Epistemologias: transversalidades nas artes da cena (Texto de Abertura)

Como podemos entender a singularidade do conhecimento em arte? Podemos pensar que uma das características do conhecimento em arte é a indissociabilidade entre teoria e prática, pois se trata de um saber-fazer, de um conhecimento pelo fazer, que envolve a capacidade de gerar pensamento e de refletir sobre o próprio conhecimento. Por isso não se trata de um conhecimento apenas técnico ou de um ofício. Trata-se de um pensamento-ação, ação que é pensamento. Podemos pensar que o conhecimento em arte – e não sobre arte - é um conhecimento que se constitui pela experiência, um conhecimento corporificado, que se manifesta também como conhecimento processual e transversal, à medida em que se compõe continuamente de múltiplos planos e aciona uma pluralidade de campos de conhecimento

A voz e a partitura : teatro musical, industria e diversidade cultural no Rio de Janeiro (1868-1908)

Orientador : Maria Clementina Pereira CunhaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias HumanasResumo: o teatro musical foi um dos primeiros momentos de formação de uma ampla e diversificada rede de produtos culturais voltados para a crescente população urbana das grandes cidades do século 19. Tornou-se um negócio lucrativo e em expansão a partir da década de 70 do século 19 no Rio de Janeiro, como exemplificam as trajetórias de alguns dos principais empresários teatrais do período e a abertura de inúmeras companhias que tinham a opereta, a mágica e a revista de ano como seus principais produtos. Voltada para o público heterogêneo das concentrações urbanas, essa nova empresa teatral desconsiderava o teatro edificante e investia na espetacularidade cênica, reunindo na produção de suas peças uma grande diversidade de sujeitos e práticas constitutivas do cenário culturaL Os artistas e profissionais envolvidos tornaram essa nova "indústria" do teatro musical um campo de diálogos e confrontos culturais, propulsor de sua popularidade. A diversidade da música popular que emergiu ou se associou a esse teatro musical encontrou distintos espaços e estratégias para sua difusão, contribuindo, principalmente através da canção popular, para a formatação de um circuito de diversão urbana massificadaAbstract: The musical comedy was one of the first forrnation moments of a vast and varied net of cultural products towards a growing urban population of the big cities of the 19th century. It became a profitable and growing business from the 70's of the 19th century in Rio de Janeiro as show the career of some of the most important impresarios of that time and the opening of several companies that had the operetta, the magic and the annual revue as their main products. Directed to a heterogeneous public of the urban masses, this new theatrical business did not take into consideration the edifying theatre and invested in the spectacularity, joining to the production of its shows a great diversity of characters and practices that made part ofthe cultural 'scenario' ofthat time. The artists and professionals involved in it made this new musical comedy 'industry' a field of cultural dialogues and confrontations, a propeller of its popularity. The diversity of popular songs that appeared or associated with this comedy theatre found different spots and strategies for its spreading, contributing, mainly through popular songs, to the setting of a mass produced entertainment circuitDoutoradoDoutor em Históri

Les Cartes et les Chemins: pratiques corporelles et transculturalité

O interesse de Grotowski por práticas de origens culturais diversas ganhou especial destaque na passagem da fase Parateatral (1969-1978) para aquela denominada Teatro das Fontes (1976-1982). Buscamos neste artigo ref letir sobre como se deu e como se concebeu essa experiência em sua dimensão transcultural a partir de práticas corpóreas presentes em diferentes culturas que se transmitem como conhecimento corporificado.Grotowski’s interest in practices from different cultures had special importance during his transition from the Paratheatre phase (1969-1978) to the so-called Theatre of Sources (1976-1982). This article deals with the way this occurred and how was conceived this experience in its transcultural dimension based on bodily practices present in different cultures and which are transmitted as embodied knowledge.L’intérêt de Grotowski pour les pratiques de différents milieux culturels s’est développé dans le passage de la phase Parathéâtrale (1969-1978) à celle qu’on appelle Théâtre des Sources (1976-1982). Cet article explique cette évolution et la façon dont cette expérience a été conçue dans sa dimension transculturelle, à partir des pratiques corporelles présentes dans différentes cultures et transmises en tant que connaissance incarnée

Les Cartes et les Chemins: pratiques corporelles et transculturalité

O interesse de Grotowski por práticas de origens culturais diversas ganhou especial destaque na passagem da fase Parateatral (1969-1978) para aquela denominada Teatro das Fontes (1976-1982). Buscamos neste artigo ref letir sobre como se deu e como se concebeu essa experiência em sua dimensão transcultural a partir de práticas corpóreas presentes em diferentes culturas que se transmitem como conhecimento corporificado.Grotowski’s interest in practices from different cultures had special importance during his transition from the Paratheatre phase (1969-1978) to the so-called Theatre of Sources (1976-1982). This article deals with the way this occurred and how was conceived this experience in its transcultural dimension based on bodily practices present in different cultures and which are transmitted as embodied knowledge.L’intérêt de Grotowski pour les pratiques de différents milieux culturels s’est développé dans le passage de la phase Parathéâtrale (1969-1978) à celle qu’on appelle Théâtre des Sources (1976-1982). Cet article explique cette évolution et la façon dont cette expérience a été conçue dans sa dimension transculturelle, à partir des pratiques corporelles présentes dans différentes cultures et transmises en tant que connaissance incarnée

YWHAE loss of function causes a rare neurodevelopmental disease with brain abnormalities in human and mouse

International audiencePurpose: Miller-Dieker syndrome is caused by a multiple-gene deletion, including PAFAH1B1 and YWHAE. While deletion of PAFAH1B1 causes lissencephaly unambiguously, deletion of YWHAE alone has not clearly been linked to a human disorder.Methods: Cases with YWHAE variants were collected through international data-sharing networks. To address the specific impact of YWHAE loss of function, we phenotyped a mouse knockout of Ywhae.Results: We report a series of 10 individuals with heterozygous loss-of-function YWHAE variants (3 SNVs, 7 deletions <1 Mb encompassing YWHAE but not PAFAH1B1), including 8 new cases and 2 follow-ups, added with 5 cases (CNVs) from literature review. While, until now, only one intragenic deletion has been described in YWHAE, we report 4 new variants specifically in YWHAE (3 splice variants and 1 intragenic deletion). The most frequent manifestations are developmental delay, delayed speech, seizures and brain malformations including corpus callosum hypoplasia, delayed myelination, ventricular dilatation. Individuals with variants affecting YWHAE alone have milder features than those with larger deletions. Neuroanatomical studies in Ywhae-/- mice revealed brain structural defects including thin cerebral cortex, corpus callosum dysgenesis, hydrocephalus paralleling those seen in humans.Conclusion: This study further demonstrates that YWHAE loss-of-function variants cause a neurodevelopmental disease with brain abnormalities

Aetiology, course and treatment of acute tubulointerstitial nephritis in paediatric patients: a cross-sectional web-based survey

Background Acute tubulointerstitial nephritis (TIN) is a significant cause of acute renal failure in paediatric and adult patients. There are no large paediatric series focusing on the aetiology, treatment and courses of acute TIN.Patients, design and setting We collected retrospective clinical data from paediatric patients with acute biopsy-proven TIN by means of an online survey. Members of four professional societies were invited to participate.Results Thirty-nine physicians from 18 countries responded. 171 patients with acute TIN were included (54% female, median age 12 years). The most frequent causes were tubulointerstitial nephritis and uveitis syndrome in 31% and drug-induced TIN in 30% (the majority of these caused by non-steroidal anti-inflammatory drugs). In 28% of patients, no initiating noxae were identified (idiopathic TIN). Median estimated glomerular filtration rate (eGFR) rose significantly from 31 at time of renal biopsy to 86 mL/min/1.73 m2 3–6 months later (p&lt;0.001). After 3–6 months, eGFR normalised in 41% of patients (eGFR ≥90 mL/min/1.73 m2), with only 3% having severe or end-stage impairment of renal function (&lt;30 mL/min/1.73 m2). 80% of patients received corticosteroid therapy. Median eGFR after 3–6 months did not differ between steroid-treated and steroid-untreated patients. Other immunosuppressants were used in 18% (n=31) of patients, 21 of whom received mycophenolate mofetil.Conclusions Despite different aetiologies, acute paediatric TIN had a favourable outcome overall with 88% of patients showing no or mild impairment of eGFR after 3–6 months. Prospective randomised controlled trials are needed to evaluate the efficacy of glucocorticoid treatment in paediatric patients with acute TIN