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1.
Aspects of micro black hole evaporation
Saeede Nafooshe, 2015, doctoral dissertation

Found in: ključnih besedah
Summary of found: ...micro black holes, evaporation, gravitons, grey- body factors, large dimensions, quasi-normal modes, Vaidya metric...
Keywords: micro black holes, evaporation, gravitons, grey-body factors, large dimensions, quasi-normal modes, Vaidya metric
Published: 17.11.2015; Views: 3197; Downloads: 210
.pdf Fulltext (3,14 MB)

2.
CAPOEIRA: CONCEPTUALIZATION AND PRESENTATION OF THE BODY
Urška Stolnik, 2015, doctoral dissertation

Abstract: This thesis is the result of twenty-one months of fieldwork among the capoeiristas in Brazil, primarily in the city of Salvador, between 2003 and 2013. Combining historical accounts with the experiences of the present, the work focuses on changes in the social perception of body and mind in both capoeira and wider society. The intricacies of society and the politics of a particular epoch are clearly reflected in this Brazilian national game: sometimes in terms of incorporation or acceptance of specific social hierarchies, and other times of exclusion or rejection of them. A tension between the black and white worlds is constantly present, as it is between the male and female ones. Even when these separate realms in different historical eras of capoeira seem to come closer, they become separated again through new forms of institutionalization. Perceived sometimes as a martial art or dance, sometimes as a game, and yet other times as a sport through which one can gain health and beauty, capoeira evades a firm and permanent definition. Such evasion resembles capoeira’s three main, cunning characteristics: malandragem (trickery), malícia (deception) and mandinga (seduction). Cunningness, as a tactic to overplay the opponent, is a means of intentional opening and closing of the body in the game. Although opening and closing might seem exclusive, they are, on the contrary, very much inseparable. They coexist in symbiosis not just at the level of a capoeirista playing the game, but also at the level of roda, academia, a capoeira group or school, at the level of capoeira as a practice, and finally, at the level of wider Brazilian society. All of these bodies are striving to be fechado (closed) and secure, but cannot accomplish that before opening themselves first. Being dexterous in the simultaneous alternation of opening and closing one’s own body is a skill that can be learnt through a long-term and continually engendered process of practice, experiences and interaction with others and the environment at large. That skill, associated with the capoeirista’s awareness of vi constant vulnerability, is closely related to learning the specific way of perceiving and responding. The capoeirista cultivates and embodies capoeiristic habitus, which emphasizes the necessity of being permanently attentive to several things at once. This is possible when all senses work together in synthesis. At that time, the capoeirista uses peripheral sight and is aware of peripheral sounds. The skill of heightened sensitivity and keen perception enables the capoeirista to negotiate between the opening and closing of his body. Opening and closing the body at the right time and taking the advantages of an unstable situation in roda can be accomplished only by simultaneous thinking and performing, which is the outcome of the incorporation of capoeira movements. The socio-economic situation of Brazilian society based on racial and gender discrimination enhances the cultivation of capoeiristic habitus and dictates the need for the acquisition of capoeiristic skills and attitudes in order to cope with, understand, and live within an unequal world. Capoeiristic habitus can also be learnt and acquired as a by-product of capoeira training. But it remains important whether the environment in which a capoeirista practises tolerates or inhibits the cultivation of capoeiristic skills.
Found in: ključnih besedah
Keywords: capoeira, body and mind, game, sport, movement, opened and closed society, perception, historical changes, Salvador, Brazil
Published: 22.01.2016; Views: 3024; Downloads: 209
.pdf Fulltext (4,71 MB)

3.
Structure-property relationships of curved aromatic materials from first principles
Layla Martin-Samos, Laura Zoppi, Kim K. Baldridge, 2014, original scientific article

Found in: ključnih besedah
Summary of found: ...organic molecules, organic crystals, many- body perturbation theory, optical properties, ...
Keywords: organic molecules, organic crystals, many-body perturbation theory, optical properties
Published: 16.06.2016; Views: 1579; Downloads: 71
URL Fulltext (0,00 KB)

4.
New insights into autophagic cell death in the gypsy moth Lymantria dispar: a proteomic approach.
Enzo Ottaviani, Daniela Quaglino, Giulia Annovi, Federica Boraldi, Davide Malagoli, 2009, original scientific article

Abstract: Autophagy is an evolutionary ancient process based on the activity of genes conserved from yeast to metazoan taxa. Whereas its role as a mechanism to provide energy during cell starvation is commonly accepted, debate continues about the occurrence of autophagy as a means specifically activated to achieve cell death. The IPLB-LdFB insect cell line, derived from the larval fat body of the lepidoptera Lymantria dispar, represents a suitable model to address this question, as both autophagic and apoptotic cell death can be induced by various stimuli. Using morphological and functional approaches, we have observed that the culture medium conditioned by IPLB-LdFB cells committed to death by the ATPase inhibitor oligomycin A stimulates autophagic cell death in untreated IPLB-LdFB cells. Moreover, proteomic analysis of the conditioned media suggests that, in IPLB-LdFB cells, oligomycin A promotes a shift towards lipid metabolism, increases oxidative stress and specifically directs the cells towards autophagic activity.
Found in: ključnih besedah
Summary of found: ...cell line, derived from the larval fat body of the lepidoptera Lymantria dispar, represents a...
Keywords: Autophagic cell death, Fat body, IDGF, IPLB-LdFB, Proteomics
Published: 23.08.2019; Views: 575; Downloads: 0
.pdf Fulltext (2,33 MB)

5.
Telo je prostor podob
Sarival Sosič, 2019, preface, afterword

Abstract: Telo je naravni prostor podob, na njem ali v njem se lahko tvori izrazni sistem poln pomenskih zgostitev; telo je kraj mnogoterosti podob. Ima značilno »reliefnost«, in ko se izpostavi določen element ali segment telesa, npr. glava ali intimnejši predeli, se pričnejo gostiti posebne telesne mimike (oblike) in prav v izbranih akcentih telesa ustvarjalka Tina Kolenik domiselno prehaja od podob iz realnega življenja k likovno stopnjevanim izraznostim. Namreč umetnost danes je velikokrat praktična in tako v soodvisnosti z vsakdanjostjo, a hkrati v sebi še vedno ohranja kognitivni sistem ter metaforične nivoje, skozi katere gledamo dlje od gole realnosti, tja proti najbolj poglobljenim osebnim likovnim zgodbam. Telo in vse kar se okoli njega dogaja je nekakšno prizorišče prepletanja notranje osebnega z zunanjim družbeno sociološkim ter predstavlja neizmeren izpovedno tematski prostor v sklopu katerega se manifestirajo najbolj prefinjeni in poglobljeni narativni nameni umetnosti. Tako lahko preko telesa opazujemo različne nivoje mimetičnosti in če so prisotni prepoznavni segmenti ali elementi, je prav gledalec tisti, ki sprejema in razpoznava ter se naveže na nekaj njemu že znanega ali uveljavljenega znotraj realnega sveta in znotraj likovno estetskih pripovedi. Pogostokrat pa se telo obravnava tudi skozi element nepričakovanosti, kjer se prepoznavnost odmika v polja zakritosti in prekrivanja ter proti konotativno ter sugestivno bolj zamaknjenim (manj prepoznavnim) nivojem ter tudi večji seksualnosti. V številnih projektih je likovna ustvarjalka Tina Kolenik problematizira vlogo telesa in njegovih zmožnostih (limitih) likovne obravnave, tokrat pa se je koncentrirala na glavo in intimnejše dele telesa. Glava je postala domiselna likovna zgodba vpeta med glavo kot likovnim nosilcem ter (kako izvirno) lubenico kot možnim likovno aktivnim predmetov (sadežem), torej artefaktom, ki omogoča organizacijo oblik – najrazličnejših pokrival. Dokončni likovni sestav nam odkriva celovit in domiselno združujoč niz ustvarjalnega postopka - najprej kot razmerje med umetnostjo telesa (body art), nato kot dinamizacijo umetniškega sistema kot akta performansa, kjer poteka likovna igra oziroma tista prava zgodba (v primeru te serije iz lubenice izoblikovana različna pokrivala) ter kot končni produkt fotografije – selfiji - z natančno definirano in likovno urjeno podobo pokrite glave z ustrezno obrazno kretnjo. Ustvarjalni postopek je domišljeno sistematičen, sklenjen in predstavlja celovit avtorski koncept, fotografsko (izključno selfiji) urejeno zapisan in razstavno vabljivo izpostavljen. Tako kot v večini prejšnjih likovnih delih, akcijah ali performansih se Kolenikova tudi tokrat natančno osredotoči na izbiro materiala, njegovega premišljenega oblikovanja ter ustvarjanja umetnosti s telesom kot prizoriščem, kjer se dogajajo zgodbe, izostrijo pogledi, nastajajo situacije in izoblikujejo mnenja, ideje in asociacije.
Found in: ključnih besedah
Summary of found: ... najprej kot razmerje med umetnostjo telesa ( body art), nato kot dinamizacijo umetniškega sistema kot...
Keywords: seksualnost in performans, sefi in seksualnost, telo kot perspektiva nepričakovanega, body art in fotografija.
Published: 21.07.2020; Views: 165; Downloads: 0

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