Film Studies

I know the meaning of plagiarism, and I declare that, this dissertation is completely my personal work without any support from any external party. The dissertation is being submitted for the degree of Master of Science in Engineering at the University of Cape Town. The dissertation has not been submitted before for any degree or examination in any other university.

De-interleaving is a critical function in Electronic Warfare (EW) that has not received much attention in the literature regarding on-line Electronic Intelligence (ELINT) application. In ELINT, online analysis is important in order to allow for e cient data collection and for support of operational decisions. This dissertation proposed a de-interleaving solution for use with ELINT/ElectronicSupport-Measures (ESM) receivers for purposes of ELINT with on-line application. The proposed solution does not require complex integration with existing EW systems or modi cations to their sub-systems. Before proposing the solution, on-line de-interleaving algorithms were surveyed. Density-based spatial clustering of applications with noise (DBSCAN) is a clustering algorithm that has not been used before in de-interleaving; in this dissertation, it has proved to be e ective. DBSCAN was thus selected as a component of the proposed de-interleaving solution due to its advantages over other surveyed...

Four major accounts of perception through a mirror are presented: two of them are unifier accounts (the entity one sees in the mirror is the same as the entity that gets refected), and two are multiplier accounts (the entity seen is distinct from the entity that gets refected: it is either a refection, or a replica thereof). Most accounts have unwanted consequences, which manifest themselves by making perception through a mirror illusory one way or another. A unifier account is defended which reconciles metaphysical sobriety with epistemic un-innocence.

This text represents the partial submission for the degree of Doctor of Philosophy at the Royal College of Art. This copy has been supplied for the purpose of research for private study, on the understanding that it is copyright material, and that no quotation from the thesis may be published without proper acknowledgement. This thesis represents partial submission for the degree of Doctor of Philosophy at the Royal College of Art. I confirm that the work presented here is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. During the period of registered study in which this thesis was prepared the author has not been registered for any other academic award or qualification. The material included in this thesis has not been submitted wholly or in part for any academic award or qualification other than that for which it is now submitted

A Remarkable Work on Sacred Spaces and Sacred Action

This is the best essay known to me by the polymathic writer and scholar Toyin Falola, unifying  the imaginative and  the intellectual,  bringing alive an  amazing sensitivity to the sacred.

The work demonstrates African aspirational genius reaching towards ultimate possibilities yet going beyond the African context in resonating profoundly with sacred space and sacred action in any zone-temporal, geographical or cultural.

The condition of the post-COVID-19 Indonesian
film industry, particularly from 2022 to 2023, shows that the
Horror and drama genres dominate the number of viewers. For
future business progress, will investors or production houses
continue to choose these two genres, or will they take other steps
in the future? Predictive analytics can minimize the risk of films
flopping, making it easier to foresee potential losses in non
horror and non-drama genres. This study leverages Indonesian
film data (2022-2023) to predict film industry trends over the
We aim to predict trends in the film industry for the next one to two years. By analyzing this data, we aim to identify
genres with enduring popularity and assess the need for
innovation in genre selection. Secondary data from
FilmIndonesia.or.id consisting of titles, genres, director, release
dates and number of viewers. Tableau application is used as an
analytical tool. The forecasting method from the menu in
Tableau is used to predict the film's condition in the future. The
Indonesian film industry shows no signs of slowing down,
attracting large audiences across genres. Horror and drama
continue to reign supreme, with dramas offering consistent
returns and horror experiencing a potential boom – though
saturation threatens its long-term viability. Innovation
approaches should be applied to stay stable or increase,
exploring fresh genres and developing unique storylines.
Sequels in either genre remain viable, but compelling narratives
are essential to captivate viewers.

T. Prasandy, E. Imanjaya and Rosidah, "Indonesia’s Thriving Film Industry: Horror & Drama Lead, but Can Innovation Outlast Saturation?," 2024 Ninth International Conference on Informatics and Computing (ICIC), Medan, Indonesia, 2024, pp. 1-5

Everything that is phenomenal becomes the basis for cinema people to become a commercial work. The Raid, this big screen film puts forward visual beauty which does have a special appeal among Indonesian film lovers. The Raid is an action genre film where challenging scenes color the contents of the film. The aesthetic meaning in the film The Raid is very much influenced by the advancement of cinematography technology and also the workers behind the scenes of the film. The shooting techniques that were carried out were of very high quality so that it was different from previous Indonesian action films such as Sang Martir, Merantau and many more. Packed with modern cinema techniques as well as totality action scenes with quality actors. The writer wants to know the visual aesthetic values contained in The Raid film, especially through verbal and nonverbal communication in interpreting the visual aesthetics of The Raid film. The key to this research is that the message (visual) captured by the audience can give the meaning of the beauty of the image on an Indonesian big screen film.

Everything that is phenomenal becomes the basis for cinema people to become a commercial work. The Raid, this big screen film puts forward visual beauty which does have a special appeal among Indonesian film lovers. The Raid is an action genre film where challenging scenes color the contents of the film. The aesthetic meaning in the film The Raid is very much influenced by the advancement of cinematography technology and also the workers behind the scenes of the film. The shooting techniques that were carried out were of very high quality so that it was different from previous Indonesian action films such as Sang Martir, Merantau and many more. Packed with modern cinema techniques as well as totality action scenes with quality actors. The writer wants to know the visual aesthetic values contained in The Raid film, especially through verbal and nonverbal communication in interpreting the visual aesthetics of The Raid film. The key to this research is that the message (visual) captured by the audience can give the meaning of the beauty of the image on an Indonesian big screen film.

In the first instance, the course introduces films of outstanding importance that have made significant contributions to the concept of 'world cinema' but are also difficult to see in this country and derive from unfamiliar film cultures. The course is then designed to introduce these film cultures, with a certain amount of interdisciplinary study, through their reflection of and contribution to contemporary political and aesthetic debates.

Wenn von nun an ein Wort auf allen Lippen haftet, so ist es wohl jenes der «Revolution». In dieser «Sattelzeit» 2 , während dieser fünf oder sechs Jahrzehnte, die das Jahr 1800 umgeben, von denen wir nicht wirklich wissen, ob es sich um ein 18. Jahrhundert handelt, das sich jenseits seiner Grenzen erstreckt oder um ein langes 19. Jahrhundert, dessen Anfänge flussaufwärts wahrnehmbar sind, in diesem zeitlichen Watt, das die Gezeiten der Jahrhunderte auf-und zudecken, und in dem sich ihre Gewässer vermischen, ist oft von Revolution die Rede. Doch dass man sich nicht darüber täuscht: es handelt sich dabei nicht um das lateinische revolutio, das den Vollzug der Bewegung der Sterne beschreibt; ebenso wenig um die mutatio, die brutale und unheilvolle Veränderungen bezeichnet oder um die moderne Wortbedeutung zeitlicher Zyklen. Nein, es handelt sich um einen neuen Sinn, um den es hier geht, ein Sinn, der sich entlang zweier Hauptzweige ausbreitet: wenn sie politisch ist (Joseph Mandrillon spricht 1782 womöglich das erste Mal von der «amerikanischen Revolution»), lässt die Revolution eine neue soziale Figur entstehen-das Volk; wenn sie technologisch ist (der Neologismus industrielle Revolution ist 1837 unter der Feder von Auguste Blanqui belegt), handelt es sich um eine Veränderung des Rhythmus, den sie herbeiführt-die Beschleunigung. 3 Der Historiker Jacob Burckhardt hat die revolutionäre Krise folglich als einen «beschleunigten Prozess» 4 definiert. In diesem Schmelztiegel der Revolutionen, in dem sich die Geburt einer neuen Welt abspielt, die von dem getragen wird, was man später die industrielle Moderne nennen wird, wird der Platz der langsamen Menschen erneut in Frage gestellt: auch wenn wir ein bisschen

This work examines the politics surrounding Indian women’s rights, illustrating how it deeply intertwines with historical narratives of marginalization and resistance. In the context of the struggle for independence from colonial rule, women's rights got enmeshed with maternal rhetoric, thereby triggering gendered notions of citizenship. The dominant rhetoric contemplated by colonial narratives and orthodox nationalist discourses framed citizenship through the prism of patriarchal motherhood to deny women control over their reproductive roles, intertwining it with the nation to symbolize Mother India. Despite their active participation in the freedom struggle, contributions to drafting the Constitution, and efforts to secure their citizenship rights, maternalism is systematically exploited to exclude women. Yet for ages, individually and collectively, women have consistently fought to reclaim their rights as citizens, striving towards feminist mothering. This work unravels these complexities of marginalization and resistance. It claims that feminist agency persists in diverse forms and calls for the reassessment of maternal politics besides rethinking legal and policy measures to support women’s ongoing struggle for citizenship rights.

Mise en Abyme is a peer-reviewed international journal dedicated to comparative literature and the arts. It is published twice yearly by Bel-Ami Edizioni (Rome). Each edition will cover a broad range of topics, making it possible for varied research interests to be featured in each volume. The journal consists of a monographic section, a miscellaneous one (from issue nr 2) and an appendix containing book and conference reviews. Thanks to its international Advisory Board, Mise en Abyme aims at reaching a global audience of scholars. Contributions are welcome in English, Italian, Spanish or French. The monographic section of the first issue is devoted to Pier Paolo Pasolini, a multifaceted author whose work encompasses a wide spectrum of arts -literature, film and theatre -, therefore making him an ideal reference for comparative studies. Because of his position as a prominent European intellectual with an interdisciplinary approach, Pasolini's work has been understood and reinvented by several artists globally. For this reason, in this issue, we have chosen to put him in the 'background' in order to analyse the connections between his production and the one of his contemporaries, as well as of the following generations.

The following contribution aims to analyse two adaptations of Pier Paolo Pasolini's Teorema, written and directed by, respectively, Grzegorz Jarzyna and Mikołaj Mikołajczyk. In the first, T.E.O.R.E.M.A.T., Jarzyna works both on Pasolini's novel and film, creating a performance composed of the distorted use of the voice, silent dialogues and proximity games, producing a highly conceptual effect. In his Wszystko jutro, czyli lalki wybawione, Mikołajczyk, on the other hand, recreates Pasolini's story as a choreographed drama, which examines the dilemmas posed by the Italian author.

Resumen: Este artículo se centra en la relación entre los poemas "Paseo de los tristes" de Javier Egea y "Le ceneri di Gramsci" de Pier Paolo Pasolini. A pesar de que el poemetto del italiano fue una referencia imprescindible para la composición de "Paseo de los tristes", las dos obras presentan diferencias notables, tanto en su organización formal como en el planteamiento estético subyacente. Palabras clave: Javier Egea, "Paseo de los tristes", Pier Paolo Pasolini, "Le ceneri di Gramsci", compromiso político. Abstract: This work focuses on the relationship between Javier Egea's "Paseo de los tristes" and Pier Paolo Pasolini's "Le ceneri di Gramsci". Despite the latter being a highly influential reference for the composition of "Paseo de los tristes", the two poems show remarkable differences, both at discourse level and in their underlying aesthetic approach. En una entrevista editada hace trein...

È difficile porre in relazioni due culture all'apparenza così distanti come quella mediterranea e del Sud Italia di Luigi Pirandello con un'altra sicuramente ascrivibile alle tendenze dell'Europa continentale e centrale di Witold Gombrowicz, ma come, ben nota Karol Karp, si tratta di una lontananza soltanto geografica se si pensa, in primo luogo, a quanto Pirandello, anche grazie al suo soggiorno berlinese, sia pienamente dentro i flussi culturali tra XIX e XX secolo e della prima metà di quest'ultimo. Karp si muove proprio nell'ambito di un dualismo e di elementi di vicinanza tra i due autori. Questo dualismo risulta ben evidente dalle prime pagine in cui si evince perfettamente l'impianto metodologico, così come le risorse bibliografiche utilizzate dall'autore, ovvero una solida base critica che fa capo a studiosi di area italiana e polacca. Così, ad esempio, contrappone Jerzy Adamski ad Adriano Tilgher, che, se è possibile muovere una piccola osservazione, non andrebbe considerato solo come "grande studioso dell'arte teatrale pirandelliana", ma il vero teorizzatore e creatore del pirandellismo, ancor più di Pirandello stesso, come fa notare Franca Angelini. Importante sottolineare, e Karp lo fa, come la creazione drammatica di Gombrowicz, benché importante, non sia tanto vasta quanto quella di Pirandello, e quindi, per trovare somiglianze tra le due produzioni, bisogna partire dalle strutture teatrali stesse dello scrittore di Girgenti. Dopo aver messo ben in risalto, quindi, quello che è lo stato dell'arte degli studi pirandelliani, con particolare riferimento agli elementi di pirandellismo che si sono propagati sino a Gombrowicz, citando opportunamente contributi di Vicentini, Puppa, Angelini, Bronowski e altri, così come l'avanzamento della critica gombrowicziana, Karp suddivide, in maniera molto funzionale, il suo lavoro in due parti: nella prima enuclea gli aspetti fondamentali del teatro di Pirandello, dal ruolo della maschera, del mito, della società sino al raissonneur; nella seconda utilizza quanto prima enunciato e va letteralmente a caccia di elementi che possano ricondurre le opere teatrali di Gombrowicz allo scrittore siciliano. È una ricerca che, sebbene affrontata anche

The present article analyses Pasolini's definition of Uccellacci e uccellini as 'ideo-comic fable'. The film has always been considered as an eccentric parenthesis in Pasolini's work, and the 'ideo-comic fable' as a bizarre, short lived, experiment. In fact Uccellacci e uccellini is the only film of its kind, but a detailed analysis of each element of Pasolini's neologism will show how rooted into Pasolini's artistic practice they all are: if political ideology has always been at the heart of Pasolini's work, the film shows a new direction, in which the director's Marxism crosses Christianity; it will be shown how Pasolini has always been surprisingly familiar with the comic genre, and finally a record will be traced of Pasolini's competence and use of fables. Such a comprehensive examination will unearth many of Pasolini's sources and its dialogue with other artists and intellectuals; finally, it aims at contributing a new approach to...

Resumen: Este artículo se centra en la relación entre los poemas "Paseo de los tristes" de Javier Egea y "Le ceneri di Gramsci" de Pier Paolo Pasolini. A pesar de que el poemetto del italiano fue una referencia imprescindible para la composición de "Paseo de los tristes", las dos obras presentan diferencias notables, tanto en su organización formal como en el planteamiento estético subyacente.

...Elles ne pourraient changer qu’en mieux.

Que faire quand les règles du jeu nous échappent? Comment dire le capitalisme en musique? Qu’entendre quand on ne peut rien y gagner?

Textes, entretien et matériaux iconographiques autour de You the Better (1983) d'Ericka Beckman

Abstrak Pada era globalisasi sekarang ini, cukup banyak pasangan kekasih yang berbeda agama. Sayangnya, pasangan beda agama di Indonesia banyak yang kurang menghiraukan mengenai landasan/hukum dari keyakinan yang mereka anut (dalam perancangan ini adalah lingkup Islam dan Katolik) serta hukum dari negara Indonesia sendiri. Oleh karena itu diperlukan media informasi untuk mengkomunikasikan landasan yang terdapat di agama Islam dan Katolik serta hukum di Indonesia. Topik perancangan ini mengadaptasi dari sebuah novel berjudul Labirin. Maka penelitian dilakukan dengan metode analisis strukturalis dan analisis unsur intrinsik dan ekstrinsik pada novel Labirin, serta observasi dan wawancara dilakukan pada pelaku pasangan beda agama, ustad, pastor, dan penulis novel Labirin. Media yang dirancang berbentuk sebuah film fiksi yang menjelaskan mengenai landasan- landasan/hukum nikah beda agama menurut Islam, Katolik serta Undang-Undang Perkawinan di Indonesia. Dalam perancangan film ini, pera...

By principle, Plato was able to carry out the ideals of life through mimesis. In this study, the extent of mimesis being the foundation of literature is put premium. The question as to whether or not time has ultimately changed the traditional mimetic concept is certainly at the fore of the conversation with respect to the 'woman' archetype which in this study undergoes simulation. The word 'simulation' having its weak propensity to mean any other than 'reinvention' bears the record of the enduring strength of time to infinitely regress. A lot of intriguing discussions arise around the concept of 'simulacra' : Eve, Edna, Magdalena along with many others against the boundless perspective of simulation. Eve through Edna in Kate Chopin's The Awakening and Magdalena in Cecilia Manguerra-Brainard's Magdalena are technically called the 'simeotic objects' as per Charles Sanders Peirce's concept in Merrell's essay (2001) . They may represent the object of woman but many of their qualities deviate from the original object---'the real object' . On a highly unpredictable note of Girard, mimesis becomes significantly stratified to highlight the different levels that explain how humans imitate or desire. Precisely attacking the unusual phenomenon of imitation as one that does not completely copy(the study's assumption) is conflictual mimesis. In the hope of elaborating on the seemingly 'avante-garde' concept of this type of mimesis, this literary investigation looks into some of the texts' elements and other modes of mimesis relative to the process of simulation.

a time when people talk about a renaissance in the arts, one hopes that the arts would be able to magnify the culture of, bring dignity to and enhance the history of Black people, who have been marginalised over centuries. Film has a huge role to play in re-enacting the struggles of the oppressed people over the epochs, and film can be a potent weapon to relive the history of revolutions. Film makers still have to portray the lives of many heroes and heroines whose quest for freedom were never adequately documented in motion pictures. South Africa still needs to make films on the lives of Sarah Baartman, Queen Nandi, Queen MaNthatisi,

We live in a world made by empires (John Darwin) – from the global hegemon, the United States and the emergent regulatory superpower known as the European Union to regional hegemons with imperial structures and ambitions like India and China and the last of the European colonial empires, Russia. In that world, culture, as Edward Said (1993) argued with a focus on literature,
is not merely a reflection of power, it is a factor shaping the political and economic order. The cultural dynamics of “empire as a way of life” (Appleman Williams, 1980) first came into view via the Frankfurt School’s critique of the culture industry in the 1950s and the debate about cultural imperialism in the following decades. The 21st century has seen indications of the emergence of a “new world order of cultural production” (Fatima Bhutto, 2019) in film, television, and music. Former peripheries like West Africa, South Asia, and East Asia now challenge the dominance of centers like Paris, London, New York, and Los Angeles. With a focus on the Hollywood film industry and on one of the poles of the “new world order,” Nigeria, this contribution argues that distribution rather than production is key to understanding the contemporary power differentials in cultural production.

In communication studies short videos, whether created with the aid of platform-specific tools, including sound files and graphics or videos uploaded to portals like YouTube, are subsumed under the category of UGC, or user-generated content, a term which has been around since the early 2000s. But these videos are undoubtedly also films, in the sense of temporal objects constituted from images and sounds. What is more, notable filmmakers and film critics in the cinephile/auteurist tradition, including Paul Schrader and Jean-Louis Comolli, insist that UGC videos—and YouTube videos in particular—are, in fact, cinema. Taking a cue from Schrader and Comolli, this contribution adopts a cinema studies perspective, that is, an approach that takes the form of film and its perceptual specificity seriously, to address the taxonomical challenge UGC videos pose to the field of cinema studies itself.

The study was aimed to analyze meaning accuracy and naturalness of Bahasa Indonesia subtitling expressions of the English slang expressions of the Tropic Thunder movie texts. The objectives of the research are (1) to determine the extent of the accuracy of slang expressions of English subtitle of Tropic Thunder movie that is represented in its Bahasa Indonesia subtitle, (2) to determine the extent of the naturalness of slang expressions of English subtitle of Tropic Thunder movie that is represented in its Bahasa Indonesia subtitle.    The study applied descriptive qualitative method. The discussion was conducted in a descriptive way. Nevertheless, the quantitative data were used to empower the finding and also to ease drawing conclusions. The researcher analyzed the data by conducting purposive sampling. Note taking technique was used in the data collection. The technique was used to analyze the accuracy and naturalness of every slang expressions that were translated into Bahasa In...

This paper as well as the projects discussed through it is based on work completed in my third year architecture studio three years ago. The studio concerned itself with thematic issues surrounding discipline and the project begins with a speculation on an urban condition, students were asked to examine abstract ideas relating to issues such as, surveillance, enclosure and control. The research undertaken resulted in an interruption of Post structural theory; it was also a product of thinking through the act of making, this interest in the physical act of making has over three years been developed as an education tool and informs all aspects of teaching, this has included at its heart the importance of the process of making as an educational tool well as the finished product and often items constructed provided the next step or direction for which the student could proceed. The brief for the project was divided in to two sections and based on the thematic ideas the main objective of the first project was to construct an installation or a series of installations which responded to occupied space and their chosen context.

The process of documentary representation must maintain a tension between the particular and the general. The appearance (or irruption) of moments of authenticity, reality, and truth in this process is the guarantee that the film operates on democratic lines, responsible at once to the individual instance and the totality.

This collection illuminates the epistemological and philosophical underpinnings of Lawrence Venuti’s seminal The Translator’s Invisibility, extending these conversations through a contemporary lens of epistemic justice while also exploring its manifestations and transposing it to different disciplines and contexts.

The volume is divided into five parts. The opening chapters provide contemporary foundations and a clear epistemological apparatus to conceptualise the debate on the translator’s visibility and explore some of the philosophical underpinnings of the debate. The following chapters offer analysis of some contemporary manifestations and illustrations of the translator’s visibility among translators and translation thinkers and restage the debate in diverse contexts – such as in European Union identity politics and Chinese Buddhist translation – and disciplines – such as film studies. A final chapter takes stock of the impact of machine translation to critically reflect on the future of translation and translator studies.

This book will be of interest to students and scholars in translation and interpreting studies, philosophy, cultural studies and literary studies, as well as the humanities more broadly.

Ban, Sonay. 2025. “2000 Sonrası Türkiye’deki Film Festivallerinde Kurmaca ve Belgesel Filmlere Uygulanan Sansür.” sf. 193-221. Değişen Sinema, Değişen Seyirci: Film Festivalleri ve Alternatif Arayışlar, der. Önder Özdemir. İstanbul: Nota Bene Yayınları.

This paper examines the conditions of possibility for realism in several fields of contemporary culture-literature, painting, film, and TV news. It is argued that contemporary texts mobilize novel resources for the representation of the real. Realism in these works no longer takes the form of a seemingly self-evident mirroring of the world. Instead, the work of representation unfolds along several axes-fact-finding, metadiscourse, contractual negotiation, and praxis. Accordingly, contemporary realist texts display a hybrid make-up, mingling elements of classical mimesis and postmodernism. The essay indicates how this complex set of representational strategies informs alternative film-making (David Cronenberg's eXistenZ, Lisa Cholodenko's High Art), live TV news coverage of the 2003 Iraq campaign, and Michael Moore's documentaries.

Liebe Leser*innen, die von Kerstin Brandes und Marietta Kesting herausgegebene 75. Ausgabe der FKW // Zeitschrift für Geschlechterforschung und visuelle Kultur erscheint unter dem Titel Landschaft, Wetter, Kraut und Kritter -Anthropozän-Diskurs und Visuelle Kultur und nimmt die sich gegenwärtig beständig beschleunigende Dynamik des ohnehin nicht unproblematischen Anthropozän-Diskurses in den Blick. Sie fragt danach, wie ein Haraway'sches staying with the trouble aussehen könnte -was Ästhetik, Visuelle Kultur und darauf bezogene Theoriebildung tun können, wenn der Verstrickung mit extraktivistischen Praktiken und Bedingungen niemals gänzlich zu entkommen ist. Es ist das Anliegen des Heftes, zu einem Neu-Lesen, einem Recycling von Theorien, Bildern, Texten und Visualisierungen einzuladen und auf diese Weise eine Nachhaltigkeit theoretischer Konzepte und wissenschaftlicher Erkenntnisse zur Diskussion zu stellen. Mit "Landschaft", "Wetter", "Kraut und Kritter" sind in diesem Zusammenhang drei betont lakonische Kon/Figurationen fokussiert, die gegenwärtig in wissenschaftlichen Debatten und Tagesnachrichten gleichermaßen präsent sind. Die sieben Artikel von insgesamt zehn Autor*innen stellen sehr unterschiedliche Auseinandersetzungen mit der Thematik dar. In den Analysen künstlerischer Projekte, historischer Fachzeitschriften und theoretischer Positionen werden zumindest eines -oft auch mehrere -der Titelthemen verhandelt. Einige der Themen und gedanklichen Ansätze wurden bereits in dem inspirierenden FKW-Heft Nr. 72 Storying Otherwise von Anja Zimmermann und Smillo Ebeling (2023) angesprochen, das die Rolle von (visuellen) Narrativen in der Wissenschaftskommunikation zu Gender und Diversität thematisierte und -wie auch hier -explizit Bezug auf Donna Haraway nahm, die zu den aktuell wahrscheinlich meistzitierten Denker*innen in den kritischen kulturwissenschaftlichen Fächern gehört. Wir empfehlen es gerne für eine erneute Lektüre! Die dem aktuellen Heft beigefügte künstlerische Edition any breeze, any grain of light wurde von Sandra Schäfer gestaltet. Begleitet wird die Edition durch ein Gespräch zwischen der Künstlerin und Marietta Kesting. Nicht zuletzt sind zwei Buchrezension und eine Ausstellungsbesprechung mit von der Partie, die den Heftschwerpunkt thematisch bereichern.

Gomes que aceitou orientar esta dissertação e acompanhou, no ritmo adequado às circunstâncias, que muito bem compreendeu, mantendo sempre a chama acesa do entusiasmo. Contagiou. Aos Directores dos Agrupamento de Escola e Escolas não agrupadas que tiveram a gentileza de disseminarem o questionário pelos docentes das suas Escolas. Sem a sua preciosa colaboração, dificilmente teríamos um feedback tão abrangente e significativo. Aos professores que, de Norte a Sul do país, prescindiram de alguns minutos do seu lazer para responderem ao questionário. A importância que lhe atribuíram foi bem visível, não só pelo número de respondentes no curto espaço de tempo em que se manteve aberto, mas sobretudo pelas contribuições apresentadas, nas respostas abertas, indiciadoras de ponderação e disponibilidade para o seu preenchimento. À Leninha, à Gininha e à Dianinha, a razão de ser dos meus dias, que não reclamaram a minha atenção quando me viam imerso num mudo "virtual". Aos meus pais que, sem me poderem acompanhar ou ler, estão sempre presentes. Continuo a palmilhar as "pegadas do meu futuro que tão carinhosamente moldaram, num arco-íris silencioso de cumplicidade comigo". As transformações produzidas pelas TIC, e particularmente pela internet, de acesso cada vez mais generalizado nos lares portugueses, revolucionaram o nosso quotidiano e penetraram intensamente os comportamentos individuais e colectivos e as relações interpessoais. As extraordinárias virtualidades disponibilizadas pelas TIC trazem consigo potenciais riscos, também eles enormes, se usadas de forma abusiva ou indevida. A nossa investigação inseriu-se nesse potencial de riscos e conflitos de natureza social a que estão expostos os professores. O tema -"Cyberbullying sobre os professores -Uma realidade escondida"apresentou-se como relevante e inovador, no contexto português, pela gravidade das repercussões no quotidiano emocional e social dos professores e na organização escolar onde estão inseridos. Com o presente estudo, exploratório, descritivo, utilizando uma abordagem do tipo quantitativa, pretendemos contribuir para desocultar o problema e fazer uma primeira aproximação à dimensão e às características deste fenómeno, perceber qual é o seu impacto sobre as vítimas e percepcionar o interesse que o fenómeno suscita. A recolha de dados deste estudo foi realizada através dum inquérito por questionário online, ao qual responderam 3 426 professores. Um terço dos professores declarou já ter sido alvo de cyberbullying (34%), facto comprovado, em termos de conhecimento dos casos, por 14% dos colegas. O Cyberbullying sobre os professores é essencialmente praticado por alunos, mas existe uma elevada percentagem de ocorrências perpetradas por pais ou encarregados de educação e outros docentes. O impacto emocional sobre as vítimas é arrasador e tem enormes repercussões na sua vida familiar e profissional.

Films and texts differ in terms of their possible logical structures and freedom of presentation on an output medium. While texts can be structured at any depth, the capabilities for structuring films are generally limited. In the presentation of textual documents, the sentence order is usually preserved, whereas video documents often allow rearrangements that lead to new alternations of shots. The fundamental difference between textual and video structures is taken as a starting point. Then, based on a detailed analysis of two different layouts of the film The Sunbeam by D. W. Griffith, a formal criterion for distinguishing between internal, discursively motivated and external, diegetically motivated alternations is developed. The results enable a new approach to alternation in film analysis and production.

Turk-Islam kulturunde, basta Kur’an-i Kerim tilaveti olmak uzere; ezan, sala, tekbir ve mevlit gibi formlarin usulune uygun olarak ve melodik bicimde seslendirilmesi oldukca onemlidir. Ozellikle ezanin makamsal bir yapida ve etkili bicimde okunmasinin toplumsal onemi herkes tarafindan kabul edilmektedir. Degisen kosullar icinde imam-hatip ve muezzinlerden olusan din gorevlilerinin bu kapsamdaki talep ve beklentileri de giderek daha belirgin hale gelmektedir. Din gorevlileri icin oncelikli olarak ezani melodik icra esnasinda teknik zorlanma olmaksizin ve makamina uygun bicimde seslendirmek mesleki ve dini bir zorunluktur. Ayni zamanda Kuran-i Kerim tilaveti ve diger dini musiki icrasi gereken durumlarda, muezzinlerin ses-nefes kullanimi ve makamsal icra sirasinda karsilastiklari guclukler de siklikla ifade edilmektedir. Bu calismada; Kastamonu ili, Şenpazar ilce merkezi ve koylerinde gorev yapan din gorevlileri ile yapilan gorusme sonucunda, imam ve muezzinlerin temel ses-nefes-diksi...

We give a classification theorem for certain four-dimensional families of geometric λ-adic Galois representations attached to a pure motive. More precisely, we consider families attached to the cohomology of a smooth projective variety defined over Q with coefficients in a quadratic imaginary field, non-selfdual and with four different Hodge-Tate weights. We prove that the image is as large as possible for almost every λ provided that the family is irreducible and not induced from a family of smaller dimension. If we restrict to semistable families an even simpler classification is given. A version of the main result is given for the case where the family is attached to an automorphic form.

This article is the third and last part of a series of three articles about compatible systems of symplectic Galois representations and applications to the inverse Galois problem. This part proves the following new result for the inverse Galois problem for symplectic groups. For any even positive integer n and any positive integer d, PSp n (F ℓ d ) or PGSp n (F ℓ d ) occurs as a Galois group over the rational numbers for a positive density set of primes ℓ. The result is obtained by showing the existence of a regular, algebraic, self-dual, cuspidal automorphic representation of GL n (A Q ) with local types chosen so as to obtain a compatible system of Galois representations to which the results from Part II of this series apply. MSC (2010): 11F80 (Galois representations); 12F12 (Inverse Galois theory).

We prove that for any Hecke eigenform f of level 1 (i.e., an eigenform on the complex upper-half plane with respect to SL 2 (Z)) and arbitrary weight there is a self-dual cuspidal automorphic form π of GL 6 (A Q ) corresponding to Symm 5 (f ), i.e., such that the system of Galois representations attached to π agrees with the 5-th symmetric power of the one attached to f . We also improve the base change result that we obtained in a previous work: for any newform f , and any totally real number field F (no extra assumptions on f or F ), we prove the existence of base change relative to the extension F/Q. Finally, we combine the previous results to deduce that base change also holds for Symm 5 (f ): for any Hecke eigenform f of level 1 and any totally real number field F , the automorphic form corresponding to Symm 5 (f ) can be base changed to F .

This provocation details varied perspectives of the International Women's Broadcasting Histories (IWBH) network on researching the role of women in broadcasting. The conversational form allows us to roam across the topic widely, to express a range of discrete positions and distinct arguments, with the desire to bring dilemmas to the surface and explore their implications without reduction. Responding with a series of interventionist statements around the issues and challenges of doing archival research into women's work, we opt for retaining different viewpoints in a raw state, with the aim of provoking discussion about the methodological opportunities and limitations when working within and outside of archives.

This research paper seeks to study the juxtaposition of antithetical forces in the text The Fault in Our Stars penned down by John Green. The research centers on the characters' quest for finding an answer to the meaninglessness, attempts for filling the void, facticity, existential angst, and ultimate despair in the framework of the philosophy of 'Existentialism' posited by Jean-Paul Sartre. All the major characters in the novel are cancer patients, living a dismal and distressing life under the looming shadow of death. In an existential vein, the protagonists set out on a journey of self-exploration and choose to eke out a momentary optimism from their pessimistic situations. While battling with the terminal disease, Hazel Grace Lancaster and Augustus Waters engage in an emotional liaison that becomes a redeeming force in their traumatized existence. This research will study how love becomes a life force, an antithetical force juxtaposed with death and devastation. The...

Para Rose, Érica, Renan e Eloise, que compreenderam as renúncias para a concretização desta etapa; Ao meu orientador Stélio Torquato Lima, que se tornou um grande amigo; Ao Ronaldo Correia de Brito, esta homenagem cearense. AGRADECIMENTOS Meus mais sinceros agradecimentos, Ao Professor Stélio Torquato Lima, meu orientador, pelo apoio e direção, pela simplicidade e amizade; Aos professores do Programa de Pós-Graduação em Letras da UFC pela contribuição em sala de aula, revelando, cada um a sua maneira, uma fração do universo infindo que é o conhecimento; À Rosemary Monteiro de Paiva Vasconcelos, minha esposa, pela confiança e incentivo, e por sempre acreditar que eu posso e devo ir mais longe; Aos colegas de sala de aula, pelo companheirismo, pelas conversas e compartilhamento de ideias, ao longo da jornada acadêmica. A literatura está do lado da modernidade. E nós perdemos "identidade" se atravessarmos a fronteira tradicional: é isso que dizem os preconceitos de caçadores da virgindade étnica e racial. Não me lembro muito de mim mesmo, pois somos principalmente o nosso próprio esquecimento tornado memória.

VASCONCELOS, Carlos Roberto Nogueira de. Sertao de Pedra e Argila: Tradicao, Ruptura e Modernidade no Romance Galileia, de Ronaldo Correia de Brito. 2013. 92f. – Dissertacao (Mestrado) – Universidade Federal do Ceara, Programa de Pos-graduacao em Letras, Fortaleza (CE), 2013.