Academic literature on the topic 'Orphée Noir'

Lévénement le plus important de la «vie» d' Orphée fut sa descente dans l'Hadès, à laqualle il se résolut, demeuré inconsolable après la mort de sa bien- aimée Eurydice. La «mort» d' Orphée est le second événement extraordinaire de sa vie. Jean Cocteau s'est limité essentiellement à la description du premier événement pour tourner ses films «Orphée» (1950) et «Le Testament d'Orphée» (1959). Pour Cocteau, le cinéma était poétique par excellence, «un véhicule de poésie», selon ses propres termes. Car l'inventif langage audiovisuel lui donnait la possibilité de dépasser la réalité et de se mouvoir librement dans l'irréalité. Cocteau a vu le mythe secondaire mais universel d'Orphée sous deux angles: a) dans son film «Orphée», comme une série d'ombres rayonnantes et une réunion de corps éphémères. Mais certains d'entre eux traversent le temps du monde d' En-Haut tandis que d'autres se meuvent entre celui-ci et le monde d'En-Bas. Un film qui pourrait être lu comme un étrange film noir mais aussi comme un récit chargé de la parole poétique de Cocteau. b) dans son film «Le Testament d'Orphée», comme une possibilité pour Cocteau lui-même de s'incarner en Orphée. En un poète sensible, mélancolique et inquiet errant entre le monde des Enfers et le monde des vivants, prêt à léguer à l'avenir des poètes sa noble et sage expérience. Par ces deux textes filmiques, Cocteau «a usurpé ou s'est approprié» le mythe d'Orphée. Il en a fait un radeau poétique pour façonner la mer d'ombres qui unit les deux univers, celui d'En-Haut et celui d'En-Bas.«Orphée» est à maints égards une version parodique qui transgresse le mythe archétype. «Le Testament d'Orphée» vient en interprétation authentique et en post-scriptum «narcissique» au film précédent. Mais il s'inscrit aussi comme une destruction de la relation excentrique de Cocteau avec le cinéma.

O mito de Orfeu foi reelaborado diversas vezes pelo cinema brasileiro. Procura-se contrapor a <em>katábasis</em> produzida por Cacá Diegues a de Marcel Camus, com <em>Orphée Noir</em> (1958), em dois momentos, em <em>A cidade grande</em> (1966) e <em>Orfeu</em> (1999). Argumenta-se que o bandido social e o traficante de drogas são personagens centrais para a produção de distintas composições do inferno feitas por Diegues.

El siguiente trabajo aborda los desarrollos de Sartre sobre la cuestión de la poesía, los proyectos poéticos y su posibilidad de compromiso en Situations II, sus biografías existenciales Baudelaire y Saint Genet y su estudio de la poesía negra y malgache publicado como Orphée noir. Más allá de las críticas que se le han hecho de ignorar la esencia del fenómeno poético, una lectura atenta permite mostrar cómo su concepción sobre la poesía ha virado con los años al punto de considerarla una herramienta tan poderosa como la prosa para suscitar el compromiso y el llamamiento a la libertad mediante una operación negativa en la que refleja críticamente al hombre al manifestar su esencia como conflicto irresoluble y fracaso.

Na visão europeia sobre o Brasil às Américas, há uma constante oposição entre natureza, muitas vezes vista como hostil, e civilização. A partir da chegada da corte portuguesa no Rio de Janeiro, há duas tendências gerais na visão sobre as transformações no país: ou a necessidade de se “forçar” a civilização na nova sede do império luso, através de diversos projetos, ou a de uma busca de “aclimatação” da cultura europeia. Processos complementares, que às vezes se apresentam como opostos. A proposta do presente artigo é discutir, através dos filmes Orphée Noir de Marcel Camus e Fitzcarraldo de Werner Herzog, como visões consolidadas sobre transferências culturais em geral, e sobre a ópera em particular, operam na maneira como estudamos as artes no Brasil.

Sartre's Critique of the Abstract Universal: Elements for a Multicultural Thinking The question of cultural justice, which refers in different contexts to the exigency of universality, constitutes a central aspect of Sartre's writings after World War II as f. ex. Réflexions sur la question juive (1946), Orphée noir (1948), Cahiers pour une morale (1947-1948), the famous Preface to Les damnés de la terre of Franz Fanon (1961), and his article on the "question basque" (1971). In this texts Sartre poses some questions, which are crucial for the contemporary multiculturalism debates, specially the questions of cultural justice, of the concepts of universality and the practical subject, of the articulation between cultural justice and distributive justice, as well as of the relation between person, economics and culture. The aims of this article is to discuss the main points of Sartre's critique of the abstract universality on the basis of his Réflexions sur la question juive, and to articulate the fields where Sartre's thought offers the theoretical resources for a contemporary debate on cultural justice.

Ce mémoire de master a l’objectif de contribuer avec aux rares études à propos de la dramaturgie de Vinicius de Moraes, spécifiquement en concernant Orfeu da Conceição (1954), la deuxième pièce de théâtre de l’auteur. Pour ce faire, il est récapitulé avant, pendant et après de la pièce les principaux oeuvres de Vinicius, comme ses poèmes, ses compositions musicales (la Bossa Nova et le MPB), sa dramaturgie et sa prose, au de-là de faits importants de sa vie personnelle, comme la Faculté du Catete, sa relation avec Waldo Frank, son emploi dans la diplomatie et ses mariages. De plus, il est fait des études détaillées sur les oeuvres Orfeu da Conceição et Orfeu Negro (et ses respectives albuns). Ainsi, ce mémoire est organisé en cinq parties: la première s’appelle “Vinicius avant Orfeu da Conceição”, avec ses livres de poèmes transcendantaux et conservateurs et sa relation avec Octávio de Faria; la deuxième partie “Vinicius da Conceição”, avec l’analyse approfondie de la pièce; la troisième partie s’appelle “Camus Negro”, avec l’analyse approfondie du film; la quatrième partie “Les chansons des Orfeus et la Bossa Nova”, en comprenant un étude à propos des deux albuns des oeuvres que postérieurement culminerait dans la Bossa Nova, et finalement la cinquième partie qui s’appelle “Vinicius après Orfeu da Conceição”, quand l’artiste se dédie presque exclusivement aux compositions et aux concerts, et il se convertit au candomblé. Le spectacle musical Orfeu da Conceição synthétise la vie de Vinicius de Moraes parce qu’il montre en évidence ses transformations personnelles: de la poésie à la chanson, du christianisme aux candomblé et de la droite à la gauche.
Esta dissertação de mestrado possui o objetivo de contribuir com os escassos estudos sobre a dramaturgia de Vinicius de Moraes, especificamente sobre Orfeu da Conceição (1954), a segunda peça de teatro do autor. Para isso, são recapituladas as principais obras de Vinicius antes, durante e depois da peça, como seus poemas, composições (Bossa Nova e MPB), dramaturgia e prosa, além de fatos importantes de sua vida pessoal, como Faculdade do Catete, a relação com Waldo Frank, a diplomacia e os seus casamentos. Além disso, são feitos estudos detalhados sobre as obras Orfeu da Conceição e Orfeu Negro, adaptação fílmica da peça dirigida por Marcel Camus (e seus respectivas trilhas sonoras). Assim, esta dissertação está organizada em cinco partes: a primeira, chamada Vinicius antes de Orfeu da Conceição, abrange seus livros de poemas transcendentais e conservadores e sua relação com Octávio de Faria; a segunda parte, Vinicius da Conceição, apresenta a análise minuciosa da peça; a terceira parte, chamada Camus Negro, apresenta a análise minuciosa do filme; a quarta parte, As canções dos Orfeus e a Bossa Nova, contém um estudo sobre os dois álbuns das obras que posteriormente culminaram na Bossa Nova; por fim, a quinta parte, chamada Vinicius depois de Orfeu da Conceição, trata de quando o artista passa a se dedicar quase exclusivamente às composições e aos shows e se converte ao candomblé. O musical Orfeu da Conceição sintetiza a vida de Vinicius de Moraes, pois evidencia as suas transformações pessoais: da poesia para a canção, do catolicismo para as religiões afro-brasileiras e da direita para esquerda.

Las enfermedades cardiovasculares constituyen la primera causa de muerte a nivel mundial. El común denominador de las enfermedades cardiovasculares de componente isquémico es la aterosclerosis. La complicación trombótica de las placas ateroscleróticas puede ocasionar eventos clínicos como el infarto agudo de micardio o los accidentes cerebrovasculares. En la evolución de esta patología juegan un papel clave las células musculares lisas de la pared vascular, que experimentan cambios importantes en su fenotipo y en su patrón de expresión génica. En la regulación de dichos cambios participa la familia de receptores nucleares NR4A. Los receptores NR4A (NOR-1, Nurr1 y Nur77) están codificados por genes de respuesta temprana, cuya expresión se induce por estímulos mitogénicos, pro-inflamatorios y pro-aterogénicos. Nuestro grupo identificó a NOR-1 (NR4A3) como un factor de transcripción implicado en la cardiopatía isquémica y en la migración, la proliferación y la supervivencia de las células vasculares. Actualmente se desconoce la identidad de la mayoría de los genes diana de NOR-1. Los objetivos principales de este proyecto fueron la identificación de genes regulados por NOR-1 a nivel vascular y la caracterización de los mecanismos moleculares por los cuales este receptor regula su expresión. En estudios de expresión génica diferencial en células musculares lisas que sobre-expresaban los receptores NR4A, identificamos un conjunto de genes cuya expresión se modulaba significativamente. Mediante diferentes estrategias confirmamos a MYOM1, A2M y SMPX como potenciales genes diana de NOR-1. MYOM1 codifica para la miomesina 1, una proteína implicada en la contracción de las fibras musculares. La alfa-2 macroglobulina (A2M) es una anti-proteinasa de amplio espectro presente en el plasma de los vertebrados. La regulación de A2M tiene lugar mediante la unión de los receptores NR4A a un elemento NBRE presente en su promotor. Los receptores NR4A modulan la actividad de las metaloproteinasas MMP-2 y MMP-9 a través de diferentes mecanismos, entre ellos mediante la inducción de la expresión de A2M. Además evidenciamos que la A2M se expresa de forma relevante en las células musculares de la capa media de las arterias humanas. Por su parte, el gen SMPX (Small Muscle Protein X-linked) codifica para una proteína asociada al citoesqueleto que se expresa sobre todo en células de músculo esquelético y cardíaco. La regulación de SMPX por NOR-1 se produce a través de un elemento NBRE no canónico. La diferenciación de mioblastos humanos de músculo esquelético (HSMM) a miotubos incrementa la expresión y los niveles de SMPX de forma dependiente de NOR-1. El silenciamiento de NOR-1, pero no el de SMPX, inhibe el proceso de diferenciación de las células HSMM.
Cardiovascular diseases are the leading cause of death worldwide. Atherosclerosis is a common factor among ischemic cardiovascular disorders. Thrombotic complication of atherosclerotic plaques can cause clinical events such as acute myocardial infarction and strokes. Smooth muscle cells of the vascular wall play a key role in this pathology, experiencing significant changes in their phenotype and gene expression pattern during the course of the disease. The NR4A nuclear receptors family is involved in the regulation of such changes. The NR4A receptors (NOR-1, Nur77 and Nurr1) are encoded by early response genes, whose expression is induced by mitogenic, pro-inflammatory and pro-atherogenic stimuli. Our group identified NOR-1 (NR4A3) as a transcription factor involved in ischemic cardiopathy and in the migration, proliferation and survival of vascular cells. However, most of the genes targeted by NOR-1 are thus far unknown. Therefore, the main objectives of this project were to identify genes regulated by NOR-1 at the vascular level, and to characterize the molecular mechanisms by which this receptor regulates gene expression. By studying the genes differentially expressed in smooth muscle cells overexpressing NR4A receptors, we identified a set of genes whose expression was significantly shifted. Among those genes, we confirmed MYOM1, A2M and SMPX as potential targets of NOR-1. MYOM1 encodes myomesin 1, a protein involved in the contraction of muscle fibers. Alpha-2-macroglobulin (A2M) is a broad spectrum anti-proteinase present in the plasma of vertebrates. A2M is regulated by NR4A receptor, through the binding to an NBRE element present in the A2M promoter. NR4A receptors modulate the activity of MMP-2 and MMP-9 metalloproteinases through different mechanisms, including the induction of A2M expression. Furthermore, we evidence that A2M is significantly expressed in muscle cells of human arteries. Regarding SMPX (Small Muscle Protein X-linked), it encodes a cytoskeleton-associated protein, specifically expressed in skeletal and cardiac muscle cells. SMPX regulation by NOR-1 occurs through a non-canonical NBRE element. The SMPX expression is increased in a NOR-1 dependent manner during the differentiation of human skeletal myoblasts (HSMM) to myotubes. Silencing of NOR-1, but not of SMPX, inhibits the differentiation of HSMM.

In Uganda, there has been a proliferation of foreign-supported orphanages encouraging poor parents to place their children in care and relinquish them for adoption to meet the demands of a very profitable “orphan rescue” movement. Instead of reuniting children with family, these institutions actively discourage contact to keep children in the orphanage or make them available for international adoption. Ugandan parents tend to think of these new practices as a global expansion of local informal fostering practices, but rarely do they have a clear understanding of the detrimental effects of institutionalization on children, nor the permanency of adoption—a fact some unscrupulous intermediaries prey upon for profit. This chapter sheds light on “orphan rescue” interventions and argues that such efforts have effected a worrying shift in local parenting norms, responsibilities, and practices around schooling and childcare—seriously jeopardizing family preservation, child protection, and child well-being.

Responding to work begun in the 2013 collection Eudora Welty, Whiteness, and Race that mined and deciphered the complexity of her responses to the Jim Crow South, the thirteen diverse voices of New Essays on Eudora Welty, Class, and Race deepen, reflect on, and respond to those seminal discussions. These essays freshly consider such topics as Welty’s treatment of African-American signifying in her short stories, and her attention to public street performances interacting with Jim Crow rules in her unpublished photographs. They consider her strategic adaptations of Gothic plots, black pastoral, civil war stories, haunted houses, and film noir. They frame Welty’s work with such subjects as Bob Dylan’s songwriting, the idea and history of the orphan in American, and standup comedy. They compare her handling of whiteness and race to that of other contemporary authors such as William Faulkner, Richard Wright, Toni Morrison, Chester Himes, and Alice Walker. Additionally, several discussions bring her master-work The Golden Apples and her novel Losing Battles, under-represented in the earlier conversation, into new focus. The collection as a whole will help us to understand more clearly Welty’s artistic commentary on her time and place as well as the way her vision developed in a timespan moving America towards increased social awareness. Moreover, as a group, these essays provide insight into Welty as an innovative craftswoman and modernist technician, successfully altering literary form with her frequent pointed makeovers of familiar story patterns, plots, and genres. Together they show her as a remarkable writer idiosyncratically engaging and confidently altering literary history.

An orphan work is a work for which the copyright has probably not expired, but at the same time there is no possibility to find the copyright holder. Such works cannot be published; they can only be accessed in libraries, archives, or private collections. In particular, such works may not be allowed to be published on the Internet, nor may they be included in anthologies or used in part in other works. The problem of such works greatly limits the scope of the public domain, since due to the lack of registered data on the owners of property rights, a significant part of the works that could be available as public domain have an uncertain legal status.