Suchergebnisse

Το άρθρο επικεντρώνεται στη διερεύνηση της σχέσης μεταξύ της κοινωνικής διαστρωμάτωσης και της κατανάλωσης πολιτισμού και, συγκεκριμένα, της εξόδου για την παρακολούθηση παραστάσεων θεάτρου και χορού και της επιλογής είδους τους. Τα ευρήματα ερμηνεύονται με αναφορά στην αντιπαράθεση μεταξύ των θεωρητικών σχημάτων της «διάκρισης» (Μπουρντιέ), της «παμφαγίας» (Peterson), της μετανεωτερικής προσέγγισης καθώς και της, πιο πρόσφατης, θεωρίας της «παραφωνίας» (Lahire). Κεντρική επιλογή της έρευνας αποτελεί η νέο-βεμπεριανή προσέγγιση του status και της κοινωνικό-οικονομικής τάξης ως θεμελιωδών και διακριτών διαστάσεων της διαστρωμάτωσης. Τα ευρήματα υποδεικνύουν την ύπαρξη μηχανισμού «διάκρισης» κατά το μπουρντιεακό πρότυπο, δίχως όμως να υφίσταται η συστηματική «ομολογική» σχέση μεταξύ τάξης και κουλτούρας, την οποία αυτό εισηγείται. Διαπιστώνονται, επίσης, ισχνές μόνον τάσεις προς παμφαγική και παράφωνη καταναλωτική συμπεριφορά.

PhD research is based on two French language plays of 20th century, Jean-Claude Brisville's and Bernard da Costa's.These two contemporary writers present the conversation between exquisite personalities, who had a great impact on 17th, Descartes-Pascal, and on 18th century, Frédéric-Voltaire. The research method of our study is Lucien Goldmann's dialectic method, the genetic structuralism, which we use in order to analyze at first these charismatic personalities of 17th and 18th century and then to study the writers of 20th century. We tried to have a double Goldmann's approach, not only concerning the historical personalities, these ones both of philosophers and of philosophy amateurs, but also concerning the writers of 20th century. We proceed to the study of life- that means the attitude and the mentality of both heroes, always according to Goldmann's theory on which the whole approach is based. There is also a summary of each play so that we exam each conversation or better each debate between two historical figures, source of inspiration for both contemporary writers. These two plays reflect the philosophers' points of view of classical era at first and then of the French Enlightenment, through the debate between two personalities of each play, concerning not only their way of life but also their way of thinking and attitude. Consequently, we face both common points and different ones which make us accomplish a profound research. Under these conditions, the genetic structuralism is completed thanks to biographic information that Goldmann himself supports so that the writer-historian enriches all the aspects that he analyses independently his object. In conclusion, the debate analysis between two significant spirits helps us to conceive their philosophical ideas, political and social ones which represent not only their era but also the 20th century. According to genetic structuralism, we arrive to discover the vision of world, especially the tragic one that these two writers adopt through their plays, ...

After the fall of the communist regimes in East European countries a new trend has arisen among literary and theatrical circles of the West of a strong curiosity for and fascination with the opening up "dark mysteries" of East European politics and cultures. How do western eyes visualize and translate such intra-European cultural differences? In what ways does western theatre represent these close but only recently fully disclοsed "other" European cultures and for what ends? Βy analyzing the case of four major British plays which deal with the sweeping sociopolitical changes in ex-Eastern Block countries and which were produced on the London stage in 1990 and 1991, Ι want to argue that in the process of this intra-European cultural transference an analogous cultural slippage occurs (implying various degrees of intentionality and complicity) as in the much more discussed intercultural practices between First and Third World that have been systematically brought to our attention though the recent bloom of postcolonial theory. ; Μετά την πτώση των κομμουνιστικών καθεστώτων στις χώρες της Ανατολικής Ευρώπης μια καινούργια τάση παρουσιάστηκε, μια ισχυρή περιέργεια και μαγνητική έλξη προς τα μόλις αποκαλυπτόμενα σκοτεινά μυστήρια της ανατολικοευρωπαϊκής πολιτικής και κουλ­τούρας. Πώς βλέπουν οι Δυτικοί και πώς μεταφράζουν τέτοιες ενδοευρωπαϊκές πολιτι­σμικές διαφορές; Με ποιους τρόπους το δυτικό θέατρο αναπαριστά αυτές τις γειτονικές αλλά μόνο τώρα πλήρως προσπελάσιμες κουλτούρες και με ποιους σκοπούς; Αναλύοντας την περίπτωση τεσσάρων σημαντικών Αγγλικών θεατρικών έργων που ασχολούνται με τις πρόσφατες κοινωνικοπολιτικές αλλαγές στις χώρες του τέως Ανατολικού Μπλοκ και τα οποία παρουσιάσθηκαν στη σκηνή του Λονδίνου το 1990 και 1991, θέλω να αποδείξω ότι στη διαδικασία αυτής της ενδοευρωπαϊκής πολιτισμικής μεταφοράς συμβαίνουν ανάλογα πολιτισμικά ολισθήματα (που υπονοούν ποικίλους βαθμούς σκοπιμότητας και συνοχής), όπως στις πολύ εμφανέστερες διαπολιτισμικές πρακτικές μεταξύ Πρώτου και Τρίτου Κόσμου, στις οποίες ...

Various aspects of the origin, evolution and present condition of African-American theatre and drama haνe long been within the range of attention of literary scholars in the former Soviet Union. In the 1920s and 1930s the Soviet critics' interest in Black culture was fostered by its pronounced social undertones. The revival of this interest in the late 1950s coincided with the new and exceptionally productive stage in the evolution of Black theatre in the USA which was immediately connected with the important role which theatre and drama played in the Black revolution. In the 1960s and 1970s Soviet scholars addressed, first and foremost, the problem of correlation and balance between art and ideology, examining the ways the Black protest movement was reflected in works by African American dramatists. The focus in current studies in Black theatre is eventually shifting from politics to the arts, as researchers tend today to concentrate on such issues as the folk roots of African American theatre, its diverse uses of popular traditions, its African and European influences and its dramatic techniques, both verbal and non-verbal. ; Πολλές πλευρές της αφετηρίας, της εξέλιξης και της σημερινής κατάστασης του αφρο-αμερικανικού θεάτρου έχουν απασχολήσει εδώ και πολύ καιρό τους κριτικούς της λο­γοτεχνίας στην πρώην Σοβιετική Ένωση. Κατά τις δεκαετίες του 1920 και 1930 το εν­διαφέρον των Σοβιετικών κριτικών για τη Μαύρη κουλτούρα διαμορφωνόταν από τις έντονες κοινωνικές του προεκτάσεις. Η αναβίωση αυτού του ενδιαφέροντος κατά τα τέλη της δεκαετίας του 1950 συνέπεσε με τη νέα και ιδιαίτερα παραγωγική φάση στην εξέλιξη του Μαύρου Θεάτρου στις ΗΠΑ, που συνδέθηκε κατ' ευθείαν με το σημαντικό ρόλο που έπαιξε το θέατρο στη Μαύρη επανάσταση. Κατά τις δεκαετίες του 1960 και 1970 οι Σοβιετικοί άνθρωποι των Γραμμάτων αντιμετώπισαν κατά κύριο λόγο το πρόβλημα της συσχέτισης και ισορροπίας μεταξύ τέχνης και ιδεολογίας, εξετάζοντας τους τρόπους που το κίνημα της Μαύρης διαμαρτυρίας αντικατοπτρίστηκε στα έργα των Αφροαμερικανών ...

This work is intended to crisis the widespread idea that women have only been victims or, in the worst case, acquiescent witnesses, passive complicit in the violence of the latest Argentinian military dictatorship. According to the author, culture in general and theatre in particular reproduce this idea by omitting the leading role of women in such repressive practices. To this end, the author focuses his analysis on three works by Eduardo Pavlovsky: Mr Galíndez, including Tercero and Potestad. ; Este trabajo pretende poner en crisis la idea generalizada de que las mujeres sólo han sido víctimas o, en el peor de los casos, testigos aquiescentes, cómplices pasivas de la violencia de la última dictadura militar argentina. Según la autora, la cultura en general y el teatro en particular reproducen esta idea al omitir el protagonismo femenino en dichas prácticas represivas. Para ello, la autora focaliza su análisis en tres obras de Eduardo Pavlovsky: El señor Galíndez, Tercero incluido y Potestad.

In autumn 2009, Professor Raimund Vogels (Hochschule für Theater und Musik de Hannover) and I set up a Franco-German workshop analysing Musiques du Monde festivals. With around 15 PhD students from different universities, we carried out a comparative study of the Creole Weltmusik aus Deutschland festival (Berlin) and the Villes des Musiques du Monde (Seine-Saint-Denis) festival. I set out here two difficulties with this survey: one methodology, the other ontological. I favour two points of view, that of the researchers who are investigating and that of the cultural operators planning. This article does not seek to meet the ideal of completeness that makes many of the description operations ambitious. Here, the description test is reduced, depending on the Goodmanian non-exceedable objection, to a depiction test: we disagree with what we have learned in advance (Goodman, 1992: 11 et seq.). This article would like to contribute to a hermeneutical theory of festival analysis. While it shows that we are unable to build a general theory of festivals, he explains certain conditions for a fairer grasp of the challenges of a "world music festival" in this globalised world that we live in common. ; International audience ; In autumn 2009, Professor Raimund Vogels (Hochschule für Theater und Musik de Hannover) and I set up a Franco-German workshop analysing Musiques du Monde festivals. With around 15 PhD students from different universities, we carried out a comparative study of the Creole Weltmusik aus Deutschland festival (Berlin) and the Villes des Musiques du Monde (Seine-Saint-Denis) festival. I set out here two difficulties with this survey: one methodology, the other ontological. I favour two points of view, that of the researchers who are investigating and that of the cultural operators planning. This article does not seek to meet the ideal of completeness that makes many of the description operations ambitious. Here, the description test is reduced, depending on the Goodmanian non-exceedable objection, to a ...

PERZO Laurianne Cultural Express, No 4, 2020, Children in power! Practices and representations of adult free worlds ; International audience ; PERZO Laurianne Cultural Express, No 4, 2020, Children in power! Practices and representations of adult free worlds ; PERZO Laurianne Cultural Express, n°4, 2020, Les Enfants au pouvoir ! Pratiques et représentations des mondes sans adultes

International audience Non-indigenous terrestrial flatworms (Platyhelminthes) have been recorded in thirteen European countries. They include Bipalium kewense and Dolichoplana striata that are largely restricted to hothouses and may be regarded as non-invasive species. In addition there are species from the southern hemisphere such as the invasive New Zealand flatworm Arthurdendyus triangulatus in the United Kingdom, Eire and the Faroe Islands, the Australian flatworm Australoplana sanguinea alba in Eire and the United Kingdom, and the Australian Blue Garden flatworm Caenoplana coerulea in France, Menorca and the United Kingdom. The United Kingdom has some twelve or more non-indigenous species most of which are Australian and New Zealand species. These species may move to an invasive stage when optimum environmental and other conditions occur, and the flatworms then have the potential to cause economic or environmental harm. In this paper, we report the identification (from morphology and molecular analysis of COI sequences) of non-indigenous terrestrial flatworms found in a hothouse in Caen (France) as the New Guinea flatworm Platydemus manokwari de Beauchamp, 1963 (Platyhelminthes, Continenticola, Geoplanidae, Rhynchodeminae). Platydemus manokwari is among the "100 World's Worst Invader Alien Species". Lists of World geographic records, prey in the field and prey in laboratories of P. manokwari are provided. This species is considered a threat to native snails wherever it is introduced. The recent discovery of P. manokwari in France represents a significant extension of distribution of this Invasive Alien Species from the Indo-Pacific region to Europe. If it escaped the hothouse, the flatworm might survive winters and become established in temperate countries. The existence of this species in France requires an early warning of this incursion to State and European Union authorities, followed by the eradication of the flatworm in its locality, tightening of internal quarantine measures to prevent further spread ...

Up to the turn of the 18th century, forest resources in Sweden were mainly exploited in the southern part of the country. A rationalisation programme was established at a very early stage and Sweden entered the era of silviculture by placing trees at the centre of the nation's economic system. The favourable economic climate led to silvicultural activities moving northwards, where large forests were logged right from the early 19th century and their products sold on the international market under the supervision of shrewd businessmen that belonged to prominent merchant families. ; Ayant principalement exploité la ressource forestière dans sa partie méridionale jusqu'à la charnière du XIXe siècle, la Suède met très tôt en place une politique de rationalisation et entre de fait dans l'ère de la sylviculture plaçant l'arbre au coeur du système économique national. La conjoncture internationale favorable engendre une translation des activités sylvicoles depuis le Sud du pays vers le Nord où les grandes forêts sont exploitées dès le début du XIXe siècle pour le marché international sous le contrôle d'hommes d'affaires avisés issus des grandes familles commerçantes.

Summary This article addresses the experience of the survival of political prisoners in the Chacabuco prison camp during the Chilean civil-military dictatorship, through theatre artistic practice, between 1973 and 1974. By way of hypothesis, the theatre allowed prisoners to diminish the drama and temporarily build different realities, suspending the reality imposed and creating other alternatives. The main question is how the dramatic corpus of Mario Molina, written during his arrest, generated survival strategies and conditions for interpreting the new extraordinary events that were occurring. Mario Molina's theatre in writing, scene and reception is analysed from its own dramaturgy, as well as from the testimonial camp. ; Resumen El presente artículo aborda la experiencia de la sobrevivencia de los presos políticos en el Campo de Prisioneros de Chacabuco durante la dictadura cívico-militar chilena, a través de la práctica artística teatral, entre 1973 y 1974. A modo de hipótesis se plantea que el teatro permitió a los presos mermar el drama y construir transitoriamente realidades diferentes, suspendiendo la realidad impuesta y creando otras alternativas. La pregunta principal es de qué manera el corpus dramático de Mario Molina, escrito durante su detención, generó estrategias de supervivencia y condiciones para interpretar los nuevos hechos extraordinarios que estaban sucediendo. El teatro de Mario Molina en cuanto a escritura, puesta en escena y recepción se analiza desde su propia dramaturgia, así como desde el campo testimonial.

ional tradic media have adopted Twitter by another channel by which to disseminate their information and reach out to digit audiences. The purpose of this study is to analyse the characteristics of the tweets published by the Spanish tours for 12 months during which two electoral processes take place, in order to verify the differences in the use of this platform according to the content of the coverage and the stage in which it is published. The research is based on a native-based methodology, implementing an analysis of the computational content of Twitter publications by the two types of media between 2015 and 2016. The results reveal one or more promotional tools such as hashtag or media mentions with fewer followers. Political information is also characterised by the fact that it contains a larger number of candidates' statements and statements, occasionally during the election campaign, encouraging the emergence of echo chambers in the political sphere on Twitter. Traditional media sources have adopted Twitter as a channel to broadcast information across digital audits. This study has been the objective of analogue the characteristics of the tweets published by Spanish media sources during the twelve months in which Presidential electoral processes took place. This was done to test the differences in the use of this platform, according to the content of the coverage, and the phase in which it was published. Our research uses a quantitative methodology, where we used Computerised content analysis for Twitter publications that different average made during 2015 and 2016. Our results revealed a promotional use of tools such as the hashtag, or lies in media with less folders. At the same time, political information was chartered by holding a stronger use of lies and statements by the candidate, especially during the election campaigning, favoring the creation of echo chambers in the political Twittersphere. ; Los medios de comunicación tradic ionales han adoptado Twitter c omo otro canal por el que difundir su ...

This article reflects on the link between art and technology from a communicational perspective. At first, it problematizes about the relationship of technology with artistic practices understood as part of a historical process which is previous than computer and even photography. We refer to the photography because it is generally considered the first articulation between visual art and technology. In a second stage, we take two artistic experiences that are constructed from the link between software and hardware. The article problematizes the relationship with the public and the conception of art as a game (Gadamer; 1991). The final reflection brings the political dimension to the complex relationship between art and technology. ; El presente artículo reflexiona en torno al vínculo entre el arte y la tecnología desde una mirada comunicacional. En un primer momento, se problematiza acerca de la relación de las tecnologías con las prácticas artísticas entendiéndola como parte de un proceso histórico anterior a la informática e, incluso, a la fotografía, generalmente pensada como uno de los primeros momentos de tecnologización de lo artístico en el campo del arte visual. En un segundo momento, se retoman y analizan, desde este marco conceptual, dos experiencias artísticas que se construyen a partir del vínculo con softwares y hardwares. Se problematiza la relación con los públicos y la concepción del arte como un juego (Gadamer; 1991). La reflexión final aporta la dimensión política y complejiza la mirada acerca de la relación arte-tecnología. Facultad de Periodismo y Comunicación Social

Summary: In this article, we intend to investigate some aspects of Manuel González Prada's anarchist ideology, analysing his prosa articles, published in the Peruvian liberal press of the first decade of the 20th century. In the centenary of his death, it is important to be able to answer two questions, which are indeed one. What did González Prada have to tell him the workers who read or otherwise arrived in the press? What ideas did you receive from him at this stage of Peruvian anarchy? ; Resumen: En el presente artículo nos proponemos indagar sobre algunos aspectos de la ideología anarquista de Manuel González Prada, analizando sus artículos en prosa, publicados en la prensa libertaria peruana de la primera década del siglo XX. En el centenario de su muerte, es importante poder responder dos preguntas, que son en verdad una. ¿Qué tenía González Prada para decirle a los trabajadores que leían o a los que les llegaba de otras maneras esa prensa? ¿Qué ideas recibieron de él en esta etapa formativa del anarquismo peruano?

252 258 328 ; S ; [EN] Pentachlorophenol solutions in tap water were treated with a combined process of zero valent iron (ZVI) reduction followed by a photo-Fenton oxidation. Commercial steel wool was used as ZVI source, demonstrating its effectivity for pentachlorophenol de-chlorination at acidic pH values. The reductive pathway was monitored by the use of excitation emission matrices, showing the transformation of the initial compound into the fluorescent species 4-chlorophenol and phenol. While the use of tap water represented a drawback in photo-Fenton oxidative reactions (at least half kinetic constants values) an improvement was achieved when the reductive stage was applied in the studied pH range. The transformation of pentachlorophenol into phenol produced an increase in oxidative stage rate of about 8 times. This fact could be related to the treatment time and hydrogen peroxide consumption of the photo-Fenton process, enhancing the economic viability. Furthermore, the de-chlorination of the pentachlorophenol minimized the possibility of releasing toxic by-products in the photo-Fenton process. Authors want to acknowledge the financial support of Spanish Ministerio de Economia y Competitividad (CTQ2015-69832-C4-4-R), European Union (645551-RISE-2014, MAT4TREAT). Santos-Juanes Jordá, L.; García-Ballesteros, S.; Vercher Pérez, RF.; Amat Payá, AM.; Arqués Sanz, A. (2019). Commercial steel wool used for Zero Valent Iron and as a source of disolved iron in a combined red-ox processfor pentachlorophenol degradationm in tap water. Catalysis Today. 328:252-258. https://doi.org/10.1016/j.cattod.2019.01.007