62 research outputs found
"Le present est plein de l’avenir, et chargé du passé" : Vorträge des XI. Internationalen Leibniz-Kongresses, 31. Juli – 4. August 2023, Leibniz Universität Hannover, Deutschland. Band 3
[No abstract available]Deutschen Forschungsgemeinschaft (DFG)/Projektnr. 517991912VGH VersicherungNiedersächsisches Ministerium für Wissenschaft und Kultur (MWK
Os casos de Ana Aragão e Catarina Sobral
Desde os anos 90, através de uma nova geração de ilustradores, assiste-se ao reavivar e
reconfigurar da ilustração em Portugal. Este período tem sido sinónimo de multiplicidade
de temáticas, estilos, géneros, meios, técnicas e materiais, com particular destaque para a
disseminação do digital.
Além da tradicional ilustração editorial, assistiu-se a uma diáspora da ilustração pelas
mais diferentes áreas: da animação ao teatro, à instalação, aos murais, à escultura, à
arquitetura, entre outras. Esta metamorfose suscitou novas problemáticas,
nomeadamente quanto à própria identidade da ilustração, enquanto área ou disciplina per
se, bem como quanto à comunhão com outras expressões artísticas. Nesse aspecto, a
ilustração mostrou ser o protótipo ideal das práticas interartes. Como tal, achou-se
pertinente abordar esta nova disciplina à luz de conceitos como intertextualidade,
intermedialidade e transmedialidade, ainda não devidamente explorados em ilustração.
Consequentemente, a hibridez detetada no domínio do estilo justificou a proposta de um
ambiente interestilístico como parte do seu carácter dialógico. Assim se percebeu a
ilustração: em expansão e aberta na sua condição matérica, mas também subjetiva.
Metodologicamente, recorreu-se à análise de múltiplos exemplos nacionais e
internacionais, culminando em dois casos específicos, selecionados de modo criterioso:
observada uma mudança de paradigma na viragem do século XX para o século XXI, com
um crescente número de mulheres ilustradoras, escolheu-se analisar as obras das
ilustradoras Catarina Sobral e Ana Aragão, precisamente, pela diferença entre os trabalhos
de ambas. No primeiro caso, mais diretamente ligado ao universo da ilustração e da
animação; no segundo caso, um exímio exemplo de compromisso com o desenho. Ambas
representam a porosidade da ilustração contemporânea portuguesa, muito construída em
torno de um carácter metafórico, mas também paródico, hiperbólico e irónico, sem receio
de recorrer ao hipertexto, à reinterpretação, às remediações e às ressignificações; nem de
conjeturar e imaginar o futuro, entre a realidade e a ficçãoSince the 1990s, we have witnessed the revival and reconfiguration of illustration in
Portugal, led by a new generation of illustrators. That new phase has been marked by a
multiplicity of themes, styles, genres, media, techniques, materials, and especially digital
dissemination.
In addition to the traditional editorial illustration, illustration has spread to many other
areas, from animation to theatre, installations, murals, sculpture, architecture, and so on.
Such a diversity has also garnered new problematics, including illustration’s own
disciplinary identity and the relationship with other artistic expressions. In that regard,
illustration is the ideal example of inter-art approaches. Therefore, it is relevant to
consider this “new” discipline in light of concepts such as intertextuality, intermediality
and transmediality, still far from explored in the context of illustration. Furthermore, the
hybridity usually associated with style justifies an approach in an inter-stylistic
environment as part of its dialogical character. Hence, illustration is perceived in an open
expansion both in material and subjective terms.
Methodologically, this study consists on the analysis of several national and
international examples, culminating in two carefully selected cases: given that there has
been a paradigm shift from the twentieth to the twenty first century, with a growing
number of female illustrators, this study considers extensively the works of Catarina
Sobral and Ana Aragão, precisely because what distinguishes them. In the first case,
Sobral’s work is closer to the world of illustration and animation; in Aragão’s case, we find
a perfect example of commitment to drawing. Both represent the porousness of
Portuguese contemporary illustration, largely built on a metaphoric character, but also
parodic, hyperbolic, and ironic. It never hesitates to resort to hypertext, reinterpretation,
remediation, and re-signification, nor to conjecture about and imagine the future,
somewhere between reality and fiction.POCH – Programa Operacional Capital Humano, comparticipado pelo Fundo Social Europeu (FSE),
pelo Programa Operacional Regional Centro, por fundos nacionais do MCTES e por fundos da União Europeia (UE)
History of Construction Cultures Volume 1
History of Construction Cultures Volume 1 contains papers presented at the 7ICCH – Seventh International Congress on Construction History, held at the Lisbon School of Architecture, Portugal, from 12 to 16 July, 2021. The conference has been organized by the Lisbon School of Architecture (FAUL), NOVA School of Social Sciences and Humanities, the Portuguese Society for Construction History Studies and the University of the Azores. The contributions cover the wide interdisciplinary spectrum of Construction History and consist on the most recent advances in theory and practical case studies analysis, following themes such as: - epistemological issues; - building actors; - building materials; - building machines, tools and equipment; - construction processes; - building services and techniques ; -structural theory and analysis ; - political, social and economic aspects; - knowledge transfer and cultural translation of construction cultures. Furthermore, papers presented at thematic sessions aim at covering important problematics, historical periods and different regions of the globe, opening new directions for Construction History research. We are what we build and how we build; thus, the study of Construction History is now more than ever at the centre of current debates as to the shape of a sustainable future for humankind. Therefore, History of Construction Cultures is a critical and indispensable work to expand our understanding of the ways in which everyday building activities have been perceived and experienced in different cultures, from ancient times to our century and all over the world
Assuming Data Integrity and Empirical Evidence to The Contrary
Background: Not all respondents to surveys apply their minds or understand
the posed questions, and as such provide answers which lack coherence, and
this threatens the integrity of the research. Casual inspection and limited
research of the 10-item Big Five Inventory (BFI-10), included in the dataset of
the World Values Survey (WVS), suggested that random responses may be
common.
Objective: To specify the percentage of cases in the BRI-10 which include
incoherent or contradictory responses and to test the extent to which the
removal of these cases will improve the quality of the dataset.
Method: The WVS data on the BFI-10, measuring the Big Five Personality (B5P), in South Africa (N=3 531), was used. Incoherent or contradictory responses were removed. Then the cases from the cleaned-up dataset were analysed for their theoretical validity.
Results: Only 1 612 (45.7%) cases were identified as not including incoherent
or contradictory responses. The cleaned-up data did not mirror the B5P- structure, as was envisaged. The test for common method bias was negative. Conclusion: In most cases the responses were incoherent. Cleaning up the data did not improve the psychometric properties of the BFI-10. This raises concerns about the quality of the WVS data, the BFI-10, and the universality of B5P-theory. Given these results, it would be unwise to use the BFI-10 in South Africa. Researchers are alerted to do a proper assessment of the
psychometric properties of instruments before they use it, particularly in a
cross-cultural setting
The Melodramatic Unconscious: The Cinematic Afterlife of Fin-De-Siècle Vienna
This dissertation centers on four auteurist films by Max Ophuls, Liliana Cavani, Nicolas Roeg, and Stanley Kubrick which turned to the artistic, intellectual, and cultural history of fin-de-siècle Vienna in order to adapt classical Hollywood melodrama for the art cinema genre. Drawing on art history, aesthetic philosophy, literary theory, and film studies, the dissertation intervenes in an ongoing discourse about the relationship between modernism and melodrama. Whereas scholars of European art cinema have tended to focus on how modernist provocateurs have appropriated Brechtian Verfremdungseffekte in order to undermine classical melodrama’s immersive emotionality and advance social critique, my project traces an alternative tradition of auteurs who engage not in a subversion rather a submersion of melodrama. Throughout the project, I develop the concept of the “melodramatic unconscious,” the aesthetic and erotic impulses that undergird melodrama’s manifest moral polarities. At the heart of the project are four films which chart turn-of-the-century Vienna’s Nachleben throughout the Cold War and post-Soviet period, when the concept of “Vienna 1900” gained purchase on the international imaginary: Ophuls’s Letter from an Unknown Woman (1948), Cavani’s The Night Porter (1974), Roeg’s Bad Timing (1980), and Kubrick’s Eyes Wide Shut (1999). Each of these films illuminates different dimensions of the melodramatic unconscious—the conceptual, the transformative, the mythical, and the seductive. In chapter one, I examine how Ophuls’s Ur-text mobilizes the conceptual properties of an indexical medium through the metaphor of the circle, the figure par excellence of the Viennese imaginary, from the Ringstraße to the Riesenrad to the waltz. In chapter two, I detail how Cavani explores the perennial melodramatic theme of victimhood through her treatment of Viennese architecture, figuring erotic desire as a neo-Secessionist force of anti-Historicist transformation. In chapter three, I demonstrate Roeg’s affinities with the ahistoricism of Gustav Klimt, Egon Schiele, and Sigmund Freud, arguing that the film’s saturation of historical citations belies its aspiration to the timelessness of myth. In chapter four, I trace Kubrick’s final gesture of a Viennese-inflected erotics of authorship, a seductive relation effected through hyper-optical form and androgynous authorial surrogacy. Detailed stylistic and narratorial analyses of these key films are situated within a constellation of other Vienna-based films, and contextualized within the broader cultural reception of Vienna 1900 in academia, the art world, and the popular press from the 1930s to the present
Leading Towards Voice and Innovation: The Role of Psychological Contract
Background: Empirical evidence generally suggests that psychological
contract breach (PCB) leads to negative outcomes. However, some literature
argues that, occasionally, PCB leads to positive outcomes.
Aim: To empirically determine when these positive outcomes occur, focusing
on the role of psychological contract (PC) and leadership style (LS), and
outcomes such as employ voice (EV) and innovative work behaviour (IWB).
Method: A cross-sectional survey design was adopted, using reputable
questionnaires on PC, PCB, EV, IWB, and leadership styles. Correlation
analyses were used to test direct links within the model, while regression
analyses were used to test for the moderation effects.
Results: Data with acceptable psychometric properties were collected from 11
organisations (N=620). The results revealed that PCB does not lead to
substantial changes in IWB. PCB correlated positively with prohibitive EV, but did not influence promotive EV, which was a significant driver of IWB. Leadership styles were weak predictors of EV and IWB, and LS only partially moderated the PCB-EV relationship. Conclusion: PCB did not lead to positive outcomes. Neither did LS influencing the relationships between PCB and EV or IWB. Further, LS only partially influenced the relationships between variables, and not in a manner which positively influence IWB
A comparison of the CAR and DAGAR spatial random effects models with an application to diabetics rate estimation in Belgium
When hierarchically modelling an epidemiological phenomenon on a finite collection of sites in space, one must always take a latent spatial effect into account in order to capture the correlation structure that links the phenomenon to the territory. In this work, we compare two autoregressive spatial models that can be used for this purpose: the classical CAR model and the more recent DAGAR model. Differently from the former, the latter has a desirable property: its ρ parameter can be naturally interpreted as the average neighbor pair correlation and, in addition, this parameter can be directly estimated when the effect is modelled using a DAGAR rather than a CAR structure. As an application, we model the diabetics rate in Belgium in 2014 and show the adequacy of these models in predicting the response variable when no covariates are available
A Statistical Approach to the Alignment of fMRI Data
Multi-subject functional Magnetic Resonance Image studies are critical. The anatomical and functional structure varies across subjects, so the image alignment is necessary. We define a probabilistic model to describe functional alignment. Imposing a prior distribution, as the matrix Fisher Von Mises distribution, of the orthogonal transformation parameter, the anatomical information is embedded in the estimation of the parameters, i.e., penalizing the combination of spatially distant voxels. Real applications show an improvement in the classification and interpretability of the results compared to various functional alignment methods
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