Academic literature on the topic 'Bororo Aesthetics'

The problem of wood-boring insect attacks is gaining greater interest in Italy today. Wood-boring insects (Coleoptera, termites) often cause both structural and aesthetic damage on wooden structures which can sometimes give rise to human health concerns. Possible causes of current insect infestations include the use of timber originating from plantations, as well as bad post-felling practices such as late harvesting and stocking in unsuitable places before final processing. In the past, these insects were not thought to pose an economic threat to timber in service in Italy, but, in recent years, they have become a problem. The aim of this paper is to report on case studies concerning the occurrence of these unusual wood-boring insects on timber in service and, on the basis of the Authors experience, to formulate an in situ inspection protocol. The species we are dealing with in the case studies are: Bostrichus capucinus, family Bostrichidae, associated with Lyctus spp. (Fam. Lyctidae) and Lymexylon navale, family Lymexylonidae, belonging to the group of the so-called ambrosia beetles or pinhole borers. All these species were found on hardwoods, where they had bored into the sapwood except for L. navale which was also able to bore into heartwood, causing major concerns about its potential danger to timber in service. A technical integrated approach in evaluating insect attacks on on-site timber elements is also described here. The assessment is based on different methods, i.e. visual inspection and acoustic detection. This procedure is proposed as a basis for the development of an intervention protocol in the early stages of infestation.

This article examines the Iban oral literature (traditions) of the Iban society which includes fables, folklore, legends and myths that are orally transmitted and learned but continue to exist in oral form until the end of the 20th century. The objective of this article is stress the importance of oral literature in the Iban society because it is in this vast and incredibility beautiful literature that the cosmology of Iban society is revealed, and through this also the other people can perceive the soul of Iban culture. However, the Iban oral literature is very fragile as it remains in the memory of the elder generation who are rapidly dying out, and it may not survive long under the conditions of modernization. Therefore, the Iban society must preserve this oral literature in order to maintain its roots to the past as well as their dignity. Yet, this oral literature is critical for anthropological study because it provides information about the traditional Iban life. This article shows that, although the Iban lived in relatively isolated farming communities, they had the time to let their creativity expand and reveal or reflect the nature of their lives, their sorrows and joys, and their relationship through songs and chants, folklore, myths and legends, fables, stories and epics as well as riddles and sayings. This implicates that there is indeed an urgent need for immediate action to recover the dying oral literature because there is a sharp decline in the numbers of ritual specialists who can interpret the metaphors and words in the complex and aesthetic oral literature which contributes to the vast and accumulating universal knowledge of culture and traditions. It is significant to suggest that the Iban society must treasure their oral literature and translate these traditions before it is too late or dying out, as well as keeping it safe for them to appreciate and enjoy, otherwise this oral literature will be swallowed by the era of modernization in the Iban society itself.

Made available in DSpace on 2016-04-28T19:33:57Z (GMT). No. of bitstreams: 1 Cristiano Rogerio Alcantara.pdf: 1304941 bytes, checksum: d6fa37647c88e9489079eb74c34fc79f (MD5) Previous issue date: 2015-03-20<br>This study, carried out in two municipal public schools in a city of São Paulo s Grand Metropolitan Area, makes use of collaborative research, trying to present the pedagogical coordination s possibility of introducing the mediation of cultural objects and device toward the development of Cultural Pedagogy based on Jerome Bruner s theories. The research s evolution is told on a Benjaminian perspective, where experience is maximally contextualized, in an attempt to embrace varied points of view about all involved actors and questioning the consequences of the mediation presented preferably in groups. The Collective Pedagogical Working Hours (CPWH), thought as the only possible suitable moment for a mediation site between coordinator and group, will be contextualized starting from the reading of the logbooks written by the professionals and will be the framing axis of the pedagogical coordination s mediation, as well as a privileged tool to follow up and assess the propositions put forward to the group. From the dialogues that emerged among texts written by the professionals and the coordinator s feedbacks an interlocution gets started, where the other is seen as responsible and collaborator in aesthetic experience and pleasure choices, beyond the awareness of popularized Culture, searching for an Aesthetics of fracture recommended by Algirdas Julien Greimas. The presentation of cultural objects and device, always based on Ethic conjunctures and the Theory of Communicative Actions by Jurgen Habermas, together with Van Dijk s Mental Models, provide the elements for a careful analysis of a teacher s written topics. This thesis is presented in five chapters that look for reconstructing the pedagogical coordinator s path to mediate and valorize cultural objetcs and device to professionals under his responsibility, making use of a narrative of his initial procedures and ending up in a description of what he understands as Cultural Pedagogy<br>Esta pesquisa realizada em duas escolas municipais de uma cidade da Grande São Paulo utiliza-se da pesquisa colaborativa, procurando apresentar a possibilidade da coordenação pedagógica lançar mão de mediações de objetos e dispositivos culturais para o desenvolvimento de uma Pedagogia Cultural amparada nas teorias de Jerome Bruner. O desenvolvimento da pesquisa é narrado numa perspectiva benjaminiana, em que a experiência é contextualizada ao máximo, procurando abarcar os diversos pontos de vista dos atores envolvidos e problematizando as consequências das mediações apresentadas preferencialmente em grupo. O Horário de Trabalho Pedagógico Coletivo (HTPC), pensado como único momento possível de se prestar como espaço de mediação do coordenador para o grupo, será contextualizado a partir das leituras dos diários de bordo escritos pelas profissionais e será o eixo estruturante das intervenções da coordenação pedagógica, bem como o instrumento privilegiado de acompanhamento e avaliação das proposições lançadas ao grupo. Dos diálogos que surgem entre as escritas das profissionais e as devolutivas do coordenador abre-se uma interlocução em que o outro é visto como responsável e colaborador nas escolhas de fruição e vivência estética para além das percepções de uma Cultura massificada, buscando a fratura estética preconizada por Algirdas Julien Greimas. A apresentação dos objetos e dispositivos culturais sempre embasada em pressupostos Éticos e da Teoria da Ação Comunicativa de Jurgen Habermas, juntamente com as ideias de Modelos Mentais de Van Dijk, nos fornecem elementos para uma análise cuidadosa do material escrito por uma professora. A tese apresenta-se em cinco capítulos que buscam reconstruir o caminho trilhado pelo coordenador pedagógico na mediação e valorização dos objetos e dispositivos culturais para as profissionais que estiveram sob sua responsabilidade, fazendo uso de uma narrativa de seus procedimentos iniciais e terminando com a descrição do que compreende ser a Pedagogia Cultural

Made available in DSpace on 2016-04-18T21:31:43Z (GMT). No. of bitstreams: 2 Kassem Mahamad Ghandour1.pdf: 1891083 bytes, checksum: 28f2f645612a43b29d732b8548187138 (MD5) Kassem Mahamad Ghandour2.pdf: 2380827 bytes, checksum: 00acc6ecfeb9d8220bfb49ca7b73e8bf (MD5) Previous issue date: 2008-08-08<br>The proposal of this study is to analyze the formation of a homoerotic masculine look that had being built since the XIX century (time when the terms heterosexual and homosexual ) were forged, having as a temporal cut the period from 1969 to 1984. The perspective is to identify the changes happened in the construction of this look from 1969, a year marked by the conflicts happened at the bar Stonewall Inn, in New York, resulting in a change of attitude concerning the gay segment, that brought to the surface an entire way of being built in the secrecy of the ghetto, until the year of 1984. A relationship is set up with the fashion as a social phenomenon that points out these transformations, especially with the work of the French fashion designer Jean-Paul Gaultie. This creator incorporates the universe of the masculine gay desire and the camp aesthetics, getting, this way, to streamline the rigid conventions of the masculine dressing, through the contributions of this homoerotic look.<br>A proposta deste estudo é analisar a formação de um olhar homoerótico masculino que foi sendo construído desde o século XIX (época em que foram forjados os termos heterossexual e homossexual ), tendo como recorte temporal o período de 1969 a 1984. A perspectiva é identificar as mudanças ocorridas na construção deste olhar a partir de 1969, ano marcado pelos conflitos ocorridos no bar Stonewall Inn, em Nova York, resultando numa mudança de atitude do segmento gay, que trouxe à tona todo um modo de ser construído na clandestinidade do gueto, até o ano de 1984. Estabelece-se uma relação com a moda como fenômeno social que aponta estas transformações, especialmente com o trabalho do costureiro francês Jean-Paul Gaultier. Este criador incorpora o universo do desejo gay masculino e a estética camp, conseguindo, desse modo, flexibilizar as rígidas convenções da indumentária masculina, por meio das contribuições deste olhar homoerótico.

Animals seem to be everywhere in contemporary literature, visual art, and performance. But though writers, artists, and performers are now engaging more and more with ideas about animals, and even with actual living animals, their aesthetic practice continues to be interpreted within a primarily human frame of reference—with art itself being understood as an exclusively human endeavor. The critical wager in this book is that the aesthetic impulse itself is profoundly trans-species. Rohman suggests that if we understand artistic and performative impulses themselves as part of our evolutionary inheritance—as that which we borrow, in some sense, from animals and the natural world—the ways we experience, theorize, and value literary, visual, and performance art fundamentally shift. Although other arguments suggest that certain modes of aesthetic expression are closely linked to animality, Rohman argues that the aesthetic is animal, showing how animality and actual animals are at the center of the aesthetic practices of crucial modernist, contemporary, and avant-garde artists. Exploring the implications of the shift from an anthropocentric to a bioaesthetic conception of art, this book turns toward animals as artistic progenitors in a range of case studies that spans print texts, visual art, dance, music, and theatrical performance. Drawing on the ideas of theorists such as Elizabeth Grosz, Jane Bennett, Gilles Deleuze and Félix Guattari, Jacques Derrida, Una Chaudhuri, Timothy Morton, and Cary Wolfe, Rohman articulates a deep coincidence of the human and animal elaboration of life forces in aesthetic practices.

Marie-Luise Kohlke’s chapter on ‘Adaptive/Appropriate Reuse in Neo-Victorian Fiction: Having One’s Cake and Eating it Too’ argues that historical fiction writers’ persistent fascination with the long nineteenth century enacts a simultaneous drawing near to and distancing from the period, the lives of its inhabitants, and its cultural icons, aesthetic discourses, and canonical works. Always constituting at least in part as a fantasy construction of ‘the Victorian’ for present-day purposes, the process of re-imagining involves not just a quasi resurrection (of nineteenth-century historical persons, fictional characters, traumas, aesthetics, values, and ideologies) but also a relational transformation – a change in nature, a conversion into something other, namely what we want ‘the Victorian’ to signify rather than what it was. Hence adaptive practice in the neo-Victorian novel, applied both to Victorian literary precursors and the period more generally, may be better described as adaptive reuse (to borrow a term from urban planning’s approach to historic conservation) or, perhaps, appropriative reuse. Drawing on a range of neo-Victorian novels Kohlke explores the prevalent perspectival frames and generic forms employed in neo-Victorian appropriative reuse and their divergent effects on present-day conceptions of Victorian culture.

The introductory chapter creates a framework for exploring how serial television has become cinematic. It traces the evolution of television, while interrogating the implications of assuming that television advances when it approximates the features of cinema. Then, it constructs the framework of intertextuality for analyzing the varied ways in which serial dramas borrow from cinema. Some series honor or deride their cinematic sources; others offer homage or resistance not only to specific films but also to the idea of cinema in general. Instead of the standard narrative about television imitating cinema’s aesthetic status, this chapter offers a methodology for investigating how serial dramas absorb and revise (primarily) American cinema. Finally, it argues that contemporary serial television exhibits an archival relationship to cinema, for cinematic moments, motifs, and contours hover around the televisual frame, constantly breaking through. How serial dramas handle such cinematic hauntings is the story that this book tells.

In recent decades, literary critics have explored the arena of early modern print culture with increasing enthusiasm. Scholars have identified a wealth of allusions to wider print culture in canonical texts, and begun to map a stratum of public language, the language of pamphlets, newspapers and political discourse, with which literature traffics, picks up and discards in its periods. Sometimes this has been framed in terms of putting literature in a modified version of a Habermasian ‘public sphere’. Less attention has been paid to the – surely necessary and complementary – processes of ‘separation’ and ‘transformation’, if those are the right words. We know that literary texts borrow, appropriate, refashion these other texts, and we know that literary texts sometimes seek to rise above the fray by professing a disdain for the demotic, but how do these texts manage practically to maintain a distance while absorbing? Focusing on Marvell’s great Horatian Ode, the present chapter seeks to illuminate the interconnections between the languages of literature, political argument and journalism. In so doing, it begins to give a new account of the separation between print culture and literary writing, of the valves that govern the movement of words and their aesthetic potential.

Amateurs Have Made Valuable contributions to various sciences, including astronomy, geology, biology, and engineering. In chemistry they have been drawn to the periodic system of the elements, with its deceptive simplicity, its density of information, its aesthetic potential, and its implication of deep order in the universe. They have suggested novel ways of representing it visually, in particular spirals and lemniscates in two or three dimensions. However, in the course of a century and a half, professional chemists have generally ignored the amateur versions of the table, and contented themselves with a couple of utilitarian tabulations. Edward Mazurs, one of the two great historians of the periodic system, surveyed approximately 700 graphic representations produced between 1862 and 1972. He was obsessed with classification, and he counted 146 different types. It seems astonishing that out of all these only two have ever attained any lasting and widespread currency among professionals. Dmitri Mendeleev’s short form was rapidly taken up by chemists and remained the standard for half a century. It was compact and easy to read, and by the clever device of combining three or four groups of elements as column VIII it concealed the difference in length between what we now call the p block and the d block. Indeed it confused the two; Mendeleev’s predicted properties of scandium (in the d block) were based on those of boron (in the p block). His inability to deal with the f block did not attract attention because as yet so few lanthanoids were known and that the early actinoids behave rather like the first members of the d-block. In the interwar years, the standard medium-long form gradually displaced Mendeleev’s short form, and since the 1940s it has become ubiquitous. Mazurs classified it as his type IIC2-4, and he referenced it 67 times—more than any other type (pp. 175–180)—but he thought so poorly of it that he accorded less than a page to discussing it.