Annual Report 2012
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Pessoa's Names
JOHN FROW “A Nonexistent Coterie”: Pessoa’s Names A narrative begins at the end of a journey, at a place where “the sea ends and the earth begins. It is raining over the colorless city. The waters of the river are polluted with mud, the riverbanks flooded. A dark vessel, the Highland Brigade, ascends the somber river and is about to anchor at the quay of Alcântara.”1 A passenger disembarks, a certain Doctor Ricardo Reis, aged 48, born in Oporto and arriving from Rio de Janeiro, as we learn when he signs the register at the Hotel Bragança. He has returned to Lisbon after receiving a telegram from a fellow poet, Álvaro de Campos, informing him of the death of their friend Fernando Pessoa. Reading through the newspaper archives, Dr Reis finds an obituary that reports that Pessoa died “in silence, just as he had always lived,” and it adds that “[i]n his poetry he was not only Fernando Pessoa but also Álvaro de Campos, Alberto Caeiro, and Ricardo Reis. There you are,” the narrator continues, an error caused by not paying attention, by writing what one misheard, because we know very well that Ricardo Reis is this man who is reading the newspaper with his own open and living eyes, a doctor forty-eight years of age, one year older than Fernando Pessoa when his eyes were closed, eyes that were dead beyond a shadow of a doubt. No other proofs or testimonies are needed to verify that we are not dealing with the same person, and if there is anyone who is still in doubt, the narrator persists, let him go to the Hotel Bragança and check with the manager, a man of impeccable credentials (23-24). -
An Examination of Translators' Subjectivity in Literary Translation
An examination of translators’ subjectivity in literary translation MC Cachucho 23152370 Dissertation submitted in fulfillment of the requirements for the degree Magister Artium in Language Practice at the Vaal Triangle Campus of the North-West University Supervisor: Dr Ella Wehrmeyer May 2017 DECLARATION Student number 23152370 I declare that AN EXAMINATION OF TRANSLATORS’ SUBJECTIVITY IN LITERARY TRANSLATION is my own work, and that all the sources that I have used or quoted have been indicated and acknowledged by means of complete references. ___________________ ___________________ SIGNATURE DATE (Ms) Celina Cachucho i ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the following people who have helped me throughout this arduous, yet incredible journey toward the completion of this study: Dr. Ella Wehrmeyer, my supervisor and mentor – for your constant support, enduring patience, motivation, enthusiasm and wisdom throughout the study. Your guidance and encouragement were my pillar of strength in times of despair; Prof. Bertus Van Rooy – for your insightful comments and suggestions; Prof Jan-Louis Kruger – for your kindness, understanding and vision. Without it, this journey would have not been possible. my husband Manuel, and children Eduardo, André and Fábio – for your invaluable support, patience and love; friends and family – for encouraging me to persevere throughout this endeavour. Your support and understanding was much appreciated. staff and colleagues in The School of Languages NWU – for your interest in this study and for the encouragement to pursue it; my editors Natasha Ravyse and Sarita Antunes for their insightful corrections and suggestions; my dear parents who are no longer with me, but especially my mother – for instilling in me a great love for knowledge; last, but certainly not least, God – for His infinite love and grace. -
Artists' Lives
National Life Stories The British Library 96 Euston Road London NW1 2DB Tel: 020 7412 7404 Email: [email protected] Artists’ Lives C466: Interviews complete and in-progress (at January 2019) Please note: access to each recording is determined by a signed Recording Agreement, agreed by the artist and National Life Stories at the British Library. Some of the recordings are closed – either in full or in part – for a number of years at the request of the artist. For full information on the access to each recording, and to review a detailed summary of a recording’s content, see each individual catalogue entry on the Sound and Moving Image catalogue: http://sami.bl.uk . EILEEN AGAR PATRICK BOURNE ELISABETH COLLINS IVOR ABRAHAMS DENIS BOWEN MICHAEL COMPTON NORMAN ACKROYD FRANK BOWLING ANGELA CONNER NORMAN ADAMS ALAN BOWNESS MILEIN COSMAN ANNA ADAMS SARAH BOWNESS STEPHEN COX CRAIGIE AITCHISON IAN BREAKWELL TONY CRAGG EDWARD ALLINGTON GUY BRETT MICHAEL CRAIG-MARTIN ALEXANDER ANTRIM STUART BRISLEY JOHN CRAXTON RASHEED ARAEEN RALPH BROWN DENNIS CREFFIELD EDWARD ARDIZZONE ANNE BUCHANAN CROSBY KEITH CRITCHLOW DIANA ARMFIELD STEPHEN BUCKLEY VICTORIA CROWE KENNETH ARMITAGE ROD BUGG KEN CURRIE MARIT ASCHAN LAURENCE BURT PENELOPE CURTIS ROY ASCOTT ROSEMARY BUTLER SIMON CUTTS FRANK AVRAY WILSON JOHN BYRNE ALAN DAVIE GILLIAN AYRES SHIRLEY CAMERON DINORA DAVIES-REES WILLIAM BAILLIE KEN CAMPBELL AILIAN DAY PHYLLIDA BARLOW STEVEN CAMPBELL PETER DE FRANCIA WILHELMINA BARNS- CHARLES CAREY ROGER DE GREY GRAHAM NANCY CARLINE JOSEFINA DE WENDY BARON ANTHONY CARO VASCONCELLOS -
Tate Report 2010-11: List of Tate Archive Accessions
Tate Report 10–11 Tate Tate Report 10 –11 It is the exceptional generosity and vision If you would like to find out more about Published 2011 by of individuals, corporations and numerous how you can become involved and help order of the Tate Trustees by Tate private foundations and public-sector bodies support Tate, please contact us at: Publishing, a division of Tate Enterprises that has helped Tate to become what it is Ltd, Millbank, London SW1P 4RG today and enabled us to: Development Office www.tate.org.uk/publishing Tate Offer innovative, landmark exhibitions Millbank © Tate 2011 and Collection displays London SW1P 4RG ISBN 978-1-84976-044-7 Tel +44 (0)20 7887 4900 Develop imaginative learning programmes Fax +44 (0)20 7887 8738 A catalogue record for this book is available from the British Library Strengthen and extend the range of our American Patrons of Tate Collection, and conserve and care for it Every effort has been made to locate the 520 West 27 Street Unit 404 copyright owners of images included in New York, NY 10001 Advance innovative scholarship and research this report and to meet their requirements. USA The publishers apologise for any Tel +1 212 643 2818 Ensure that our galleries are accessible and omissions, which they will be pleased Fax +1 212 643 1001 continue to meet the needs of our visitors. to rectify at the earliest opportunity. Or visit us at Produced, written and edited by www.tate.org.uk/support Helen Beeckmans, Oliver Bennett, Lee Cheshire, Ruth Findlay, Masina Frost, Tate Directors serving in 2010-11 Celeste -
Teresa Solar
PRESS KIT TERESA SOLAR TRAVESIA CUATRO revistavanityfair.es 4/04/2021 Cultura Patrizia Sandretto, la Peggy Guggenheim italiana que ama España: "A las mujeres no se les dio el espacio para administrar los negocios familiares, y se enfocaron en la cultura" Es una de las mayores coleccionistas de arte contemporáneo de Europa. Patrizia Sandretto habla sobre cómo empezó su pasión por el arte, de su casa palacio de Turín y de los planes de abrir una sede de su fundación en Madrid. POR Ianko López 4 DE ABRIL DE 2021 · 08:32 Una vez que Patrizia Sandretto Re Rebaudengo (Turín, 61 años) iba en taxi hacia el centro de Palermo pasó frente a un enorme letrero de Hollywood, reproducción exacta del que corona las colinas californianas (solo que plantado en lo alto del mayor basurero de Italia). Le preguntó al taxista quién demonios había puesto eso ahí, y la respuesta que obtuvo fue: “¿No lo sabe? ¡Sylvester Stallone, por el rodaje de su próxima película!”. Dio por buena la respuesta porque al fin y al cabo era la verdad del arte, y se calló lo que sabía del asunto. En realidad, era una obra del artista conceptual Maurizio Cattelan que formaba parte de la Bienal de Venecia de 2001 y que la propia Patrizia había financiado a través de su Fundación Sandretto Re Rebaudengo. Meses antes, en la inauguración, había fletado un avión de Venecia a Palermo, llevando a bordo al quién es quién de la gran familia internacional del arte, capitaneada por Cattelan y el comisario de La Biennale, Harald Szeemann. -
Contradictions of the Estado Novo in the Modernisation of Portugal: Design and Designers in the 1940'S and 50'S
“Design Policies: Between Dictatorship and Resistance” | December 2015 Edition CONTRADICTIONS OF THE ESTADO NOVO IN THE MODERNISATION OF PORTUGAL: DESIGN AND DESIGNERS IN THE 1940'S AND 50'S Helena Barbosa, Universidade de Aveiro ABSTRACT The period of Portuguese history known as the Estado Novo (1933-1974) presents a series of contradictions as regards the directives issued, possibly resulting from a lack of political cohesion. Considering the dichotomy between modernization and tradition that existed between the 1940s and ‘50s, and the obvious validity of the government’s actions, this paper aims to demonstrate the contradictory attitudes towards the modernization of the country via different routes, highlighting the role of ‘designers’ as silent interlocutors and agents of change in this process. Various documents are analysed, some published under the auspices of the Estado Novo, others in the public sphere, in order to reveal the various partnerships that were in operation and the contrasting attitudes towards the government at the time. Other activities taking place in the period are also analysed, both those arising from state initiatives and others that were antithetical to it. The paper reveals the need to break with the political power in order to promote artistic and cultural interests, and describes initiatives designed to promote industry in the country, some launched by the Estado Novo, others by companies. It focuses upon the teaching of art, which later gave rise to the teaching of design, and on the presence of other institutions and organizations that contributed to the modernization of Portugal, in some cases by mounting exhibitions in Portugal and abroad, as well as other artistic activities such as graphic design, product design and interior decoration, referring to the respective designers, artefacts and spaces. -
Sixth Under the Subway Video Art Night
VISUAL ARTS Sixth Under the Subway Video NEW YORK Art Night Sat, June 25, 2016 7:00 pm – 9:00 pm Venue The Local NY, 13-2 44th Ave, Queens, NY 11101 View map More information Under the Subway Video Art Night Credits Antonio Ortuño & Mattew Roth, The Local NY, New York. Tania Pardo, La Casa Encendida, Madrid. Irene Cruz, Ana Sanfrutos & Nati Grund, Project Space Kleiner Salon, Berlin. Alfonso Pretelt & Macarena Under the Subway Video Art Night is an event organized and Cordiviola, Kino Palais, Buenos Aires. Emili Payá, Octubre Centre de curated by Antonio Ortuño that is focused exclusively on Cultura Contemporània, Valencia. Video Art with projections on street walls, art spaces, galleries, and cultural centers. This sixth edition takes place in 4 countries / 5 cities –The Local NY (New York), Project Space Kleiner Salon (Berlin), La Casa Encendida (Madrid), Kino Palais, Palais de Glace - Palacio Nacional de las Artes (Buenos Aires) and Octubre Centre de Cultura Contemporània (Valencia, Spain). VIDEO ARTISTS 2016 ■ Nicole Cohen. Crystals, 2015. New York City. ■ Enrique Yáñez. Useless for the State / inútil para el Estado. Spain. ■ Alketa Ramaj. Adam’s Apple. Vienna, Austria. ■ Celina Alvarado AKA Bombonia. Don’t you want me, babe?. New York City. ■ Svetlana Jovanovic. 12. New York City. ■ Jorge Garcia. To knife/a cuchillo. Spain. ■ Arturo Comas. Impermanencia. Spain. ■ Matti Havens. Love Song. New York City. ■ Víctor Ripoll. Eat Pray Die. Spain. ■ Juan Zamora. The sky is blue. Spain. ■ David Catá. Drowned sounds / Sonidos ahogados. Spain. ■ Marisa Benito. Artifice/artificio. Spain. ■ Tahir Ün. The Game. Turkey. ■ Sandrine Deumier. Soft Butterfly. -
Benefits of a Low-Cost Walking Device in Children with Cerebral Palsy: a Qualitative Study
International Journal of Environmental Research and Public Health Article Benefits of a Low-Cost Walking Device in Children with Cerebral Palsy: A Qualitative Study Isabel Rodríguez-Costa 1,* , Irene De la Cruz-López 1, Ignacio Fernández-Zárate 1, Saturnino Maldonado-Bascón 2 , Sergio Lafuente-Arroyo 2 and Susana Nunez-Nagy 1 1 Department of Physical Therapy, University of Alcalá, 28807 Alcalá de Henares, Spain; [email protected] (I.D.l.C.-L.); [email protected] (I.F.-Z.); [email protected] (S.N.-N.) 2 Department of Signal Theory and Communications, University of Alcalá, 28807 Alcalá de Henares, Spain; [email protected] (S.M.-B.); [email protected] (S.L.-A.) * Correspondence: [email protected]; Tel.: +34-918-852-586 Abstract: Children with Cerebral Palsy (CP) participate less regularly in physical and social activities. Support walkers allow mobility for infants who need aid. The aim of this study is to explore the benefits of a low-cost walking device in children with CP. A qualitative study using semi-structured, face-to-face interviews was conducted. Eight participants (two parents, two educational professionals, and four physical therapists) who live or work with children with CP that use a low-cost walking device were questioned to examine the benefits of the practice. Thematic analysis denoted three key factors about the benefits: emotional welfare, physical wellbeing, and social enjoyment. To conclude, the use of a support walker in children with CP makes them feel happier, improves their Citation: Rodríguez-Costa, I.; De la Cruz-López, I.; Fernández-Zárate, I.; self-confidence and autonomy, and promotes participation. -
Catalog-Arcomadrid-2013.Pdf
ORGANIZA ORGANISED BY AGRADECIMIENTOS ACKNOWLEDGEMENTS ARCOmadrid 2013 ha sido posible gracias al apoyo y colaboración de ARCOmadrid 2013 is made possible with the collaboration and support of COLABORACIÓN INSTITUCIONAL INSTITUTIONAL COLLABORATION PATROCINADORES SPONSORSHIPS COLABORADORES COLLABORATION ARQUITECTURA SALA VIP VIP ROOM ARCHITECTURE MEDIOS OFICIALES OFFICIAL MEDIA ALVAREZ GÓMEZ / AMERICAN EXPRESS / AROUND ART / BLANKPAPER / CACAO SAMPAKA / CAIXA FORUM – FUNDACIÓN “LA CAIXA” / CALLAO CITY LIGHTS / CARPINTERÍA MARTÍN RODRÍGUEZ / CASA AMÉRICA / CENTRO CENTRO / CENTRO DE ARTE DOS DE MAYO DE LA COMUNIDAD DE MADRID / CINES VERDI / CINETECA / CÍRCULO DE BELLAS ARTES / COMUNIDAD DE MADRID. SALA ALCALÁ 31 / COMUNIDAD DE MADRID. SALA CANAL ISABEL II / CPARQUITECTOS_CRISTINA PARREÑO / EL CORTE INGLÉS-AMBITO CULTURAL / EMBAJADA DE LOS ESTADOS UNIDOS EN ESPAÑA / FILMOTECA ESPAÑOLA / FRANCISCO SEGARRA / FUNDACIÓN BALIA / FUNDACIÓN CAJA MADRID / FUNDACIÓN CANAL / FUNDACIÓN CULTURAL HISPANO BRASILEÑA / FUNDACIÓN JUAN MARCH / FUNDACIÓN MAPFRE / FUNDACIÓN TELEFÓNICA / HINOJOSA / HOTEL OCCIDENTAL MIGUEL ANGEL / HOTEL VILLA REAL / HOTEL WESTIN PALACE / INSTITUTO CERVANTES / KAPITAL / KARMA FILMS / LA CASA ENCENDIDA / MANDRILADORA LEIZA / MATADERO MADRID / MEDIALAB-PRADO / MIT MASSACHUSETTS INSTITUTE OF TECHNOLOGY / MNCARS – MUSEO NACIONAL CENTRO DE ARTE REINA SOFÍA / MUICO / MUSEO NACIONAL DEL PRADO / MUSEO THYSSEN-BORNEMISZA / OLIVA ILUMINACIÓN / OPTIONS / OTR. ESPACIO DE ARTE / PALACIO DE VELÁZQUEZ. PARQUE DEL RETIRO / PASIÓN TURCA / RED BULL -
Artes Plásticas E Crítica Em Portugal Nos Anos 70 E 80
Artes plásticas e crítica em Portugal nos anos 70 e 80: vanguarda e pós-modernismo Autor(es): Nogueira, Isabel Publicado por: Imprensa da Universidade de Coimbra URL persistente: URI:http://hdl.handle.net/10316.2/29658 DOI: DOI:http://dx.doi.org/10.14195/978-989-26-0634-7 Accessed : 8-Oct-2021 22:13:41 A navegação consulta e descarregamento dos títulos inseridos nas Bibliotecas Digitais UC Digitalis, UC Pombalina e UC Impactum, pressupõem a aceitação plena e sem reservas dos Termos e Condições de Uso destas Bibliotecas Digitais, disponíveis em https://digitalis.uc.pt/pt-pt/termos. Conforme exposto nos referidos Termos e Condições de Uso, o descarregamento de títulos de acesso restrito requer uma licença válida de autorização devendo o utilizador aceder ao(s) documento(s) a partir de um endereço de IP da instituição detentora da supramencionada licença. Ao utilizador é apenas permitido o descarregamento para uso pessoal, pelo que o emprego do(s) título(s) descarregado(s) para outro fim, designadamente comercial, carece de autorização do respetivo autor ou editor da obra. Na medida em que todas as obras da UC Digitalis se encontram protegidas pelo Código do Direito de Autor e Direitos Conexos e demais legislação aplicável, toda a cópia, parcial ou total, deste documento, nos casos em que é legalmente admitida, deverá conter ou fazer-se acompanhar por este aviso. pombalina.uc.pt digitalis.uc.pt ISABEL NOGUEIRA Isabel Nogueira doutorada em Belas-Artes, área de especialização em Este texto apresenta uma proposta de compreensão das artes plásticas e da Ciências da Arte, pela Faculdade de Belas-Artes da Universidade de Lisboa, crítica em Portugal nos anos setenta e oitenta, na sua relação com os concei- com a tese: Artes plásticas e pensamento crítico em Portugal nos anos ARTES PLÁSTICAS E tos de vanguarda e de pós-modernismo. -
Aber Der Richtige
Richard Strauss Aber der Richtige... Violin Concerto Miniatures Arabella Steinbacher WDR Symphony Orchestra Lawrence Foster Maybe it is because of my name, which my parents gave me as great Strauss lovers, that his music touches me so much. Born into a world full of singing, as a child I used to sit under the grand piano in my "music cave" while my father rehearsed with singers. The famous duet from Arabella, which my parents engraved in our banisters, has accompanied me since I can remember. This duet was finally the impetus to record an album with only works by Richard Strauss. Of course, even if the sung lyrics are missing, I have dared to sing these songs on my violin and hope that singers will forgive me. I hope you enjoy traveling through this Romantic sound world. Yours, Richard Strauss (1864-1949) Violin Concerto in D minor op. 8 (1882) 1 Allegro 15. 10 2 Lento, ma non troppo 6. 09 3 Rondo 8. 30 4 Romanze (Cello-Romanze, for violin) (1883) 9. 36 5 Little Scherzino op 3. No 4 (1881) * 4. 12 6 Zueignung op 10. No. 1 (1885) 1. 34 7 Traum durch die Dämmerung op. 29 No. 1 (1895) 2. 46 8 Cäcilie op. 27 No. 2 (1894) 2. 27 9 Wiegenlied op 41. No. 1 (1900) 4. 30 10 From “Arabella” (1933): “Aber der Richtige...“ * 5. 09 * Arranged by Peter von Wienhardt Total playing time: 60. 35 Arabella Steinbacher, violin WDR Symphony Orchestra Conducted by Lawrence Foster But the right one for me Arabella Steinbacher. -
Sound & Score Seminar
Sound & Score Seminar Orpheus Research Centre in Music [ORCiM] December 15‐16, 2010 Ghent, Belgium As an art form based upon sound, music deals with complex semiotic translations and interactions between different perceptual senses and systems of signification: sound, score, meaning. Primarily, music has to do with the invisible, with forces that cannot be seen but that touch listeners in very compelling ways. However, in many cultures ‐ Western and non‐Western ‐ music has been codified in notated form, originating complex written artefacts ‐ the score ‐. Here, different signs and symbols not only allow for the retention and transmission of certain elements of the musical fabric but also liberate forces that are not conceivable without graphic representations. This seminar introduces the act of notating as an important and pivotal activity within the rich array of activities that constitute musical practice. The two‐day international seminar aims at exploring the intimate relation(s) between sound and score and the artistic possibilities that this relationship yields for performers, composers and listeners. Three main perspectives will be adopted: a conceptual approach that allows for contributions from other fields of enquiry (history, musicology, semiotics, etc.), a practical one that takes the skilled body as its point of departure and finally an experimental approach that challenges state‐of‐the‐art practices. Orpheus Research Centre in Music [ORCiM] The Orpheus Research Centre in Music is based at the Orpheus Instituut in Ghent, Belgium. ORCiM's mission is to produce and promote the highest quality research into music, and in particular into the processes of music‐making and our understanding of them.