est pour faire participer, pour mettre tout le monde “dans le coup”’. At the level of the tropisms, those movements at the very edge of consciousness which Sarraute has made the foundation and substance of all her writing, we are, she claims, all alike: ‘sur un plan précis, à un niveau égale-ment précis, nous nous res

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18

Bordes, Véronique. "Mohammed Marwan & Mucchielli Laurent (dir.). Les bandes de jeunes. Des « blousons noirs » à nos jours." Revue française de pédagogie, no. 169 (October 1, 2009): 156–58. http://dx.doi.org/10.4000/rfp.1657.

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19

Mondal, Subarna. "Dead but not gone: Female body, surveillance and serial-killing in Alfred Hitchcock's Frenzy." Northern Lights: Film & Media Studies Yearbook 17, no. 1 (2019): 85–100. http://dx.doi.org/10.1386/nl_00007_1.

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Abstract Alfred Hitchcock in Psycho (1960) makes the corpse of an ordinary woman both an object of surveillance and a source of active watching. Mrs Bates and Marion in Psycho, Brenda and Babs in Frenzy (1972) may be seen as predecessors to the series of dead women figuratively staring back in films such as The Silence of the Lambs (Demme, 1991) and Perfume: The Story of a Murderer (Tykwer, 2006). The corpses do not merely offer themselves up as ciphers to be decoded. They reveal the lack in the perpetrators. Hitchcock's Frenzy relies on female bodies for clues to the murders. Hitchcock plays

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20

Chambouleyron, Rafael, and Karl Heinz Arenz. "« Indiens ou Noirs, libres ou esclaves » : travail et métissage en Amazonie portugaise (xviie et xviiie s." Caravelle, no. 107 (December 31, 2016): 15–29. http://dx.doi.org/10.4000/caravelle.2040.

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21

Luyckfasseel, Margot. "“How will God hear us?”: Sonic and linguistic difference among Kinshasa’s Églises des Noirs." Africa 93, no. 3 (2023): 351–70. http://dx.doi.org/10.1017/s0001972023000542.

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AbstractThis article studies how anti-Christian, ‘traditionally African’ organizations, locally known as Églises des Noirs, navigate religious competition in the Congolese capital through sonic and linguistic strategies. It focuses on the understudied Mpadist community, a ‘dissident’ branch of the better known Kimbanguist church. Mpadists mobilize diverging appreciations and meanings of sound and language to set themselves apart from the dominant Lingalaphone Pentecostal loudness of the city. In doing so, they pursue a delicate balance between Kongo traditionalism, the source of their spiritua

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22

Edwards, Erica Johnson. "Au-dèla de la couleur: Miliciens noirs et mulâtres de la Caraïbe (XVIIe–XVIIIe siècles) , by Baptiste Bonnefoy." New West Indian Guide / Nieuwe West-Indische Gids 97, no. 3-4 (2023): 356–57. http://dx.doi.org/10.1163/22134360-09703013.

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23

Pauld, Marguerite Manigat. "Recette pour poulet au kalalou ou gonbo avec djondjon (champignons noirs) / Recipe for Chicken with Black Haitian Mushrooms and Okra ( Kalalou )." Callaloo 30, no. 1 (2007): 324–25. http://dx.doi.org/10.1353/cal.2007.0160.

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24

Pisa Cañete, María Teresa. "Des stéréotypes des hommes et de femmes noirs dans "Brin d’amour" et "Histoire de la femme cannibale", entre continuité et désir de changement." Anales de Filología Francesa 28, no. 1 (2020): 169–200. http://dx.doi.org/10.6018/analesff.429951.

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El objetivo de este artículo es estudiar, desde una perspectiva contrastiva, los estereotipos de los negros y de las negras en las novelas Brin d’amour y Histoire de la femme cannibale, de Raphaël Constant y Maryse Condé, dos escritores antillanos contemporáneos. Tras la presentación del marco metodológico, el análisis muestra los elementos que componen esos estereotipos, como las acciones y los pensamientos de los personajes, así como las relaciones entre ellos. Además, los personajes de cada novela representan actitudes opuestas sobre la realidad representada, lo que da lugar a una antítesis

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25

DUSSERE, ERIK. "Out of the Past, Into the Supermarket." Film Quarterly 60, no. 1 (2006): 16–27. http://dx.doi.org/10.1525/fq.2006.60.1.16.

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ABSTRACT This article traces film noir's conflicted place in postwar American consumer culture.Using detailed analyses of supermarket scenes in Double Indemnity, The Long Goodbye, and Fight Club, it argues that the films stage a struggle between two competing versions of the American national character: the consumer society versus the noir underworld.

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26

Dorigny, Marcel. "Jean-Pierre Tardieu , La traite des Noirs entre l’océan Indien et Montevideo (Uruguay). Fin 18 e -début 19 e siècles , Paris, L’Harmattan, 2010, 113 p." Dix-huitième siècle 43, no. 1 (2011): CXXXIII. http://dx.doi.org/10.3917/dhs.043.0725ec.

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27

Bonte, Pierre. "Shaykh Muusa Kamara, Florilège au jardin de l’histoire des Noirs. Zuhûr al-Basâtîn. I : L’aristocratie peule et la révolution des clercs musulmans (Vallée du Sénégal)." L'Homme, no. 156 (January 1, 2000): 278–80. http://dx.doi.org/10.4000/lhomme.2753.

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28

Grossi, Élodie. "A Patient Labor : le travail des patients noirs et les pratiques de résistance dans les asiles psychiatriques du Sud, 1870-1910." Revue française d’études américaines N°160, no. 3 (2019): 200. http://dx.doi.org/10.3917/rfea.160.0200.

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29

Osteen, Mark. "Noir's Cars: Automobility and Amoral Space in American Film Noir." Journal of Popular Film and Television 35, no. 4 (2008): 183–92. http://dx.doi.org/10.3200/jpft.35.4.183-192.

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30

Hayward, Keith J., and Steve Hall. "Through Scandinavia, Darkly: A Criminological Critique of Nordic Noir." British Journal of Criminology 61, no. 1 (2020): 1–21. http://dx.doi.org/10.1093/bjc/azaa044.

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Abstract Nordic noir is a popular crime genre associated with a region (Scandinavia), a narrative style (unpretentious/socially critical) and a particular aesthetic look (dark/foreboding). Renowned for its psychologically complex characterization and gloomy Mise-en-scène, and spanning best-selling crime fiction, film, and globally successful television drama, Nordic noir has mushroomed from regional niche market to international phenomenon in little more than a decade. A review of both popular and academic accounts of the genre suggest that much of Nordic noir’s appeal comes from its supposed

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31

Heiniger, Sebastien. "nouvelle somme de poésie du monde noir : « Signe que la Négritude continue ? »." ALTERNATIVE FRANCOPHONE 3, no. 2 (2023): 64–76. http://dx.doi.org/10.29173/af29465.

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En 1966, à l’occasion du Festival mondial des arts nègres de Dakar, la revue Présence Africaine publie son 57e numéro qui rassemble 144 poètes et 393 poèmes. Ouvrage collectif, la Nouvelle somme de poésie du monde noir est une anthologie plurilingue, rassemblant des poèmes écrits dans cinq langues différentes (français, anglais, portugais, espagnol et néerlandais). L’auteur ressaisit les intentions des anthologistes (Léon-Gontran Damas, Lamine Diakhaté, Abiola Irele et Virgílio de Lemos) et leurs conceptions de la « poésie du monde noir » à partir de l’appareil d’accompagnement et de l’organis

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32

Martin, Denis-Constant. "Erwan Dianteill, La Samaritaine noire. Les Églises spirituelles noires américaines de la Nouvelle-Orléans." L'Homme, no. 185-186 (January 1, 2008): 511–14. http://dx.doi.org/10.4000/lhomme.18382.

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33

van Sluis, Marjolein, Chelly van Vuuren, Hazel Mangan, and Brian McStay. "NORs on human acrocentric chromosome p-arms are active by default and can associate with nucleoli independently of rDNA." Proceedings of the National Academy of Sciences 117, no. 19 (2020): 10368–77. http://dx.doi.org/10.1073/pnas.2001812117.

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Nucleoli, the sites of ribosome biogenesis and the largest structures in human nuclei, form around nucleolar organizer regions (NORs) comprising ribosomal DNA (rDNA) arrays. NORs are located on the p-arms of the five human acrocentric chromosomes. Defining the rules of engagement between these p-arms and nucleoli takes on added significance as describing the three-dimensional organization of the human genome represents a major research goal. Here we used fluorescent in situ hybridization (FISH) and immuno-FISH on metaphase chromosomes from karyotypically normal primary and hTERT-immortalized h

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34

Phillips, Ruth, and Peter E. Ihssen. "Chromosome banding in salmonid fish: nucleolar organizer regions in Salmo and Salvelinus." Canadian Journal of Genetics and Cytology 27, no. 4 (1985): 433–40. http://dx.doi.org/10.1139/g85-064.

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Chromosome banding patterns obtained by silver staining (Ag-NORs) were analyzed in three species of Salmo (rainbow, brown trout, and Atlantic salmon) and three species of Salvelinus (brook trout, lake trout, and arctic char). In rainbow trout and Atlantic salmon the Ag-NORs were found at the secondary constrictions of a single chromosome pair, while in brown trout the Ag-NORs were found on the short arms of one or two of the two longest subtelocentric or acrocentric chromosome pairs. The location of the Ag-NORs was multichromosomal in the three Salvelinus species, occurring on one or both memb

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35

Walker, Casey. "Review of Film Noir and the Arts of Lighting." Journal of 20th Century Media History 3, no. 1 (2025): 76–78. https://doi.org/10.33470/2997-2523.1050.

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36

Jamard, Jean-Luc. "Noir, c'est noir..." L'Homme 35, no. 133 (1995): 123–33. http://dx.doi.org/10.3406/hom.1995.369882.

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37

Smirnov, Evgeny, M. Kalmárová, K. Koberna, et al. "NORs and Their Transcription Competence during the Cell Cycle." Folia Biologica 52, no. 3 (2006): 59–70. https://doi.org/10.14712/fb2006052030059.

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In human cells ribosomal genes are organized as clusters, NORs, situated on the short arms of acrocentric chromosomes. It was found that essential components of the RNA polymerase I transcription machinery, including UBF, can be detected on some NORs, termed “competent” NORs, during mitosis. The competent NORs are believed to be transcriptionally active during interphase. However, since individual NORs were not observed in the cell nucleus, their interphase status remains unclear. To address this problem, we detected the competent NORs by two commonly used methods, UBF immunofluorescence and s

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38

Phillips, Ruth B., Kerry D. Zajicek, and Fred M. Utter. "Chromosome banding in salmonid fishes: nucleolar organizer regions in Oncorhynchus." Canadian Journal of Genetics and Cytology 28, no. 4 (1986): 502–10. http://dx.doi.org/10.1139/g86-074.

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Chromosome banding patterns obtained by silver staining and chromomycin a3 (CMA3) staining were analyzed in six species of Oncorhynchus: O. tshawytscha, O. kisutch, O. keta, O. nerka, and O. gorbuscha from North America and O. masou from Japan. Four different chromosomal locations of the nucleolor organizer regions (NORs) were found in different species. In O. tshawytscha, O. kisutch, and O. masou the NORs comprised the entire short arms of one medium-sized acrocentric chromosome pair. In O. nerka the NORs were found in an interstitial band on the short arms of one submetacentric chromosome pa

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39

Steenberg, Lindsay. "The Fall and Television Noir." Television & New Media 18, no. 1 (2016): 58–75. http://dx.doi.org/10.1177/1527476416664185.

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This article analyzes the Belfast-set BBC series The Fall (2013–) as an illustrative example of television noir. It aims to use noir scholarship to investigate The Fall’s complex gender politics and genre position, and, more significantly, to use The Fall to illuminate the complex ways in which noir currently operates across Anglo-American television and culture. The Fall is self-conscious, if not self-reflexive, in its mobilization of noir to aspire to the cinematic. This article argues that the series, and others like it, use noir as a legitimation strategy, often to excuse prurient stories

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40

Feldberg, Eliana, Jorge Ivan Rebelo Porto, Elen Bethlen Pedraça dos Santos, and Francisco Carlos Souza Valentim. "Cytogenetic studies of two freshwater sciaenids of the genus Plagioscion (Perciformes, Sciaenidae) from the central Amazon." Genetics and Molecular Biology 22, no. 3 (1999): 351–56. http://dx.doi.org/10.1590/s1415-47571999000300011.

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Cytogenetic characterization of two freshwater sciaenid species from the genus Plagioscion (P. squamosissimus and Plagioscion sp.) was obtained for the first time. Giemsa staining, Ag-NOR and C-banding revealed that both species presented 2n = 48 chromosomes (almost all acrocentric). Single NORs and heterochromatin were found mainly at the pericentromeric position. Karyotypic formulae and NOR location proved to be valuable in showing both interspecific and intraspecific differences. All chromosomes were acrocentric in P. squamosissimus. NORs were located at proximal positions on the long arms

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41

Debs, Sylvie. "Noir Brésil." Cinémas d’Amérique latine, no. 15 (March 1, 2007): 54–70. http://dx.doi.org/10.4000/cinelatino.6630.

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42

Cashman, Cheryl. "Clown Noir." Canadian Theatre Review 95 (June 1998): 70–78. http://dx.doi.org/10.3138/ctr.95.009.

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In the February 1996 issue of Vanity Fair, British actress Emma Thompson revealed a surprising influence upon her acting process by announcing: “I am a clown.” She went on to say that “the Tragedian plays to the gods. The Buffoon (a deformed outcast) plays mockingly for society’s beautiful people. The Clown plays from the heart. I am a clown.”

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Wright, Jane E., Christine Mais, José-Luis Prieto, and Brian McStay. "A role for upstream binding factor in organizing ribosomal gene chromatin." Biochemical Society Symposia 73 (January 1, 2006): 77–84. http://dx.doi.org/10.1042/bss0730077.

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Human ribosomal genes are located in NORs (nucleolar organizer regions) on the short arms of acrocentric chromosomes. During metaphase, previously active NORs appear as prominent chromosomal features termed secondary constrictions, which are achromatic in chromosome banding and positive in silver staining. The architectural RNA polymerase I transcription factor UBF (upstream binding factor) binds extensively across the ribosomal gene repeat throughout the cell cycle. Evidence that UBF underpins NOR structure is provided by an examination of cell lines in which large arrays of a heterologous UB

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Wacquant, Loïc J. D. "(Re)poser le problème noir américain." Actes de la recherche en sciences sociales 111, no. 1 (1996): 122–24. http://dx.doi.org/10.3406/arss.1996.3173.

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Zima, Jan, and Atilla Arslan. "Banded karyotype of the Konya wild sheep (Ovis orientalis anatolica Valenciennes, 1856) from Turkey." Comparative Cytogenetics 5, no. (2) (2011): 81–89. https://doi.org/10.3897/compcytogen.v5i2.1151.

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The<b> </b>karyotype, C-banding, and nucleoar organizer regions (NORs) of eight specimens of<i> </i>Konya wild sheep<i> </i>from Turkey were examined. The complement included six large metacentric autosomes, 46 acrocentric autosomes of decreasing size, a medium-sized acrocentric X chromosome, and a small bi-armed Y chromosome (the diploid chromosome number 2n=54, the number of autosomal arms NFa=58, the number of chromosome arms NF=61). G-banding allowed reliable identification of all the chromosome pairs and the pairing of homologous elements. All the autosomes possessed distinct centromeric

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LAZEA, Alexandru N. "Enfer et catabase : pour une poétique du corps-cadavre dans Quai ouest de Bernard-Marie Koltès." EON 5, no. 4 (2024): 282–92. https://doi.org/10.56177/eon.5.4.2024.art.7.

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The poetics of the body in Bernard-Marie Koltès is a vast subject, sometimes controversial for politically (in)correct, sociocultural or racial reasons. Koltès places the body at the center of many of his texts[1] as the main theme around which other elements, secondary themes, such as death, money, time or the question of identity, gravitate. In this article, we propose to find another, new meaning for the notion of the body in Quai Ouest (1985). Critics have observed that the corpse floating in the river is not a simple (theatrical) object, but a reflection of a society adrift, encompassing

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Giménez-Abián, J. F., G. Giménez-Martín, J. A. Suja, and J. S. Rufas. "Nucleolar organizer regions are associated with silver-stained chromatid cores in meiotic chromosomes of grasshoppers." Genome 32, no. 5 (1989): 829–33. http://dx.doi.org/10.1139/g89-518.

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Silver staining was employed to study the expression and localization of nucleolar organizer regions (NORs) and the localization and development of chromatid cores during the meiotic divisions of the grasshopper Chorthippus jucundus. NORs appear as silver-stained dots on the short arms of the L2 and L3 chromosomes and are always associated with chromatid cores. This observation provides an excellent chromosome marker to analyze the behaviour of chromatid cores during meiosis. Since both structures (NORs and chromatid cores) show a close interrelationship, we have obtained further evidence on t

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Nestingen, Andrew. "The Nordic noir brand." Journal of Scandinavian Cinema 11, no. 1 (2021): 103–12. http://dx.doi.org/10.1386/jsca_00041_1.

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Editing the volume Nordic Noir, Adaptation, Appropriation with Linda Badley and Jaakko Seppälä made evident historical changes in the role of adaptation in Nordic audio-visual culture. An earlier generation of auteurs such as Aki Kaurismäki used adaptation to align themselves with aesthetic and philosophical bodies of texts, what we might call ‘networks of similarity’, following Luis M. García Mainar. In the rise of Nordic noir since the millennium, Nordic cinema and television’s networks of similarity change. The auteurs used adaptation to establish modernist originality of vision. In the cur

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Soto, Francisco. "Havana Noir." Review: Literature and Arts of the Americas 42, no. 1 (2009): 141–43. http://dx.doi.org/10.1080/08905760902816410.

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Beech, Amanda. "Realism + Its Discontents: Determinism Noir." ARTMargins 7, no. 1 (2018): 100–114. http://dx.doi.org/10.1162/artm_a_00202.

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This short comic based narrative depicts the challenges to and climate of an alternative form of realism in the art-world as a new project for art's politics and construction. Determinism Noir, Realism and Its Discontents calls upon the classic genre of noir narratives to situate themes of agency, mastery, rationalism and metaphysics. These ideas and images are generated in the nihilistic climate of alienation, itself borne out through the machinic, technological and capitalistic forces of the Twentieth Century. The comic presents three parts: first we see the formation of a project base to in

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