DOCSLIB.ORG

Universidade Presbiteriana Mackenzie José

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Universidade Presbiteriana Mackenzie José UNIVERSIDADE PRESBITERIANA MACKENZIE JOSÉ LUIZ DE CAMPOS CASTEJÓN BRANCO A ANGÚSTIA NA OBRA DE INGMAR BERGMAN: SARABANDA EM SER E TEMPO DE MARTIN HEIDEGGER São Paulo 2009 Livros Grátis http://www.livrosgratis.com.br Milhares de livros grátis para download. JOSÉ LUIZ DE CAMPOS CASTEJÓN BRANCO A ANGÚSTIA NA OBRA DE INGMAR BERGMAN: SARABANDA EM SER E TEMPO DE MARTIN HEIDEGGER Dissertação apresentada ao Programa de Pós- Graduação em Educação, Arte e História da Cultura da Universidade Presbiteriana Mackenzie, como requisito parcial à obtenção do título de Mestre em Educação, Arte e História da Cultura. Orientadora: Profª. Drª. Regina Célia Faria Amaro Giora São Paulo 2009 B816a Branco, José Luiz de Campos Castejón. A angústia na obra de Ingmar Bergman: Sarabanda em Ser e Tempo de Martin Heidegger / José Luiz de Campos Castejón – 2009. 173 f. : il. ; 30 cm. Dissertação (Mestrado em Educação, Arte e História da Cultura) – Universidade Presbiteriana Mackenzie, São Paulo, 2009. Orientadora: Profª. Drª. Regina Célia Faria Amaro Giora Bibliografia: f. 151 - 158. 1. Angústia. 2. Condição humana. 3. Estruturas ontológicas. 4. Fenomenologia. 5. Manifestações ônticas. I. Título. CDD 791.4309 JOSÉ LUIZ DE CAMPOS CASTEJÓN BRANCO A ANGÚSTIA NA OBRA DE INGMAR BERGMAN: SARABANDA EM SER E TEMPO DE MARTIN HEIDEGGER Dissertação apresentada à Universidade Presbiteriana Mackenzie como requisito parcial para a obtenção do título de Mestre em Educação, Arte e História da Cultura. Orientadora: Profª. Drª. Regina Célia Faria Amaro Giora Aprovado em BANCA EXAMINADORA Profª. Drª. Regina Célia Faria Amaro Giora - Orientadora Universidade Presbiteriana Mackenzie Prof. Dr. Orlando Bruno Linhares Universidade Presbiteriana Mackenzie Profª. Drª. Cleusa Kazue Sakamoto Universidade de São Paulo - USP Certa noite, meu filho, quando eu tentava fazê-lo adormecer, pediu-me que lhe contasse uma história. Quando terminei, seus olhos semicerrados ainda resistiam ao sono, foi então que ouvi suas incríveis palavras: „Pai, você nunca vai parar de ficar vivo, não é?‟. Na penumbra do seu quarto, emudeci. Para meu alívio ele fechou as pálpebras e dormiu. Este trabalho é especialmente dedicado a ele. AGRADECIMENTOS À minha orientadora Professora Doutora Regina Célia Faria Amaro Giora, pela oportunidade de freqüentar suas aulas para a realização do meu estágio acadêmico, pela disponibilidade nas minhas orientações semanais e, especialmente, por ter acreditado na autenticidade do meu projeto. À Professora Doutora Cleusa Kazue Sakamoto, pela forma afetuosa como me acolheu desde o primeiro momento e pelas sugestões esclarecedoras na banca de qualificação. À Professora Doutora Marcia Angelita Tiburi, pelas críticas construtivas para o prosseguimento do meu trabalho. À existência de um realizador fantástico, o sueco Ingmar Bergman, cuja aparição se deu, para mim, pela primeira vez em 1978, no saudoso e extinto Cine Bijou, centro de São Paulo, com a exibição do filme „Face a Face‟. Alguém, quase do outro lado do planeta, compartilhava comigo um universo de tamanha intimidade e esperança. No início dos anos 80, participei pela primeira vez, de um curso de leitura do „Ser e Tempo‟ de Martin Heidegger, na Associação Brasileira de Daseinsanalyse, com o psicólogo e professor da PUC de São Paulo, João Augusto Pompéia. Foi um privilégio assistí-lo, suas aulas proporcionaram alento e claridade, registros que jamais serão esquecidos. No meio de tantas e honradas referências aqui mencionadas, quero salientar o nome da psicóloga e professora Elsa Oliveira Dias. Também na década de 80, participei de um grupo de estudos sobre sua tese de mestrado realizado na PUC de São Paulo, no qual propunha um diálogo entre o pensador alemão Martin Heidegger e o escritor brasileiro João Guimarães Rosa. Ao doutor Chafi Abduch, que se transformou em um psicólogo bastante original, abriu meus olhos muitas vezes, e sou tão grato por isso. Ao amável psicólogo e renomado professor da PUC de São Paulo, Nichan Dichtchekenian, cuja presença sempre me proporcionou intensa aproximação, profundidade e afeto. Agradeço também a oportunidade de acompanhá-lo na PUC, durante alguns anos em suas aulas de Fenomenologia. À saudosa Professora Doutora Carmen Lúcia Souza, nos tempos de faculdade, estimulou-me a escrever um diário muito particular, com quem compartilhei um universo de inquietações. À Mi Ah Kim, pela simpatia e amabilidade. À Maria Aparecida da Silva Monteiro, pela força e disponibilidade nestes anos todos. Ao Felipe Loberto, cujos encontros me foram indispensáveis. Ao Carlos Rogério Duarte Barreiros, por sua colaboração entusiasmada na primeira revisão do texto. Ao meu pai Luiz Carlos, minha mãe Maria Eunice, meu irmão Antonio Carlos, meu avô Herculano, minha avó Florinda, minha tia Neusa Terezinha, primos Luciano Luís, Marco Aurélio e seus pais, primeiros personagens dos primeiros anos. Alguns já se foram, então, pude aprender com eles (com a falta deles), sobre a difícil lição da perda. À tia Nica e tio Alfredo, lá de Taiúva, pela preocupação e afeto constantes, estarão sempre vivos na minha memória. À Elvira Barreiros, por ter proporcionado estabilidade para o prosseguimento de meu trabalho. Aos estimados amigos do consultório, pela compreensão diante de meu afastamento nessa fase de minha vida acadêmica. Aos novos amigos do mestrado: Angelino, Grace, João, Lídia e Raphael, vida longa para vocês todos! Agradeço de coração minha nova amiga Daniella Basso Batista Pinto, não apenas pela cuidadosa e trabalhosa revisão final do texto, sobretudo, por seu empenho sempre espontâneo em querer me ajudar. Pelo amor que recebo da Henriqueta do Céu, minha mulher e mãe do Henrique. Ao Coragem, que sempre esteve do meu lado. À coordenação e ao corpo docente do Programa de Mestrado em Educação, Arte e História da Cultura, pelo constante esforço no difícil campo interdisciplinar e por ampliar meus horizontes. À Universidade Presbiteriana Mackenzie que, por intermédio do MackPesquisa, viabilizou recursos de apoio à minha pesquisa. À Bolsa Capes que, em parceria com a Universidade Presbiteriana Mackenzie, possibilitou um semestre de estudo isento da mensalidade. Minhas honrosas saudações! O único gesto que é definitivamente interessante, é influenciar, estabelecer um contato, comunicar, enfiar um prego na passividade e na indiferença das pessoas. Ingmar Bergman Nenhuma época soube tantas e tão diversas coisas do homem como a nossa. Mas em verdade, nunca se soube menos o que é o homem. Martin Heidegger Todo homem nasce como muitos homens e morre de forma única. Martin Heidegger A angústia é fala entupida. Ana Cristina Cesar RESUMO O presente estudo procurou discutir o conceito de angústia de forma ampla e não apenas como habitualmente se considera, isto é, como estreitamento da liberdade humana ou como comportamento mórbido a ser removido. Existem outras formas de expressão da angústia, a partir de uma dimensão estrutural ontológica fundamental, peculiar ao homem. Procurou-se assim, avaliar qualitativamente as implicações provocadas pela angústia, por meio da análise do filme “Sarabanda” - 2003, de Ingmar Bergman, segundo a Analítica Existencial de Martin Heidegger. Para tanto, os personagens foram interpretados considerando-se as estruturas essenciais da existência humana, pois a angústia se relaciona com elas intrinsecamente. Verificou- se, diante dos cinco personagens analisados (Marianne, Johan, Karin, Henrik e Martha), que apenas duas (Marianne e Karin), puderam experimentar o que foi denominado como angústia existencial, ao contrário das vivências de Johan, Henrik e Martha, denominadas como angústia patológica, guardadas as diferenças individuais. Palavras-chave: angústia, condição humana, estruturas ontológicas, fenomenologia, manifestações ônticas. RESUMEN Este estudio trató de examinar el concepto de la angustia de manera amplia y no sólo ser considerado como normal, es decir, lo más cerca posible de la libertad humana o de comportamiento poco saludables y deben ser eliminados. Hay otras formas de expresión de angustia de una dimensión estructural fundamental ontológica, peculiar al hombre. Por lo tanto, es cualitativamente evaluar las repercusiones causadas por la ansiedad, mediante el análisis de la película "Sarabande" - 2003, Ingmar Bergman, según la analítica existencial de Martin Heidegger. Por tanto, los personajes fueron interpretados teniendo en cuenta las estructuras esenciales de la existencia humana, porque la angustia se relaciona con ellos sí. Que se encontraba antes de los cinco caracteres examinados (Marianne y Johan, Karin, Henrik y Martha), sólo dos (Marianne y Karin), podría intentar lo que se refiere a la angustia existencial, en contraste con la experiencia de Johan, Henrik y Martha , a que se refiere como la angustia patológica, salvado las diferencias individuales. Palabras-clave: angustia, condición humana, las estructuras ontológicas, la fenomenología, manifestaciones ónticas. LISTA DE IMAGENS Imagem 1 Pintura de Fernando Botero.................................................. 43 Imagem 2 Cartaz do filme Sarabanda................................................... 49 Imagem 3 Marianne (Liv Ullmann)......................................................... 50 Imagem 4 Johan (Erland Josephson) com a ex-mulher Marianne........ 65 Imagem 5 Johan e Marianne................................................................. 67 Imagem 6 Johan e Marianne................................................................. 68 Imagem 7 Karin (Julia Dufvenius).........................................................
Load more

Recommended publications
  • The Life and Films of the Last Great European Director
    Macnab-05480001 macn5480001_fm May 8, 2009 9:23 INGMAR BERGMAN Macnab-05480001 macn5480001_fm May 19, 2009 11:55 Geoffrey Macnab writes on film for the Guardian, the Independent and Screen International. He is the author of The Making of Taxi Driver (2006), Key Moments in Cinema (2001), Searching for Stars: Stardom and Screenwriting in British Cinema (2000), and J. Arthur Rank and the British Film Industry (1993). Macnab-05480001 macn5480001_fm May 8, 2009 9:23 INGMAR BERGMAN The Life and Films of the Last Great European Director Geoffrey Macnab Macnab-05480001 macn5480001_fm May 8, 2009 9:23 Sheila Whitaker: Advisory Editor Published in 2009 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © 2009 Geoffrey Macnab The right of Geoffrey Macnab to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN: 978 1 84885 046 0 A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress
    [Show full text]
  • Woody Loves Ingmar
    1 Woody loves Ingmar Now that, with Blue Jasmine , Woody Allen has come out … … perhaps it’s time to dissect all his previous virtuoso creative adapting. I’m not going to write about the relationship between Vicky Christina Barcelona and Jules et Jim . ————— Somewhere near the start of Annie Hall , Diane Keaton turns up late for a date at the cinema with Woody Allen, and they miss the credits. He says that, being anal, he has to see a film right through from the very start to the final finish, so it’s no go for that movie – why don’t they go see The Sorrow and the Pity down the road? She objects that the credits would be in Swedish and therefore incomprehensible, but he remains obdurate, so off they go, even though The Sorrow and the Pity is, at over four hours, twice the length of the film they would have seen. 2 The film they would have seen is Ingmar Bergman’s Face to Face , with Liv Ullmann as the mentally-disturbed psychiatrist – you see the poster behind them as they argue. The whole scene is a gesture. Your attention is being drawn to an influence even while that influence is being denied: for, though I don’t believe Bergman has seen too much Allen, Allen has watched all the Bergman there is, several times over. As an example: you don’t often hear Allen’s early comedy Bananas being referred to as Bergman-influenced: but not only does its deranged Fidel Castro-figure proclaim that from now on the official language of the revolutionised country will be Swedish, but in the first reel there’s a straight Bergman parody.
    [Show full text]
  • Tricks of the Light
    Tricks of the Light: A Study of the Cinematographic Style of the Émigré Cinematographer Eugen Schüfftan Submitted by Tomas Rhys Williams to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Film In October 2011 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 Abstract The aim of this thesis is to explore the overlooked technical role of cinematography, by discussing its artistic effects. I intend to examine the career of a single cinematographer, in order to demonstrate whether a dinstinctive cinematographic style may be defined. The task of this thesis is therefore to define that cinematographer’s style and trace its development across the course of a career. The subject that I shall employ in order to achieve this is the émigré cinematographer Eugen Schüfftan, who is perhaps most famous for his invention ‘The Schüfftan Process’ in the 1920s, but who subsequently had a 40 year career acting as a cinematographer. During this time Schüfftan worked throughout Europe and America, shooting films that included Menschen am Sonntag (Robert Siodmak et al, 1929), Le Quai des brumes (Marcel Carné, 1938), Hitler’s Madman (Douglas Sirk, 1942), Les Yeux sans visage (Georges Franju, 1959) and The Hustler (Robert Rossen, 1961).
    [Show full text]
  • 100 Anni Di Ingmar Bergman
    100 ANNI DI INGMAR BERGMAN settembre - dicembre 2018 UFFICIO CINEMA Collana a cura dell’Ufficio Cinema del Comune di Reggio Emilia piazza Casotti 1/c - 42121 Reggio Emilia telefono 0522/456632 - 456763 fax 0522/585241 cura rassegna e organizzazione 100 ANNI DI INGMAR BERGMAN Sandra Campanini cura catalogo Angela Cervi impaginazione Angela Cervi amministrazione Cinzia Biagi servizi tecnici Ero Incerti servizi diversi Giorgio Guerri Cinema Rosebud settembre - dicembre 2018 PROGRAMMA SOMMARIO lunedì 17 settembre 7 CIÒ CHE RISPONDE INGMAR BERGMAN, QUANDO RISPONDE • IL POSTO DELLE FRAGOLE (1957) 91’ 9 INTRODUZIONE di Jacques Mandelbaum lunedì 24 settembre 15 LO SCHIAFFO DI “LUCI D’INVERNO” • MONICA E IL DESIDERIO (1952) 92’ di Aldo Garzia mercoledì 7 novembre 21 I COLLEGHI REGISTI, LA CURIOSITÀ PER I GIOVANI di Aldo Garzia • IL SETTIMO SIGILLO (1957) 96’ LE SCHEDE lunedì 26 novembre 31 IL POSTO DELLE FRAGOLE • SUSSURRI E GRIDA (1972) 91’ 41 MONICA E IL DESIDERIO lunedì 10 dicembre 51 IL SETTIMO SIGILLO • SCENE DA UN MATRIMONIO (1975) 168’ 61 SUSSURRI E GRIDA 71 SCENE DA UN MATRIMONIO mercoledì 19 dicembre 79 FANNY E ALEXANDER • FANNY E ALEXANDER (1982) 188’ 93 BIOGRAFIA 101 FILMOGRAFIA 4 5 “”CIÒ CHE RISPONDE INGMAR BERGMAN, QUANDO RISPONDE” (Il regista)... È un illusionista. Se guardiamo l’elemento fondamentale dell’arte cinematografica constatiamo che questa si compone di piccole immagini rettangolari ognuna delle quali è separata dalle altre da una grossa riga nera. Guardando più da vicino si scopre che questi minuscoli rettangoli, i quali a prima vista sembrano contenere lo stesso motivo, differiscono l’uno dall’altro per una modificazione quasi impercettibile di tale motivo.
    [Show full text]
  • Woody Allen Loves Ingmar Bergman Peter Cochran
    1 Woody Allen loves Ingmar Bergman Peter Cochran Somewhere near the start of Annie Hall , Diane Keaton turns up late for a date at the cinema with Woody Allen, and they miss the credits. He says that, being anal, he has to see a film right through from the very start to the final finish, so it’s no go for that movie – why don’t they go see The Sorrow and the Pity down the road? She objects that the credits would be in Swedish and therefore incomprehensible, but he remains obdurate, so off they go, even though The Sorrow and the Pity is, at over four hours, twice the length of the film they would have seen. The film they would have seen is Ingmar Bergman’s Face to Face , with Liv Ullmann as the mentally-disturbed psychiatrist – you see the poster behind them as they argue. The whole scene is a gesture. Your attention is being drawn to an influence even while that influence is being denied: for, though I don’t believe Bergman has seen too much Allen, Allen has watched all the Bergman there is, several times over. As an example: you don’t often hear Allen’s early comedy Bananas being referred to as Bergman-influenced: but not only does its deranged Fidel Castro-figure proclaim that from now on the official language of the revolutionised country will be Swedish, but in the first reel there’s a straight Bergman parody. We all remember the dream in Wild Strawberries where Isak Borg sees his own funeral on a deserted Swedish street: in Bananas, Allen dreams 2 his own crucifixion on a deserted Manhattan Street.
    [Show full text]
  • Marketing the University of Calgary to Frosh: a Motivational Typology of Student-College Choice
    DOCUMENT RESUME ED 404 930 HE 029 935 AUTHOR Barnetson, Robert James TITLE Marketing the University of Calgary to Frosh: A Motivational Typology of Student-College Choice. PUB DATE 97 NOTE 100p.; M.A. Thesis, University of Calgary. PUB TYPE Dissertations/Theses Masters Theses (042) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS Attitude Measures; *College Bound Students; *College Choice; College Freshmen; Decision Making; Foreign Countries; Higher Education; High Schools; High School Students; Questionnaires; *Student Attitudes; Student Motivation; *Student Recruitment; Surveys IDENTIFIERS *University of Calgary (Canada) ABSTRACT This thesis proposes a segmentation of the University of Calgary's (Canada) freshman class based on benefits sought from attendance and provides descriptions of each benefit segment that includes the impact of institutional characteristics. A motivational typology for university participation is presented and the marketing implications of this segmentation on recruiting prospective students are explored. A four-cluster segmentation emerged from analysis, illustrating the predominance of fiscal motives in motivating freshmen from the Baby-Bust and Echo-Bust cohorts to attend a university. A questionnaire was developed which covered biographical information, reasons for attendance, and institutional characteristics. Questionnaire responses were analyzed from 77 freshmen students (out of a sample of 300) at the University of Calgary who had graduated from high school in June 1996. The following motives were most frequently cited as reasons for deciding to attend college: achievement of a higher standard of living, expansion of career opportunities, and career goal requirements. Other motives included the desire to: obtain a degree, have fun, become self-sufficient, learn new things, increase understanding, and meet new people.
    [Show full text]
  • Ingmar Bergman by Maaret-Koskinen English.Pdf
    Foto: Bengt Wanselius Foto: INGMAR BERGMAN BY MAARET KOSKINEN Ingmar Bergman by Maaret Koskinen It is now, in the year of 2018, almost twenty years ago that Ingmar Bergman asked me to “take a look at his hell­of­a­mess” in his private library at his residence on Fårö, the small island in the Baltic Sea where he shot many of his films from the 1960s on, and where he lived until his death in 2007, at the age of 89. S IT turned out, this question, thrown foremost filmmaker of all time, but is generally re­ Aout seemingly spontaneously, was highly garded as one of the foremost figures in the entire premeditated on Bergman’s part. I soon came to history of the cinematic arts. In fact, Bergman is understand that his aim was to secure his legacy for among a relatively small, exclusive group of film­ the future, saving it from being sold off to the highest makers – a Fellini, an Antonioni, a Tarkovsky – whose paying individual or institution abroad. Thankfully, family names rarely need to be accompanied by a Bergman’s question eventually resulted in Bergman given name: “Bergman” is a concept, a kind of “brand donating his archive in its entirety, which in 2007 name” in itself. was added to the UNESCO World Heritage List, and the subsequent formation of the Ingmar Bergman Bergman’s career as a cinematic artist is unique in Foundation (www.ingmarbergman.se). its sheer volume. From his directing debut in Crisis (1946) to Fanny and Alexander (1982), he found time The year of 2018 is also the commemoration of to direct more than 40 films, including some – for Bergman’s birth year of 1918.
    [Show full text]
  • 1 Piia Leino HEAVEN Finnish Original
    1 Piia Leino HEAVEN Finnish original: Taivas Published by Kustantamo S&S in 2018 Sample translation by Lola Rogers This work has been translated with the financial assistance of FILI – Finnish Literature Exchange and the European Union | Creative Europe. Foreign rights: Helsinki Literary Agency [email protected] www.helsinkiagency.fi 2 for Anton 3 A child runs down from a boulder top, to where his mother stands, and says with bright eyes shining that he’s just seen heaven’s lands. ”What talk is this, my little one, of a place so far away? Where did you see heaven, Oh my golden boy?” ”I stood up on the ridge top there, and looked to the northeast, and far away was a purple heath, and pine trees in the mist, And in the treetops I could see the gentle shining sun, and through it all a climbing road scattered with golden sand, And then my heart began to ache, and tears began to flow, I don’t know why it made me cry, but it was heaven, I know.” ”No, my child, for heaven’s house lies far beyond the sky, where crowns of gold and lamps aflame, surround God’s throne on high.” No, it’s there on the horizon, in the faraway forest mist, that’s where the world of the blessed ones lies, that is the land of bliss. Aleksis Kivi 4 PART 1 GRAY 5 When Akseli needs to rest his eyes, he watches the beggars. There were four hundred to start with, a hundred along each side of Hakaniemi Square, but some of them may have died.
    [Show full text]
  • ·ļ¯Æ ¼Æ›¼ Ç”Μå½± ĸ²È¡Œ (Ť§Å…¨)
    è‹±æ ¼çŽ›Â·ä¼¯æ ¼æ›¼ 电影 串行 (大全) Ingmar Bergman's https://zh.listvote.com/lists/film/movies/ingmar-bergman%27s-cinema-59725709/actors Cinema Herr Sleeman kommer https://zh.listvote.com/lists/film/movies/herr-sleeman-kommer-28153912/actors FÃ¥rö trilogy https://zh.listvote.com/lists/film/movies/f%C3%A5r%C3%B6-trilogy-12043076/actors Crisis https://zh.listvote.com/lists/film/movies/crisis-1066211/actors The Blessed Ones https://zh.listvote.com/lists/film/movies/the-blessed-ones-1079728/actors Port of Call https://zh.listvote.com/lists/film/movies/port-of-call-1108471/actors Thirst https://zh.listvote.com/lists/film/movies/thirst-1188701/actors FÃ¥rö Document 1979 https://zh.listvote.com/lists/film/movies/f%C3%A5r%C3%B6-document-1979-18239069/actors Stimulantia https://zh.listvote.com/lists/film/movies/stimulantia-222633/actors The Venetian https://zh.listvote.com/lists/film/movies/the-venetian-2276647/actors The Image Makers https://zh.listvote.com/lists/film/movies/the-image-makers-2755257/actors Don Juan https://zh.listvote.com/lists/film/movies/don-juan-3035815/actors FÃ¥rö Document https://zh.listvote.com/lists/film/movies/f%C3%A5r%C3%B6-document-64768851/actors metaphysical trilogy https://zh.listvote.com/lists/film/movies/metaphysical-trilogy-98970250/actors 女人的秘密 https://zh.listvote.com/lists/film/movies/%E5%A5%B3%E4%BA%BA%E7%9A%84%E7%A7%98%E5%AF%86-1078811/actors é¢​ å”​ https://zh.listvote.com/lists/film/movies/%E9%9D%A2%E5%AD%94-1078890/actors 愛的一課 https://zh.listvote.com/lists/film/movies/%E6%84%9B%E7%9A%84%E4%B8%80%E8%AA%B2-1091180/actors
    [Show full text]
  • Divine Comedy
    Divine Comedy Author(s): Alighieri, Dante (1265-1321) Publisher: CCEL Description: Dante©s Divine Comedy is the masterpiece of the Italian lan- guage. Written between 1308 and 1321, the three-part epic poem is well-known as a literary classic. The poem features Dante as the main character (though it is fiction), and de- scribes his journey through Hell (Inferno), Purgatory (Pur- gatorio) and Heaven (Paradiso). He meets many angels, demons, and other human travelers on this trip, and his guides are the Latin poet Virgil and Beatrice, a woman he loved. Under the surface, though, Divine Comedy is an al- legory. Dante uses his journey to represent the soul©s movement toward God, and the poem has many other reli- gious themes, mostly gathered from the medieval theology of Thomas Aquinas. The poem is extremely intricate, and mathematical and scientific patterns can be found throughout. Dante also makes many cultural references and allusions, Greek and Roman myth provide many of the characters and history, and the story even has political themes. Divine Comedy is a work that explores the afterlife from a medieval perspective. It is a fascinating read that will entrance all who take the journey with Dante. Abby Zwart CCEL Staff Writer i Contents Divine Comedy 1 Title Page 1 Credits 2 Inferno 3 Canto I 4 Canto II 8 Canto III 12 Canto IV 16 Canto V 20 Canto VI 24 Canto VII 28 Canto VIII 32 Canto IX 36 Canto X 40 Canto XI 44 Canto XII 48 Canto XIII 52 Canto XIV 56 Canto XV 60 Canto XVI 64 Canto XVII 68 Canto XVIII 72 Canto XIX 76 Canto XX 80 Canto
    [Show full text]
  • Migration - Nomadism - Life in Motion 36/2017
    36 www.maska.psc.uj.edu.pl 4/2017 ISSN: 1898-5947 magazyn antropologiczno-społeczno-kulturowy magazyn 001101 :) ;p K B 36 migration - nomadism - life in motion 36/2017 Migration – Nomadism – Life in motion Cracow 2017 „Maska” vol. 36 Chief editor: Cracow 2017 Katarzyna Kleczkowska ISSN: 1898-5947 Editorial staff: Print: 100 copies Marta Błaszkowska Free copy Tomasz P. Bocheński Agnieszka Kiejziewicz “Maska” is a peer reviewed academic journal. Anna Kuchta According to requirements of MNiSW (Ministry Agnieszka Lakner of Science and Higher Education) a full annual Joanna Malita-Król list of article reviewers is available on the Maciej Kuster following webpage: www.maska.psc.uj.edu.pl/ Gabriela Matusiak maska/listy-recenzentow Wawrzyniec Miścicki All texts and illustrations (unless stated Elżbieta Musialik otherwise) are published in open access mode, Filip Nowak according to Copyright Law for non-commercial Piotr Wajda purposes (under Creative Commons BY-NC 4.0 Magdalena Wąsowicz obligations). Kama Wodyńska Adam Woźniak Full texts and summaries of published works are Agnieszka Wójcik available on-line in the international database “The Central European Journal of Social Sciences Proof-readers: and Humanities” (cejsh.icm.edu.pl). Agnieszka Kiejziewicz Magdalena Stonawska Editorial office: ul. Grodzka 52 Composition: II piętro, s. 102 Izabela Pisarek 31-044 Kraków Karol Ossowski [email protected] www.maska.psc.uj.edu.pl Cover: Paweł Kalina This project was financed by: Print: AT Wydawnictwo tel. 504 799 323 www.atwydawnictwo.pl Table of contents Introduction 5 Leszek Sosnowski 7 Objects and ideas. Japan and Europe in the nineteenth century Adam Lovasz 21 Immobility and Impersonality: Phenomenology of the Comatose Body Weronika Kostecka 33 Once Upon a Time There Was a War: The Use of Fairy-tale Conventions in Contemporary Polish Literature for Children about Refugees Anna Kuchta 51 The Journey of Memory.
    [Show full text]
  • Casco Bay Weekly : 13 September 1990
    Portland Public Library Portland Public Library Digital Commons Casco Bay Weekly (1990) Casco Bay Weekly 9-13-1990 Casco Bay Weekly : 13 September 1990 Follow this and additional works at: http://digitalcommons.portlandlibrary.com/cbw_1990 Recommended Citation "Casco Bay Weekly : 13 September 1990" (1990). Casco Bay Weekly (1990). 33. http://digitalcommons.portlandlibrary.com/cbw_1990/33 This Newspaper is brought to you for free and open access by the Casco Bay Weekly at Portland Public Library Digital Commons. It has been accepted for inclusion in Casco Bay Weekly (1990) by an authorized administrator of Portland Public Library Digital Commons. For more information, please contact [email protected]. asc Safe sushi, bad bran It's been pretty funny lately watching some of thedecade'sbiggesthealthfindingsmakenational headlines while subsequent studies throw their conclusions into doubt. Recent findings debunk some of the most popular medical myths of the '80s. Read on to find out the latest opinions on oat bran, bee pollen and decaf coffee. (Hurry, before they change again!) Also in this WELLNESS report: updates on Maine's produce labeling laws and on the na­ tional health care movement. See page 9 Gearing up at home Like liposuction, green marketing and a thriv­ ing orbital-laser defense industry, home fitness is peculiar to First World nations. Other countries just can't be bothered. Whatever their appeal in the United States, LifeCycles simply have not grabbed an impressive share of Bangladesh's disposable income. And no matter how much Americans hyperventilate over the hottest new development in weighted-flywheel rowing er­ gometers or computer-programmed treadmills, such items will probably never sell well among Chinese peasants whose job it is to break rocks and carry them up a hill.
    [Show full text]