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Journal articles on the topic 'Pink Floyd'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Kraft, Patrick, and Caroline Amann. "PINK FLOYD – P.U.L.S.E." Kieler Beiträge zur Filmmusikforschung 5, no. 1 (2023): 110–14. http://dx.doi.org/10.59056/kbzf.2010.5.p110-114.

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2

Patrakov, Albert P. ""PINK FLOYD - THE WALL". VIEWER AND THE COLLECTIVE MEMORY." RSUH/RGGU Bulletin. Series History. Philology. Cultural Studies. Oriental Studies, no. 8 (2018): 97–111. http://dx.doi.org/10.28995/2073-6355-2018-8-97-111.

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3

Santo, Erickson Rodrigues do Espírito, Aline Maria Gonzaga Ruas, and Arnaldo Nogaro. "Another Brick in the Wall (Parte II) e a educação emancipatória em Theodor W. Adorno." Caderno Pedagógico 22, no. 7 (2025): e16307. https://doi.org/10.54033/cadpedv22n7-146.

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Este artigo analisa a crítica ao sistema educacional presente na música Another Brick in the Wall (Parte II), da banda Pink Floyd, relacionando-a à concepção de educação emancipatória proposta por Theodor W. Adorno. Por meio de uma abordagem teórico-analítica, busca-se a compreensão de como esta música reflete aspectos da educação reprodutora e autoritária criticada por Adorno, bem como destaca a importância de uma educação voltada para a autonomia e a formação crítica dos indivíduos. Neste sentido, o problema de pesquisa é: De que maneira a música Another Brick in the Wall (Parte II) do Pink

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4

Muhammad Amin Akbar. "Ontological Metaphorsin Pink Floyd’sselected Songs." Sintaksis : Publikasi Para ahli Bahasa dan Sastra Inggris 2, no. 2 (2024): 105–15. http://dx.doi.org/10.61132/sintaksis.v2i2.457.

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This study is about the analysis of ontological metaphors in Pink Floyd’s selected songs based on the metaphors theory by Lakoff and Johnson. In Lakoff and Johnson theory, metaphors are divided into structural metaphors, oriental metaphors, and ontological metaphors.The author uses qualitative methods in conducting this research. Researchers focused on written data in the form of scripts from lyrics of Pink Floyd selected songs. The researcher uses Jan Mukarovsky's dynamic structuralism approach. There is a relationship between ontological metaphors, social commentary, and idealism. The purpos

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5

Tu, Lucy. "Quand les neurones chantent du Pink Floyd." Cerveau & Psycho N° 159, no. 10 (2023): 16–18. http://dx.doi.org/10.3917/cerpsy.159.0016.

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6

Gerasimova, Aleksandra D., and Andrei L. Khokhryakov. "The Intermadial Transition of Pink Floyd’s Mother in The Wall by A. Parker (1982)." World Literature in the Context of Culture, no. 17 (2023): 138–51. http://dx.doi.org/10.17072/2304-909x-2023-17-138-151.

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The article considers the problem of transforming a piece of rock-poetry into an extra-meaning element in cinematography – using the example of the song Mother (R. Waters, 1979) by Pink Floyd, as a part of the film Pink Floyd: the Wall (dir. A. Parker, 1982). Along the song lyrics and the video footage, the article examines the film script, promoting the ‘songwriter – screenwriter’, ‘screenwriter – film director’, and ‘songwriter – film director’ interaction, resulting in a further perspective, introducing new characters, setting ties with other parts of the film. By combining the Mother lyric

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7

Golonka-Legut, Joanna Anna. "Muzyka popularna jako źródło refleksji nad dorosłością. Album The Dark Side of the Moon grupy Pink Floyd jako droga do (z)rozumienia istoty dorosłości i przygotowania się do niej." Rocznik Andragogiczny 31 (December 9, 2024): 133–52. https://doi.org/10.12775/ra.2024.008.

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Problematyka niniejszego artykułu wpisuje się w nurt rozważań dotyczących rozumienia kultury popularnej jako obszaru uczenia się człowieka dorosłego. Przedstawione treści odnoszą się bezpośrednio do postrzegania muzyki popularnej jako źródła refleksji nad podstawową kategorią andragogiczną – dorosłością. Natomiast punktem odniesienia jest refleksja nad albumem muzycznym The Dark Side of the Moon grupy Pink Floyd, który jest postrzegany jako droga (jedna z dróg) do (z)rozumienia istoty dorosłości i przygotowania się do niej. Intencją przygotowanego tekstu jest nie tylko che

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8

Veras, Eduardo Horta Nassif. "Echoes: Pink Floyd e o mundo das correspondências." Teia: Revista Literária dos Estudantes de Letras, no. 3 (September 6, 2011): 11. http://dx.doi.org/10.17851/2447-0570.0.3.11-16.

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9

Happell, Brenda. "Pink Floyd: Fond memory or contemporary role model?" International Journal of Mental Health Nursing 14, no. 4 (2005): 221. http://dx.doi.org/10.1111/j.1440-0979.2005.00386.x.

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10

HUNTER, JEFFERSON. "SAPPHO, CATULLUS, VERA LYNN, PINK FLOYD, AND TOM STOPPARD." Yale Review 98, no. 2 (2010): 128–44. http://dx.doi.org/10.1353/tyr.2010.0061.

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11

HUNTER, JEFFERSON. "SAPPHO, CATULLUS, VERA LYNN, PINK FLOYD, AND TOM STOPPARD." Yale Review 98, no. 2 (2010): 128–44. http://dx.doi.org/10.1111/j.1467-9736.2010.00601.x.

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12

Brautschek, Tomy, and Maximilian Haberer. "Echoes of Pink Floyd: experiencing intimacy through acoustic immersion." Sound Studies 4, no. 2 (2018): 234–37. http://dx.doi.org/10.1080/20551940.2019.1576427.

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13

Chlebowski, Piotr. "Szumy, zlepy... eksplozje. Pink Floyd i la musique concrète." Roczniki Humanistyczne 71, no. 12 (2023): 41–58. http://dx.doi.org/10.18290/rh237012.3.

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Artykuł dotyczy różnych sposób realizacji efektów dźwiękowych, zwanych muzyką konkretną, w twórczości Pink Floyd, jednejo z najbardziej znanych i cenionych grup z kręgu brytyjskiego rocka progresywnego, wydającego płyty od 1967 r. „Konkretne” dźwięki w tej twórczości wchodzą w rozmaite relacje zarówno z dźwiękami preparowanymi elektronicznie, jak i dźwiękami realizowanymi w sposób bardziej tradycyjny. Nadto są poddawane rozmaitym procesom i manipulacjom studyjnym (swobodnemu montażowi, przyspieszeniom, wibracjom etc.). Obecność tych efektów ma charakter nierzadko systemowy i wielkoskalowy, dec

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14

Sanati, Abdi, and Stephanie Young. "‘The eyes have it’. Syd Barrett and Pink Floyd." British Journal of Psychiatry 210, no. 5 (2017): 314. http://dx.doi.org/10.1192/bjp.bp.117.198135.

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15

Moeschler, Max. "Pink Floyd : une fausse réunion pour une vraie cause." Le Regard Libre N° 85, no. 5 (2022): 9. http://dx.doi.org/10.3917/regli.085.0009.

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16

Pache, Gilles. "Progressive rock caught up with mercantile values: the unknown roots of a "quiet revolution"." Technium Social Sciences Journal 31 (May 9, 2022): 654–61. http://dx.doi.org/10.47577/tssj.v31i1.6498.

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The paper focuses on a historical phenomenon that has been little studied: the way in which the music industry, particularly the progressive rock movement that emerged from the counterculture in the 1960s, gradually became subject to the laws of marketing. The roots of this “quiet revolution” are studied starting from the sponsorship negotiated by the Pink Floyd, in 1974, with a famous brand of soft drinks called Gini. The band members agreed that a series of concerts would be partially financed by a multinational company, justifying this choice by the desire to reduce the price of tickets for

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17

Whitelaw, Jackie. "Profile: Atelier One." Structural Engineer 93, no. 6 (2015): 54–56. http://dx.doi.org/10.56330/aeef8021.

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From Pink Floyd to the London 2012 Olympic ceremonies, design studio Atelier One has carved a niche providing engineering for events, alongside experimental buildings and modern art. Jackie Whitelaw talks to the structural engineers who head the team – Neil Thomas and Aran Chadwick.

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18

Nishida, Gustavo, and Ana Paula De Castro Sierakowski. "POR OUTROS TEXTOS NA SALA DE AULA: ME LEMBRA MUITO PINK FLOYD DE JOÃO LEOPOLDO." Revista do GEL 13, no. 3 (2016): 203–18. http://dx.doi.org/10.21165/gel.v13i3.1411.

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O objetivo deste trabalho é argumentar em favor da inclusão de outros textos na sala de aula de língua portuguesa. Nossa argumentação aponta para uma expansão no conceito de leitura e para a utilização de outros gêneros discursivos para a formação de leitores. Para tanto, assumimos que, para que o letramento multimodal (Rojo, 2009) chegue à sala de aula, é preciso que outros textos (multimodais e vernaculares) sejam analisados e inseridos no meio educacional. Assim, utilizaremos a canção Me lembra muito Pink Floyd, do compositor paulistano João Leopoldo (faixa do disco Cabeça Madura, de 2010)

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19

Santos Alves da Silva, Franco. "Disco Animals do Pink Floyd: uma distopia sobre animalização do sistema capitalista e a democracia liberal burguesa." PerCursos 21, no. 47 (2021): 079–107. http://dx.doi.org/10.5965/1984724621472020079.

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A distopia é um gênero narrativo explorado pela literatura, cinema, teatro, jogos eletrônicos e música. Caracteriza-se como contrário da utopia (lugar imaginário ideal), onde as relações humanas tornam-se insuportáveis, ao exagerar determinadas questões acerca do contexto no qual foi produzida. São comuns elementos como solidão, cenários pós-apocalípticos, guerras e o totalitarismo, expresso na caça às minorias, na violência e na vigilância extremas. Em 1977, a banda britânica de rock n´ roll Pink Floyd lançou o álbum conceitual Animals, inspirado na obra Revolução dos Bichos, de George Orwell

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20

Box, Kiernan. "An Anthropomorphic Analysis of Iwan Fals’ Tikus- Tikus Kantor and Pink Floyd’s Dogs." Journal of Urban Society's Arts 11, no. 2 (2024): 137–51. https://doi.org/10.24821/jousa.v11i2.12592.

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Animal-based imagery, including anthropomorphism and zoomorphism, has been a common literary device since ancient times. Contemporary writers of popular song, such as The Beatles, have been particularly frequent exponents of animal-based imagery. This imagery has several uses: it enables subtle or oblique representations of challenging or controversial issues, as well as creating potent, often surreal, imagery which enhances the lyrical quality of the song. Anthropomorphism may take several different forms: comparison (in which animals are compared to humans in instinct and behaviour), cogniti

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21

Sacido-Romero, Jorge, and Luis Miguel Varela-Cabo. "Achilles Redivivus: "Pink Floyd: The Wall" as a Modern-Day "Iliad"." Oceánide 14 (February 1, 2021): 41–50. http://dx.doi.org/10.37668/oceanide.v14i.74.

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This article elaborates on the structural, thematic and characterological similarities between Alan Parker’s Pink Floyd: The Wall and Homer’s Iliad, reading both works as epics that revolve around the hero’s wrath, its consequences and its resolution. The argument is organised around three central topics: loss as the cause of the heroes’ inaction and suffering inflicted by an inhumane power in the context of the war; law as the foundation of a social order that redresses the balance; love as the binding force of individual and collective harmony. After introducing the central thesis and object

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22

Bratus, Alessandro. "Pink Floyd: Between Syd and the Dark Side (review)." Notes 69, no. 1 (2012): 149–50. http://dx.doi.org/10.1353/not.2012.0104.

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23

Zielińska, Aleksandra, Marta Czerwonka, and Maciej Karwowski. "Another brick in the wall? Comment on "A systematic framework of creative metacognition" by I. Lebuda & M. Benedek." Another brick in the wall? Comment on "A systematic framework of creative metacognition" by I. Lebuda & M. Benedek 47 (October 18, 2023): 159–61. https://doi.org/10.1016/j.plrev.2023.10.018.

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Creativity requires deliberate effort, some “thought control” to echo one of the greatest Pink Floyd pieces. Notably, however, this “control” comes in a constructive sense here. The framework Lebuda and Benedek offer, provides an inspiring perspective to study controllable mechanisms in creative ideation. This commentary discusses what the proposed framework actually frames. We also suggest directions that could enhance the model’s contribution and methodological challenges of its applications.

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24

Moreira, Lucas. "A DISTOPIA ANIMALESCA DE GEORGE ORWELL NO ROCK PROGRESSIVO DO PINK FLOYD." Estudos Linguísticos e Literários 1, no. 66 (2020): 26. http://dx.doi.org/10.9771/ell.v1i66.36131.

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<p>À luz das traduções intersemióticas, reaproximamos a obra literária <em>A Revolução dos Bichos</em> (Animal Farm, 1946), de George Orwell, e o álbum <em>Animals</em> (1977), da banda de rock progressivo Pink Floyd, de modo a realizarmos análises comparativas sobre as transmutações que os signos de linguagens verbais sofreram ao migrarem para um código de linguagem musical. Com o foco nos aspectos da <em>animalidade</em>, veremos como tal instinto, compartilhado entre humanos e alegorias animalescas para representar formas de poder na arte, foi trata

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25

Melançon, Jérôme, and Alexander Carpenter. "Is Progressive Rock Progressive? YES and Pink Floyd as Counterpoint to Adorno." Rock Music Studies 2, no. 2 (2015): 125–47. http://dx.doi.org/10.1080/19401159.2015.1008344.

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26

Vanheste, Jeroen. "Half a Century of Exhaustion and Madness: The Fiftieth Anniversary of Pink Floyd’s The Dark Side of the Moon." Soundings: An Interdisciplinary Journal 106, no. 1 (2023): 87–109. https://doi.org/10.5325/soundings.106.1.0087.

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Abstract This article explores the cultural critique expressed in this album: according to Pink Floyd, the pressures of modern life threaten our mental health. It is argued that this critique remains as urgent as fifty years ago, and probably even more so. The album warns us about the insanity of a highly competitive, achievement-oriented society obsessed by economic growth, which leads to ever-increasing numbers of those suffering from mental health conditions such as burnout and depression.

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27

QUADFLIEG, DIRK. "Keep talking! Über die Freiheit der Sprache mit Lévi-Strauss und Pink Floyd." Allgemeine Zeitschrift für Philosophie (AZP) 46, no. 1 (2021): 103–14. http://dx.doi.org/10.5771/0340-7969-2021-1-103.

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28

Perouansky, Misha, and Jamie W. Sleigh. "A Crack in the Wall, or How Artificial Intelligence Would Classify Pink Floyd?" Anesthesiology 135, no. 3 (2021): 548–49. http://dx.doi.org/10.1097/aln.0000000000003865.

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De Campos, Marcia Cristina Maeno. "Animals." Diacrítica 33, no. 3 (2020): 72–83. http://dx.doi.org/10.21814/diacritica.153.

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Em 1944, o escritor britânico George Orwell publicou a “nouvella” Animal Farm, traduzida em português como A Revolução dos Bichos. Através de signos fortes, como os personagens animais, dentre os quais os porcos ao longo da obra transmutam-se em humanos, e os artefatos humanos, este artigo analisa o poder destes signos nos planos narrativo e de crítica moral-filosófica da obra assim como os do disco lançado trinta anos depois pela banda de rock progressivo inglesa Pink Floyd: Animals.PALAVRAS-CHAVE: Animals, Animal Farm, signos, ideologia, releitura, práxis.

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García Pérez, Francisco Antonio. "Permanencias de la Venecia fugaz: tres actos y un epílogo en la escenografía urbana de San Marcos." ZARCH, no. 13 (September 28, 2019): 240–53. http://dx.doi.org/10.26754/ojs_zarch/zarch.2019133920.

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Se aborda el estudio de tres sucesos efímeros acaecidos en el espacio urbano más escenográfico de la ciudad de Venecia: la corta vida de una fuente construida en la Piazza de San Marcos en 1884, la inesperada caída del Campanile en 1902 y el concierto multitudinario que sobre un escenario flotante ofreció Pink Floyd en 1989. Se argumenta que cada uno de estos tres acontecimientos dejó al descubierto una serie de cuestiones relativas al tratamiento del patrimonio arquitectónico y urbano que marcarán el futuro de la imagen de la ciudad de los canales.

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31

Fuentes, Ressine, Berenice Guerrero, Ruby Montalván, Álvaro Shimabukuro, and Mateo Silva. "¡No hay nada que bailar!: Contracultura, cine musical clásico de Hollywood y ópera rock." CineScrúpulos 11, no. 1 (2023): 37–52. http://dx.doi.org/10.19083/cinescrupulos.v11i1.1920.

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En el presente artículo se analizan las películas “Jesus Christ Superstar” (Jewison, 1973), “Tommy” (Russell, 1975) y “Pink Floyd: The wall” (Parker, 1982), inspiradas en discos de ópera rock, para demostrar si presentan características que se alejan de los elementos tradicionales presentes en el cine musical clásico de Hollywood, como pueden apreciarse en las películas “Top hat” (Sandrich, 1935) y “Singin’ in the rain” (Donen y Kelly, 1952). Tras la interpretación respectiva, se detectan hallazgos de una rebelión contra lo tradicional desde la arremetida de las películas inspiradas en las ópe

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32

Broackes, Victoria. "From Nice Ideas to Their Mortal Remains: Pink Floyd at the V&A." Architectural Design 91, no. 6 (2021): 104–11. http://dx.doi.org/10.1002/ad.2759.

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33

Montenegro, Mikaela. "Análisis del concepto de aislamiento en el argumento de la película Pink-Floyd – The Wall." Index, revista de arte contemporáneo, no. 10 (December 31, 2020): 143–56. http://dx.doi.org/10.26807/cav.vi10.386.

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El proyecto de investigación gira en torno al análisis del concepto de aislamiento en el argumento de la película británica Pink Floyd The Wall de Alan Parker (1982). Para esto, se utiliza la noción de Sociedades Disciplinarias, propuestas por Michel Foucault. Se analiza los métodos de encierro en el contexto de la Segunda Guerra Mundial, en el cual la película se desenvuelve. Por otro lado, se cuestiona el aislamiento del protagonista, en su fase adulta: la película nos lo muestra como una acción voluntaria. Sin embargo, de acuerdo con las nociones de Sociedades de Control y Líneas de Segment

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34

Martins Menezes, Vitor, Emerson Ferreira Gomes, and Luís Paulo De Carvalho Piassi. "REFLETINDO SOBRE CIÊNCIAS E ASTRONOMIA ATRAVÉS DO ROCK EM UM PROJETO DE DIVULGAÇÃO CIENTÍFICA NA ESCOLA." Revista de Ensino de Ciências e Matemática 11, no. 1 (2020): 293–308. http://dx.doi.org/10.26843/rencima.v11i1.2260.

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Canções podem ser usadas na educação em Ciências a partir de atividades que privilegiam o lúdico, o dialogismo, a satisfação cultural e as interações sociais. Dessa forma, realizamos duas intervenções educacionais com as canções Space Oddity (David Bowie) e Astronomy Dominé (Pink Floyd), dentro do projeto de extensão ALICE, para estudantes de 6º ao 9º ano de uma escola municipal da Zona Leste de São Paulo-SP. As intervenções tiveram como objetivo discutir questões acerca da ciência, astronomia e suas relações histórico-sociais. Portanto, apresentaremos nesse trabalho, os resultados e análises

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35

Jackson-Barrett, Elizabeth, and Libby Lee-Hammond. "From Pink Floyd to Pink Hill: Transforming Education From the Bricks in the Wall to the Connections of Country in Remote Aboriginal education." Australian Journal of Teacher Education 44, no. 10 (2019): 35–51. http://dx.doi.org/10.14221/ajte.2019v44n10.3.

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36

Bennett, Samantha. "Behind the magical mystery door: history, mythology and the aura of Abbey Road Studios." Popular Music 35, no. 3 (2016): 396–417. http://dx.doi.org/10.1017/s0261143016000556.

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AbstractIn rock historiography, Abbey Road Studios is depicted as the rock canon's ultimate recording house; home to the Beatles, Pink Floyd and a generation of classic rock album production. In recent years, the studio has struggled to maintain itself as an operational recording house, yet effectively exploits its past to secure its future. This article considers issues of heritage, pilgrimage and tourism before elucidating brand ‘Abbey Road’ as a conflation of geographical location, zebra crossing, graffiti wall, recording house and aura. In separating the tangible aspects of Abbey Road's he

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FLINT, MICHAEL. "Crazy Diamond: Syd Barrett and the Dawn of Pink Floyd, London, New York and Sydney: Omnibus." Perfect Beat 2, no. 2 (2015): 102. http://dx.doi.org/10.1558/prbt.v2i2.28796.

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38

Van Biesen, W., F. Verbeke, and R. Vanholder. "We don't need no education ... . (Pink Floyd, The Wall ) Multidisciplinary predialysis education programmes: pass or fail?" Nephrology Dialysis Transplantation 24, no. 11 (2009): 3277–79. http://dx.doi.org/10.1093/ndt/gfp448.

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39

Bellier, Ludovic, Anaïs Llorens, Déborah Marciano, et al. "Music can be reconstructed from human auditory cortex activity using nonlinear decoding models." PLOS Biology 21, no. 8 (2023): e3002176. http://dx.doi.org/10.1371/journal.pbio.3002176.

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Music is core to human experience, yet the precise neural dynamics underlying music perception remain unknown. We analyzed a unique intracranial electroencephalography (iEEG) dataset of 29 patients who listened to a Pink Floyd song and applied a stimulus reconstruction approach previously used in the speech domain. We successfully reconstructed a recognizable song from direct neural recordings and quantified the impact of different factors on decoding accuracy. Combining encoding and decoding analyses, we found a right-hemisphere dominance for music perception with a primary role of the superi

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40

Genebra, Danilo Mendes. "Do LP ao Spotify: a instrumentalização da música em detrimento à artisticidade, mediações culturais como elementos basais na intervenção da tecnicidade." Temática 18, no. 2 (2022): 76–91. http://dx.doi.org/10.22478/ufpb.1807-8931.2022v18n2.62024.

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Este artigo busca refletir sobre a plataforma de streaming musical Spotify e sua tecnicidade que perpassa o tecido social na contemporaneidade. A nova dinâmica de acessibilidade da canção em nuvem em detrimento à artisticidade que se torna incompleta com a incipiência de elementos artísticos complementares a ela. Articula os conceitos benjaminianos de aura com os de mediações culturais de Martin-Barbero, entre outros autores e lança questionamentos sobre como se dá a experiência do usuário a partir da estética da recepção. A instrumentalização da música pensada como experiência cultural de nos

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Synieokyi, O. "The study of sessional recordings of 1962-1972 from the BBC radioarchive (The Beatles, Pink Floyd, Deep Purple)." Visnyk of Kharkiv State Academy of Culture, no. 59 (July 16, 2021): 19–32. http://dx.doi.org/10.31516/2410-5333.059.02.

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Due to the recent increase in research interest in phono documents, which were created specifically for radio, a documentary analysis of the creation of music programs of the British Broadcasting Corporation is provided. Particular attention is paid to an overview of the chronology of recording sessions for a number of selected bands from the BBC’s archival collection (1962–1972). The role of John Peel in the creation of creative music programs within the framework of “Radio 1” was noted. The study showed that the digitalization of archival space has brought new opportunities for finding lost

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42

Chua, Victor M., Joanna Gajewiak, Maren Watkins, et al. "Purification and Characterization of the Pink-Floyd Drillipeptide, a Bioactive Venom Peptide from Clavus davidgilmouri (Gastropoda: Conoidea: Drilliidae)." Toxins 12, no. 8 (2020): 508. http://dx.doi.org/10.3390/toxins12080508.

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The cone snails (family Conidae) are the best known and most intensively studied venomous marine gastropods. However, of the total biodiversity of venomous marine mollusks (superfamily Conoidea, >20,000 species), cone snails comprise a minor fraction. The venoms of the family Drilliidae, a highly diversified family in Conoidea, have not previously been investigated. In this report, we provide the first biochemical characterization of a component in a Drilliidae venom and define a gene superfamily of venom peptides. A bioactive peptide, cdg14a, was purified from the venom of Clavus davidgilm

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Oliveira, Renata Couto de Azevedo de. "Vida na Corda Bamba." Revista Eletrônica de Ciência Administrativa 20, no. 4 (2021): 764–65. http://dx.doi.org/10.21529/recadm.2021bamba.

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A imagem criada para essa edição é uma colagem digital que mostra uma pequena equilibrista andando numa corda na qual estão penduradas imagens que remetem aos exemplares literários usados nos artigos da chamada “Verso, prosa, drama e ficção: literatura e organizações”. A inspiração veio da literatura de cordel, gênero que combina literatura e arte e cujos livretos são normalmente presos à uma corda com pregadores. As chaminés entre as quais a corda se estende são da usina termoelétrica de Battersea, em Londres (Reino Unido), hoje desativada. A imagem da usina tem valor sentimental e faz parte

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Costa, Jacopo. "1968: The Beatles, Frank Zappa, the Soft Machine, Pink Floyd: Establishing the Dialogue between Experimentation and Tradition in Rock Music." Rock Music Studies 7, no. 3 (2020): 175–86. http://dx.doi.org/10.1080/19401159.2020.1792182.

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Ramadhania, Vivi Anggraini. "ANALYZING THE USE OF DOUBLE NEGATIVES IN THE LYRICS OF 15 ENGLISH SONGS." ETNOLINGUAL 6, no. 2 (2022): 80–89. http://dx.doi.org/10.20473/etno.v6i2.36913.

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English has a lot of grammar elements that are very important to note in order to be used appropriately. One of the easiest ways for English learners to learn English grammar is through the song. The song is very often used as a source of learning English because it has meaningful lyrics and interesting tones. Many of the songs in English do not follow proper grammar. This is created by the songwriter so that the rhyme produced is in accordance with the aesthetic requirements of the song. When the error is not corrected, the error will occur repeatedly both spoken and written English. This stu

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Pringuey, D. "La Sérendipité Pop de Barrett et son assise thymique." European Psychiatry 28, S2 (2013): 37–38. http://dx.doi.org/10.1016/j.eurpsy.2013.09.093.

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La perspective phénoménologique voit dans le trouble mental la manifestation des fondements, et dans la création artistique, l’expression des aspects les plus essentiels de l’expérience humaine : la souffrance du génie ne saurait-il pas mieux témoigner des ressorts nécessaires à la conduite heureuse du quotidien ? Le bonheur se dit aussi en musique et le lien du sonore, de l’harmonie et de la profondeur, pour détenir la puissance évocatrice de l’émotion originaire, peut en coûter au plan existentiel et dans son appel violent, défaire tout autant la musique que le musicien. Genèse d’une musique

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Wang, Dan, Yiping Zhang, Daliang Li, et al. "Regulation of Petal Coloration by the Auxin Amide Hydrolase Gene RhILL1 in Rose (Rosa hybrida)." Genes 16, no. 6 (2025): 691. https://doi.org/10.3390/genes16060691.

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Objective: This study aimed to elucidate the regulatory mechanism of an auxin amide hydrolase gene (IAA-Leucine Resistant1-like Hydrolase, RhILL1) in the petal pigmentation of rose (Rosa hybrida), providing theoretical insight into the hormonal regulation of flower coloration at the molecular level. Methods: Using petals at Stage 3 (S3) of the cut rose cultivar ‘Pink Floyd’ as experimental material, we cloned the rose auxin amide hydrolase gene RhILL1 and validated its function via virus-induced gene silencing (VIGS). The expression levels of anthocyanin biosynthetic genes, anthocyanin content

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Hanson, Kelly. "The Plastic People of the Universe and Utopian Performance in Tom Stoppard's Rock ‘n’ Roll." Theatre Survey 57, no. 3 (2016): 358–79. http://dx.doi.org/10.1017/s0040557416000326.

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Tom Stoppard's 2006 play Rock ‘n’ Roll revolves around the story of the Plastic People of the Universe (1968–88), an underground Czech rock band best known in the United States for their connections to Václav Havel and possibly for their ties to the Velvet Revolution of 1989 and the fall of communism in the Eastern bloc. Often tangentially referred to in progressive Western journalism, the Plastic People have come to signify a kind of subcultural capital for mainstream bourgeois writers, a way for moderate Western liberals to appear edgy and cultured. Stoppard's play draws on this popular cons

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Kuzyk, Valentyna. "Musical Culture of Ukraine against the Challenges of Time." Folk art and ethnology 4 (November 30, 2022): 17–24. http://dx.doi.org/10.15407/nte2022.04.017.

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Currently, Ukraine is living in a historically defining period of the Russian-Ukrainian war, when the feeling of national dignity and self-respect of a civilized European person is asserted in society. Comparison of the events of 1918–1921 appears constantly – the times of the first proclaimed independent Ukrainian People’s Republic, and 2022, when the enemy’s position to put an end to the Ukrainian question finally is manifested with particular aggression. The Ukrainian Republican Chapel under the leadership of Oleksandr Koshyts – the first cultural ambassador of Ukraine in Western Europe and

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Savitskaya, E. A. "Melancholy and Nostalgia in British Progressive Rock." Art & Culture Studies, no. 4 (December 2022): 396–427. http://dx.doi.org/10.51678/2226-0072-2022-4-396-427.

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The article studies the role of such cultural phenomena as melancholy and nostalgia in artistic and “ontological” aspects of rock music. The relevance of this study is due to a high frequency of occurrence of these phenomena in numerous types of modern art (there have been several research dedicated to this issue), as well as the growing popularity of “melancholic rock” in a wide audience. Of particular significance for the author in scientific understanding of the proposed topic were the works by S. Boym, V. Medushevsky, J. Starobinski, V. Syrov, T. Tsaregradskaya, W. Everett, K. Johannison a

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