Bibliographies: 'Marfa, Texas' – Grafiati (2024)

Abstract:

En su más reciente libro de poesía, Marfa, Texas (2015), la poeta mexicana Coral Bracho festeja la pulsión matéricadel lenguaje poético, su capacidad de hacerse presente como instancia liminar del espacio del poema: la lenguainscrita en el ámbito del poema se convierte en percepto, un dispositivo perceptual de emergencia del sentidoobservable como tensión poemática. El enfoque neurofenomenológico y la hermenéutica se consideran como redesde conocimiento, que generan campos de mostración donde la identidad se difumina en virtud de que el observadorse incluye en el hábitat de observación. Esto se lleva a cabo al vertebrar el topos de inserción básica que seríaespacio poemático por medio de las posibilidades del lenguaje para captar el instante y densificarlo.

Abstract:

Trilobites occur in two generically distinct faunas in the Permian strata of West Texas. The stratigraphically lower fauna, composed of Ditomopyge decurtata (Gheyselinck), Ditomopyge sp., Triproetus angustus n. sp., Triproetus tumidus n. sp., Triproetus altasulcus n. sp., is present in Wolfcampian and early Leonardian strata. The stratigraphically upper fauna, present in late Leonardian and Guadalupian strata, is comprised of Delaria antiqua (Girty), Delaria granti n. sp., Delaria brevis n. sp., Delaria westexensis n. sp., Delaria chinatiensis n. sp., Novoameura vitrumons n. sp., Anisopyge perannulata (Shumard), and Anisopyge cooperi n. sp.The lower fauna originated in the late Pennsylvanian, inhabited shallow-water environments, was relatively pandemic, and is interpreted to have become extinct as a result of marine regression during the early to middle Leonardian. The endemic upper fauna originated in deep waters of the Marfa and Delaware Basins during the late Leonardian, and, concurrent with sea level rise, migrated and diversified into the shelf-margin reefs of the late Leonardian and Guadalupian. Regression during the Late Permian resulted in extinction of this second Permian trilobite fauna.

Abstract:

We got already used to adapted industrial architecture as a reliable architectural setting for a museum or a cultural centre. Former industrial objects have the ability to provide expected architectural expression/expressiveness together with optimal functionality. The characteristic schematic profile of a factory as well as museum of art saw-tooth roof signifies a part of genetics the mentioned types of buildings have in common. What is the situation of former military objects and areas? Do they have a potential comparable to the industrial architecture? Military estates can represent an ideal donor of a spatial setting for cultural centre or a museum. We’re not dealing with a recent direction in architectural evolution – the project of sculptor Donald Judd in Marfa in American Texas begun to rise already in the 70-ties of the 20th century. Some time later the area Hombroich in Germany begun to develop and it has been systematically evolved since then until nowadays. In both cases we can see generous or even landscape-like defined areas based on their character. In 2013 open “Kulturpark Košice” realized within the “European Capital of Culture – Košice 2013” event represents a different point of view to this problematic. Not only has the design and the former adapted military objects a different dating but above all by its urban context in which it exists. In any case these examples of successful conversions show on one hand the potential of former military objects or areas that lost their former use on the other hand these projects are an inspirational perspective of how these forgotten or even seemingly dead buildings and areas can revive again.

Abstract:

Este artigo tem o objetivo de explorar conceitos e pesquisas oriundos dos estudos críticos sobre relações étnico-raciais (em especial das Ciências Sociais) e verificar como eles podem ser mobilizados no campo da Educação. A análise parte da discussão dos conceitos de raça e racismo para analisar os conceitos de: racismo institucional; racialização; preconceito racial de origem e preconceito racial de marca. Discute a eclosão dos conceitos, as proposições de autoras/es que os formularam, as disputas e contradições apresentadas na literatura sobre seu uso, suas potencialidades ou limites para a pesquisa no campo da educação. Conclui que os conceitos de racismo institucional e de racialização são ferramentas conceituais consistentes e bastante relevantes para a pesquisa em educação das relações étnico-raciais no Brasil. Em relação ao “preconceito racial de origem” e “preconceito racial de marca”, sua análise auxilia na compreensão dos processos de construção e algumas especificidades do racismo no Brasil.

Abstract:

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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
This research has arisen out of the interest to study the trajectory of the Hungarian born,naturalized Brazilian dancer and teacher, director and choreographer Maria Duschenes (1922-2014). Our interest is in the historic aspects as well as in the artistic and pedagogical ones. Wepresent the enfoldments of her work in the introduction and development of modern dance inBrazil. Duschenes worked in São Paulo from decades of 1940 to 1990 and had an importantrole in the reception, introduction and development of the labanian´s and dalcrozean´sproposals in Brazil. Despite its great importance, her intellectual, artistic, pedagogical,political and social work has been little explored in the academic field. Duschenes wove websof knowledge evolving important names of the artistic european avant guard: in Budapest, shestudied at Olga Szentpal`s school (1895-1968) in Jaques Dalcroze’s perspective (1865-1950) and with Aurel von Millos (1906-1988), both crossed by labanians´s knowledge; inEngland, with Rudolf Laban (1879-1958) and his collaborators and partners Kurt Jooss(1901-1979), Sigurd Leeder (1902-1981) and Lisa Ullmann (1907-1985). Drawn in theseuniverses, Duschenes developed as an axis of her work the improvisation of the movementaiding with transformations in the artistic scene, in pedagogy, in research, in therapy and inrehabilitation. For that purpose this is a work of qualitative and exploratory nature, whichincludes field research as well as documental research. It has being built with the objective oftracing the vestiges left by Duschenes as well as the vestiges and memories of her formerstudents and her collaborators, through the means of interviews, conversations and classes aswell as video, essays and documents analyses. This research begins weaving the paths thathave subsidized her formation, making its way towards the bases and propositions which havecomposed her trajectory of work, from the decades of 1940 to 90. In sum, this studyunderstands that the continuity, the potentiality and the unfolding of the unique manner of herwork in Brazil is constituted by overlaying of diversified performing levels, which arecomposed by the intensities of her own presence in her life and art performances.
Essa pesquisa nasceu do interesse de estudar a trajetória da dançarina e professora, diretora ecoreógrafa húngara, naturalizada brasileira, Maria Duschenes (1922-2014) nos aspectoshistórico, artístico e pedagógico apresentando os desdobramentos de seu trabalho naintrodução e desenvolvimento da dança moderna no Brasil. Duschenes atuou, em São Paulo,entre as décadas de 1940 e 90, tendo um importante papel na recepção, introdução edesenvolvimento das propostas labanianas e dalcrozeanas no Brasil. Apesar da importânciaímpar, seu trabalho intelectual, artístico, pedagógico, político e social foi pouco explorado nomeio acadêmico. Duschenes teceu teias de conhecimento que envolvem nomes relevantes davanguarda artística europeia: em Budapeste, estudou na escola de Olga Szentpál (1895-1968),na perspectiva de Jaques Dalcroze (1865-1950) e com Aurel von Milloss (1906-1988), ambosatravessados por conhecimentos labanianos; e na Inglaterra, com Rudolf Laban (1879-1958) eseus colaboradores e parceiros, Kurt Jooss (1901-1979), Sigurd Leeder (1902-1981) e LisaUllmann (1907-1985). Desse mergulho formativo Duschenes desenvolveu como eixo de seutrabalho a improvisação de movimento, colaborando com transformações na arte, pedagogia,pesquisa, terapia e reabilitação. Esse é um trabalho de natureza qualitativa e explorativa, queenvolve pesquisa documental e de campo, trilhando indícios e memórias deixados por ela epor suas/seus importantes alunas(os) e colaboradoras(es) em entrevistas, conversas, aulas,análises de vídeos, artigos e documentos. Essa pesquisa aborda o cenário histórico, cultural eartístico que teceu seus caminhos de formação e atuação, em especial, as espacialidadesconstruídas em sua casa/estúdio e as propostas pedagógicas e artísticas desenvolvidas entre asdécadas de 1940 e 90. Esse estudo compreende que a continuidade, potencialidade e odesdobramento, de forma singular de seu trabalho, no Brasil, se constituiu pela sobreposiçãode camadas diversificadas compostas pela intensidade de sua presença nas performances devida e arte.

Abstract:

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2009.
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Esta dissertação é um estudo sobre a dramaturgia de Maria Adelaide Amaral, analisada a partir dos trânsitos com a literatura e a produção teledramatúrgica da autora e pensada no contexto da autoria feminina na dramaturgia brasileira e na História do teatro brasileiro contemporâneo. O recorte analítico é formado pelas peças De Braços Abertos fruto de um romance inacabado, lançado posteriormente com o título de Luísa, Quase Uma História de Amor e Tarsila, que inspirou e foi adaptada para sua minissérie Um Só Coração, transmitida pela Rede Globo de Televisão. ___________________________________________________________________________________________ ABSTRACT
This is a study about the dramaturgy of Maria Adelaide Amaral, that was analyzed considering the transit between her literature and television work and thought from the context of Brazilian female playwrights and the History of the Brazilian contemporary theatre. It analyses two of her plays: De Braços Abertos wrote from an undone novel which was after published with the title Luísa, Quase Uma História de Amor and Tarsila, that inspired and was adapted to the TV drama Um Só Coração, broadcasted by Globo Television.

Abstract:

Preservation of Architectural Heritage listed on the Brazilian Register of Historic Sites an issue widely discussed nowadays presupposes questions which are not always addressed by professionals involved in the preservation field. One of these questions is raising funds for maintenance of such historic sites as well as approaching these constructions and their respective communities, since it is possible to see in the cities routine the existing failures in the compliance with preservation regulations which cannot, by themselves, ensure preservation of these elements responsible for materializing memories and experience obtained throughout History. Nevertheless, the lack of preservation awareness, widely spread in our society, also shows the population lack of knowledge about History and the importance of these urban elements which not only illustrate the past of cities, but also define the identity of citizens living in these towns. These cultural definitions of the subjects may be reinforced, redefined or even produced by the different media languages that appear and/ or are reinvented according to progress coming from research, technology advances, and new possibilities of interaction, among others. Accordingly, this paper aims at promoting the set of historic buildings under preservation laws in Santa Maria through the stamping technique, inspired by the formal features of these buildings architecture. Thus, identity bonds between the city s population and its historic buildings are strengthened. In addition, an income source is proposed for maintenance and preservation of these sites. As it is common knowledge, we only value what we know.
A preservação do Patrimônio Arquitetônico Tombado, pertencente às cidades brasileiras - assunto tão debatido na atualidade -, pressupõe questionamentos que nem sempre são abordados pelos profissionais envolvidos na área de preservação. Um deles é a obtenção de verba para a manutenção dos bens tombados, bem como a aproximação entre essas construções e suas respectivas comunidades, já que é possível averiguar no cotidiano das urbes, as falhas existentes no cumprimento das leis de tombo que não conseguem assegurar, por si só, a garantia de preservação desses elementos responsáveis por materializar as memórias e vivências obtidas no decorrer da história. Não obstante, a falta de uma consciência preservacionista, amplamente disseminada na sociedade, também demonstra a falta de conhecimento das populações acerca da história e da importância desses elementos urbanos que ilustram não só o passado das cidades, mas também definem a identidade dos indivíduos que nelas habitam. Essas definições culturais sobre os sujeitos podem ser reforçadas, refeitas ou até mesmo fabricadas pelas diferentes linguagens midiáticas que surgem e ou se reinventam ao sabor dos progressos obtidos através de pesquisas, avanços tecnológicos, novas possibilidades de interação, entre outros. Nesse sentido, o presente trabalho surge com o intuito de divulgar o conjunto de prédios históricos tombados de Santa Maria, através da técnica de estamparia, inspirada nas características formais da arquitetura desses prédios, buscando, assim, reforçar os laços identitários entre a população da cidade de Santa Maria e seus prédios históricos, bem como propor uma fonte de renda para a manutenção e preservação desses bens, pois, como é de conhecimento popular, só valorizamos aquilo que conhecemos. .

Abstract:

Spanish composer María Teresa Prieto (1895-1982) belongs to a group of Spanish exiles who left their country for Mexico as a result of the Spanish Civil War. She arrived in Mexico in 1936 and developed her compositional career in there. Her first composition after her arrival in the new country was the song cycle Seis Melodías, a work that includes six songs with poetry by Ricardo de Alcázar, Juan Ramón Jiménez, Federico García Lorca, and María Teresa Prieto herself. This document analyzes each one of the songs, both musically and poetically, as well as the relationship between music and text. Seis Melodías' structural organization as a cycle is very particular, since Prieto organized the cycle in pairs—namely I and II, III and IV, and V and VI—each group with strong poetic and thematic unity. The songs belonging to this cycle, present the duality of being independent and dependent at the same time, given that each song stands by itself, but together they create a meta-narrative that progresses from hope to desolation, not as a political statement, but as a homage to, as well as a lament, for the Spanish land and freedom. The cyclical nature of this work is accomplished by Prieto through motivic unity, a clear harmonic plan, and poetic relationships between the songs.

Abstract:

In the present thesis I will analyse the phenomenon of the shaping of identity in African and Canadian postcolonial texts. In the world of the texts, this phenomenon occurs when colonial subjects are caught between tradition and modernity. The African texts that I will discuss are Chinua Achebe's Things Fall Apart and James Ngugi's The River Between, which I will compare to the Canadian Métis texts, Maria Campbell's Halfbreed and Beatrice Culleton's In Search of April Raintree. The primary goal of this thesis will be to compare these different texts in order to find the different methods chosen by each author in his or her representation of the space in which the colonial subject evolves and his or her reaction to the changes brought by colonisation. The methodology followed throughout the thesis will consist of a comparative and postcolonial analysis and historical contextualisation."--Résumé abrégé par UMI.

Abstract:

At the turn of the fourteenth century (1295-1301), the Florentine Dominican Remigio de’ Girolami produced a collection of essential texts connected to events in Florentine politics that present the testimony of a well-informed intellectual directly involved in the Communal crises. This article proposes to analyze, as a case study, the influence of Remigio’s five sermons on Florentine communal life. His preaching in reaction to the crises shaking Florence happened in dialogue with the institutions and citizens of the Commune. It bears witness to the interactions between Santa Maria Novella and the city of Florence and contributes to the development of the political philosophy of its time.

Abstract:

This article presents the critical editions of two texts: a letter by the Duke of Milan Filippo Maria Visconti (but written on his behalf by Pier Candido Decembrio) sent to Poggio Bracciolini on 28 July 1438; and the response written by Poggio on 15 September. Poggio’s letter contains a brief treatise in praise of Florence and of the Florentina libertas. The documents illuminate a crucial episode in the history of Italian Humanism. The article opens with the discussion of these two letters in their wider historical and intellectual context: on the one hand, the characteristically Florentine «civic humanism» which constitutes the background of Poggio’s positions; on the other, the political and cultural competition between Florence and Milan during the first half of the 15th century.

Abstract:

This brief epilogue begins by looking at the current development of the little art colony at Marfa, Texas, then extends a consideration of the little art colony in the U.S. past mid-century. By this time, the growth of the modern tourist industry had largely overwhelmed the places examined in this study and, as the local economies expanded and diversified beyond arts tourism and became physically and financially accessible to the masses, their reputations as vital little art colonies became diluted and faltered. As a model of possibility, however, the little arts community seems to have spawned two significant iterations that continue to be alive and well in the twenty-first century: the widespread, not-for-profit, artist residency program that fosters cross-pollination across the arts and the ubiquitous ‘arts district’ of cities eager to attract and capitalize on the creative class as part of a development and investment plan. the sketches out the salient features of each that draw from the model of the modern little arts colony and considers the effects of institutionalization in each instance.

Abstract:

In chapter 4 Maria Angela Diaz focuses on a short-lived incident called the Cart War of 1857, which took place in Central Texas. The war consisted of a series of attacks on Mexican-Texan cart drivers who transported goods back and forth between the Gulf Coast ports of Texas and San Antonio. The attacks, likely executed by whites interested in taking over the trade of cart-driving, reveal much about both the racial and class hierarchies that existed in the borderlands of the American South in the antebellum era and the struggles of Mexican Texans to fit into that landscape.

Abstract:

Daughter Zion (Lam 1–2) is often read as a rape victim. Furthermore, and unlike most biblical victims of sexual violence, she has a voice in the text. As a result, there is a pronounced tendency in the scholarship to treat Daughter Zion as an ideal and praiseworthy victim/survivor. However, this representation is both problematic and contradicted by Daughter Zion’s own speech in Lamentations 1–2. In response, this chapter argues for Daughter Zion as a “gritty” survivor with a fuzzy, messy, and icky survival story. Her story is further illuminated when read together with other survivor texts, including Queering Sexual Violence (edited by Jennifer Patterson), Leah Lakshmi Piepzna-Samarasinha’s Care Work: Dreaming Disability Justice, and Carmen Maria Machado’s In the Dream House. Together, these stories form a “survivor archive,” building on Ann Cvetkovich’s description of queer and affective archives.

Abstract:

La imagen tiene una posición fundamental en la comunicación global contemporánea. Pero ¿cuál es la relación entre su mensaje y la receptiva sociedad actual? Tras la tradicional interpretación iconológica de Panofsky, alejados de la imagen como signo, nuevos argumentos han enriquecido actualmente las posibilidades de análisis de las imágenes. Retomando la que a nuestro juicio resulta una interesante y afortunada interpretación de Ana María Guash, utilizaremos el argumento de cómo los nuevos “estudios visuales” apoyan la relectura y la reinterpretación de imágenes, desde unos nuevos códigos que atienden a factores tan interesantes como la relación con el espectador en su determinado contexto. Nuestro estudio retomará uno de los temas cruciales para la Vanguardia del siglo XX, la negación y destrucción del paradigma del espacio perspectivo tridimensional, y presentaremos el recurso plástico de la anamorfosis tratado desde la óptica del arte contemporáneo como una tipología de imagen que, sirviéndose de la ambigüedad, ofrece la posibilidad de establecer mensajes múltiples y lecturas complejas. La obra de dicho artista funcionará como paradigma de revelación contra los mensajes impuesto por los mass media, evidenciando la posibilidad de generar nuevos códigos para el análisis de las imágenes.http://dx.doi.org/10.4995/ANIAV.2017.4828

Abstract:

Introdução: A busca de estratégias educacionais que gerem consciência ecológica são demandas presentes para o aprendizado efetivo em Educação Ambiental. A Educação de Jovens e Adultos (EJA) no contexto de ensino remoto por conta do período pandêmico de Covid-19, trouxe um desafio novo: como promover reflexão sobre os processos ecológicos em estudantes que acabam de retornar aos estudos e já se encontram afastados do ambiente escolar? Em tempos em que, o país e o planeta presenciam enormes alterações ambientais que comprometem o equilíbrio do planeta é necessário oferecer atividades de ensino que promovam atitudes de preservação e de redução dos desequilíbrios ambientais. Porém, para o desenvolvimento da consciência ambiental é necessário entender que somos sujeitos-agentes do ecossistema que vivemos. Objetivo: Nessa proposta, foi desenvolvido uma sequência didática chamada nossa “NOSSA MARCA NO MUNDO”, composta por atividades que fazem um percurso para entender como funcionam as dinâmicas ecológicas na vida do planeta, como todas as ações são interdependentes, e as relações de nós com o que consumimos. Material e métodos: A sequência didática apresentada foi realizada com estudantes do Curso Técnico em Comércio Integrado ao Ensino Médio modalidade PROEJA via ensino remoto. As atividades foram aplicadas em etapas: a) Cálculo da Pegada Ecológica e de Carbono; b) Ecossistemas; c) Ciclos biogeoquímicos: Carbono; d) Mudanças Climáticas e Consumo; e) O plástico nosso de cada dia. Em cada etapa foram elaborados e distribuídos materiais de leitura, atividades práticas e discussão dos temas em encontros síncronos. Resultados: Cada atividade gerou informações sobre hábitos dos estudantes, permitindo a autoanálise de seu lugar no mundo e como nossas ações deixam rastros e causam impactos negativos. A partir desse ponto, os estudantes assumiram papel ativo com ações pessoais e domésticas na geração de impacto positivo na redução do desequilíbrio ambiental. Entre as ações dos estudantes apareceram: composteira doméstica, adoção de sacolas ecológicas e escolha de produtos com menos plásticos. Conclusão: A proposta permitiu, mesmo em ensino remoto, que os estudantes da modalidade EJA visualizassem e repercutissem a importância da consciência coletiva nas mudanças de comportamento de consumo que inevitavelmente deixa marcas no mundo.

Abstract:

La globalización estética es un proceso en el que las tendencias culturales y artísticas, sin perder sus características y peculiaridades locales, se ven inmersas en el circuito global compartiendo lenguajes, intenciones y espacios. Este arte de la era global tiene como marca histórica inicial la caída del muro de Berlín y previamente el nacimiento de movimientos sociales que reivindican la igualdad entre los hombres y los derechos humanos, como “Negritud” o el “Movimiento de Países No Alineados”. En el arte occidental del siglo XX hay numerosos movimientos que aluden al primitivismo del “otro”. El arte naif, el primitivismo, el surrealismo, el expresionismo abstracto, el informalismo o el art brut, Sin embargo, en el arte de la era global, el giro etnográfico se distingue de estos movimientos por la autoconciencia de sí mismo y la integración de las especificidades culturales. Se ha producido un desplazamiento de los temas centrales del arte, pasando del giro político-económico (la brecha entre el capitalismo y el comunismo) a la identidad cultural. Más sencillamente, se traslada la problemática de lo social a lo cultural y antropológico. Asistimos pues, en la era del arte globalizado y el mundo hipercomunicado, a una desterritorialización de las identidades culturales que se reproducen gracias al reconocimiento y la asimilación de las raíces del “otro”. Los flujos migratorios y los nomadismos voluntarios perfilan nuevas formas de creación y pensamiento manifestándose en una miscelánea etnográfica que puede ser representada en un único hilo discursivo. La figura encargada de generar este significado y conjugar el mestizaje cultural será el artista radicante. El artista radicante se expresa en nombre del otro cultural o étnico, no desestima sus creencias, ideas o culturas originarias sino que las transcodifica y las pone en escena en contextos y formatos heterogéneos.http://dx.doi.org/10.4995/ANIAV.2017.4868

Abstract:

The article is an introduction to an individual research subject called The Communicational Potential of Silence, planned – and partially already realised since 2020 – as a cycle of publications based on diversified example material. In print are already two texts: G. Filip, The Communicational Potential of Silence. Film Reviews (University of Rzeszów Publishing House) and G. Filip, The Communicational Potential of Silence. Automotive Brand Press Maria Curie-Skłodowska University of Lublin Publishing House). The presented here English-language article serves for popularization Poland-wide and local (University of Rzeszów) research in the field communications.