Search results

90,720 results

View results as:
Number of results to display per page
Book
184 pages ; 21 cm
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
F2538.25 .F535 2015 Available
Book
259 pages ; 24 cm.
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
P57 .L29 A26 2015 Available
Book
173 pages : illustrations , 21 cm.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
PQ9261 .P417 Z6635 2015 Unavailable On order Request
Book
262 pages : illustrations ; 21 cm
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
PN6710 .R33 2015 Available
Book
393 pages ; 24 cm.
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
In process Request
BX2347.8 .W6 C65 2013 Available
Book
140 pages ; 22 cm
  • João Cabral de Melo Neto : primeiros sinais de um poeta original em sua geração
  • Jorge de Lima : poeta regionalista, nacionalista, brasileiro
  • Augusto dos Anjos : um poeta moderno e vivo
  • José Lins do Rego : sucessos e insucessos do menino de engenho
  • Graciliano Ramos : valores e misérias das vidas secas
  • Jorge Amado : sagas da Bahia e de Sergipe
  • Sobre o teatro de Nelson Rodrigues
  • À maneira do epílogo depoimento sobre a morte próximo do Nordeste.
  • João Cabral de Melo Neto : primeiros sinais de um poeta original em sua geração
  • Jorge de Lima : poeta regionalista, nacionalista, brasileiro
  • Augusto dos Anjos : um poeta moderno e vivo
  • José Lins do Rego : sucessos e insucessos do menino de engenho
  • Graciliano Ramos : valores e misérias das vidas secas
  • Jorge Amado : sagas da Bahia e de Sergipe
  • Sobre o teatro de Nelson Rodrigues
  • À maneira do epílogo depoimento sobre a morte próximo do Nordeste.
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
In process Request
PQ9691 .N59 L56 2015 Available
Video
2 videodiscs (132 min.) : sd., col. ; 4 3/4 in.
Recounts the life and experiences of Navy SEAL sniper Chris Kyle, from his four tours in Iraq to his family life once he returned home.
Recounts the life and experiences of Navy SEAL sniper Chris Kyle, from his four tours in Iraq to his family life once he returned home.
Green Library
Status of items at Green Library
Green Library Status
Media & Microtext Center (Lower level) Find it
ZDVD 35965 BLU-RAY Unknown
ZDVD 35966 Unknown
Book
312 p. : ill. ; 23 cm
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
HC187 .S55 2015 Available
Book
237 pages : illustrations (chiefly color), map ; 22 x 31 cm
  • Warum wir dieses Buch machen = O porquê deste livro = The motivation for this book / Christiane Schulte, Gabriele Stiller-Kern, Miguel Hurst
  • Cinemas de Angola: do espaço fechado ao espaço aberto = Cinemas of Angola: from the closed to the open space / Maria Alice Correia, F. João Guimarães
  • Herança paterna, riqueza = Heritage, wealth / Paula Nascimento
  • Die Fotografien/As fotografias/The photographs / Walter Fernandes
  • Anexo: O começo de uma pesquisa--salas de Cabina ao Cunene = Appendix: The start of a research--cinemas from Cabinda to Cunene.
  • Warum wir dieses Buch machen = O porquê deste livro = The motivation for this book / Christiane Schulte, Gabriele Stiller-Kern, Miguel Hurst
  • Cinemas de Angola: do espaço fechado ao espaço aberto = Cinemas of Angola: from the closed to the open space / Maria Alice Correia, F. João Guimarães
  • Herança paterna, riqueza = Heritage, wealth / Paula Nascimento
  • Die Fotografien/As fotografias/The photographs / Walter Fernandes
  • Anexo: O começo de uma pesquisa--salas de Cabina ao Cunene = Appendix: The start of a research--cinemas from Cabinda to Cunene.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
NA6846 .A5 F47 2015 F Unknown
Book
268 p., [11] p. of plates : ill., charts ; 24 cm.
  • Sciences de la vie et de la terre -- Man and animais in Portugal during and since the last Ice Age -- A relaçâo do Homem com os cetâceos nos Açores -- Os primatas nâo-humanos dos paises lusofonos africanos e a sua conservaçâo -- O lobo em Portugal: contexto biolôgico e cultural de um carnivoro em paisagens humanizadas -- Lince-ibérico: o grande gato no real e no imaginário -- Animal et littérature portugaise -- Frontières de l'animalité dans le sermon de Saint Antoine aux Poissons de Antonio Vieira -- Mémoires d'Éléphants -- Le poème-animal d'Herberto Helder -- Le regard des explorateurs -- Hommes et animaux dans les récits de voyages portugais à la fin du XIXe siècle : regards et préjugés -- La faune brésilienne chez les chroniqueurs de la France Équinoxiale, Claude d'Abbeville et Yves d'Évreux -- La symbolique de l'animal au Brésil -- Animal e literatura da Amazônia -- L'univers fantastique des animaux dans les xylogravures de J. Borges -- O bicho do Brasil : o signcado social do boi na obra de Meirio de Andrade.
"Dans ses rapports avec l'homme, l'animal apparaît comme une "construction sociale et culturelle" qui varie suivant l'époque et le pays. Quatre volets permettent de questionner sa place, son rôle et son imaginaire dans le monde lusophone, à travers la littérature d'expression portugaise. Le premier, "Sciences de la vie et de la terre", aborde l'animal sous un angle archéologique, ethnographique et biologique et s'intéresse de ce point de vue à la faune de l'âge de glace en Lusitanie, à la pêche à la baleine aux Açores, aussi bien qu'aux primates menacés d'extinction en Afrique et au Brésil, au loup et au lynx du Portugal. La seconde partie introduit au bestiaire, aux images et métaphores animales privilégiées en littérature par le Père Vieira, Anténio Lobo Antunes, José Saramago et Herberto Helder. La troisième partie est consacrée au "regard des explorateurs", des récits de voyages en Afrique du XIXe siècle aux chroniques sur le Brésil du XVIe siècle, et montre comment préjugés, idées reçues et imagination y déterminent la vision de la faune nouvelle découverte. "La symbolique de l'animal au Brésil", enfin, étudie les mythes amazoniens de l'homme-tapir ou de l'homme-poisson, les animaux fantastiques des xylogravures de la littérature de cordel du Nordeste ou la symbolique du boeuf, cher à Mário de Andrade, complétant ce panorama des représentations de l'animal dans le monde lusophone."--P. [4] of cover.
  • Sciences de la vie et de la terre -- Man and animais in Portugal during and since the last Ice Age -- A relaçâo do Homem com os cetâceos nos Açores -- Os primatas nâo-humanos dos paises lusofonos africanos e a sua conservaçâo -- O lobo em Portugal: contexto biolôgico e cultural de um carnivoro em paisagens humanizadas -- Lince-ibérico: o grande gato no real e no imaginário -- Animal et littérature portugaise -- Frontières de l'animalité dans le sermon de Saint Antoine aux Poissons de Antonio Vieira -- Mémoires d'Éléphants -- Le poème-animal d'Herberto Helder -- Le regard des explorateurs -- Hommes et animaux dans les récits de voyages portugais à la fin du XIXe siècle : regards et préjugés -- La faune brésilienne chez les chroniqueurs de la France Équinoxiale, Claude d'Abbeville et Yves d'Évreux -- La symbolique de l'animal au Brésil -- Animal e literatura da Amazônia -- L'univers fantastique des animaux dans les xylogravures de J. Borges -- O bicho do Brasil : o signcado social do boi na obra de Meirio de Andrade.
"Dans ses rapports avec l'homme, l'animal apparaît comme une "construction sociale et culturelle" qui varie suivant l'époque et le pays. Quatre volets permettent de questionner sa place, son rôle et son imaginaire dans le monde lusophone, à travers la littérature d'expression portugaise. Le premier, "Sciences de la vie et de la terre", aborde l'animal sous un angle archéologique, ethnographique et biologique et s'intéresse de ce point de vue à la faune de l'âge de glace en Lusitanie, à la pêche à la baleine aux Açores, aussi bien qu'aux primates menacés d'extinction en Afrique et au Brésil, au loup et au lynx du Portugal. La seconde partie introduit au bestiaire, aux images et métaphores animales privilégiées en littérature par le Père Vieira, Anténio Lobo Antunes, José Saramago et Herberto Helder. La troisième partie est consacrée au "regard des explorateurs", des récits de voyages en Afrique du XIXe siècle aux chroniques sur le Brésil du XVIe siècle, et montre comment préjugés, idées reçues et imagination y déterminent la vision de la faune nouvelle découverte. "La symbolique de l'animal au Brésil", enfin, étudie les mythes amazoniens de l'homme-tapir ou de l'homme-poisson, les animaux fantastiques des xylogravures de la littérature de cordel du Nordeste ou la symbolique du boeuf, cher à Mário de Andrade, complétant ce panorama des représentations de l'animal dans le monde lusophone."--P. [4] of cover.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
PQ9022 .A54 A54 2015 Unavailable On order Request
Book
xiii, 503 pages ; 21 cm
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
PQ9683 .A68 2015 Available
Book
xiii, 183 pages ; 21 cm
  • Apresentação
  • Alberto da Costa e Silva
  • Antonio Carlos Secchin
  • Carlos Nejar
  • Domício Proença Filho
  • Geraldo Holanda Cavalcanti
  • Ivan Junqueira
  • Marco Lucchesi.
  • Apresentação
  • Alberto da Costa e Silva
  • Antonio Carlos Secchin
  • Carlos Nejar
  • Domício Proença Filho
  • Geraldo Holanda Cavalcanti
  • Ivan Junqueira
  • Marco Lucchesi.
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
PQ9651 .A68 2015 Available
Book
164 pages : illustrations ; 21 cm
  • O espaço xinguano como paisagem cultural
  • A iconografia xinguana nas coleções etnográficas do Museu Nacional
  • A construção do esboço analítico : a iconografia, a antropologia e a arte nas coleções de desenhos espontâneos.
  • O espaço xinguano como paisagem cultural
  • A iconografia xinguana nas coleções etnográficas do Museu Nacional
  • A construção do esboço analítico : a iconografia, a antropologia e a arte nas coleções de desenhos espontâneos.
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
F2519.1 .X56 P33 2015 Available

14. A arte de mentir [2015]

Book
250 p. ; 21 cm
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
PQ9698.429 .A53 A98 2014 Available

15. Ascensão e queda [2015]

Book
177 pages ; 22 cm
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
Stacks Request
PQ9698.429 .H57 A83 2015 Available
Book
226 pages ; 22 cm
SAL3 (off-campus storage)
Status of items at SAL3 (off-campus storage)
SAL3 (off-campus storage) Status
In process Request
PQ9698.429 .A79 A87 2015 Available
Book
236 p. : ill. ; 24 cm.
  • Penser/poétiser roman et monde pensar/poetizar romance e mundo -- Agustina Bessa-Lufs et "l'incertitude romanesque" -- Entre discursos: a voz encantatéria de Agustina Bessa-Luis -- Agustina Bessa-Lufs, o romance contemporâneo e a herança do romantismo europeu -- Généalogies camiliennes et autres -- Agustina Bessa-Lufs, Fanny Owen et la revisitation ironico-parodique de l'imaginaire romantique de Camilo Castelo Branco -- Fanny Owen : de prefâcios e ciladas -- Personnages et sujet -- L'impériosité du double (sur Antes do Degelo) -- Figures du double : scission et réduplication dans A Corte do Norte et O Comum dos Mortais -- Les Livres Impropres : l'autobiographie et la série comme procédé de relecture -- Agustina biégrafa: "Ninguém é o que parece" -- Identités féminines -- O espaço prôprio de uma sibila das letras -- Les dé-figurations du féminin chez Agustina Bessa-Luis -- Quête d'identité féminine en terres de passions : essai de rime entre Vale Abraâo et Vale da Paixâo -- Contiguïtés cinématographiques -- Agustina Bessa-Luis et l'art cinématographique : une conversation inachevée -- Vale Abraham, de Agustina Bessa-Luis à Manoel de Oliveira -- Incertitude et réflexivité.
"Les concepts d'audace et de défiguration permettent d'envisager la production de l'écrivain portugais Agustina Bessa-Luis selon une approche plurielle : thématique, comparatiste, esthétique, sociocritique et textuelle. Tous genres littéraires confondus, il s'agit ici d'étudier l'oeuvre dans sa totalité comme le produit d'une poétique et d'un humanisme pensés par l'auteur. A. Bessa-Luis pratique la défiguration comme un acte créatif ; d'où une prose hybride, déconstructrice et subversive. Entre prose poétique et pensée discursive, elle propose des antiromans contaminés par des catégories génériques telles que la biographie, le roman personnel, l'essai. La défiguration appelle à la surface du texte les profondeurs cachées de l'image. C'est en effet l'image surgissant, parfois violemment, de "derrière la porte" que poursuit la romancière afin de défigurer les personnages figés dans une identité socialement fixée, en particulier sexuelle. Cette vertigineuse médiation intersémiotique accentue le délire, l'un des thèmes favoris de A. Bessa-Luis qui inverse par ce biais les valeurs tant morales qu'esthétiques, créant des situations limites où la notion de transcendance, très jaspérienne, transparaît à travers visions, apparitions, révélations. C'est ainsi que l'écrivaine opère des (re)constructions audacieuses qui, du fantôme, font émerger le personnage."--P. [4] of cover.
  • Penser/poétiser roman et monde pensar/poetizar romance e mundo -- Agustina Bessa-Lufs et "l'incertitude romanesque" -- Entre discursos: a voz encantatéria de Agustina Bessa-Luis -- Agustina Bessa-Lufs, o romance contemporâneo e a herança do romantismo europeu -- Généalogies camiliennes et autres -- Agustina Bessa-Lufs, Fanny Owen et la revisitation ironico-parodique de l'imaginaire romantique de Camilo Castelo Branco -- Fanny Owen : de prefâcios e ciladas -- Personnages et sujet -- L'impériosité du double (sur Antes do Degelo) -- Figures du double : scission et réduplication dans A Corte do Norte et O Comum dos Mortais -- Les Livres Impropres : l'autobiographie et la série comme procédé de relecture -- Agustina biégrafa: "Ninguém é o que parece" -- Identités féminines -- O espaço prôprio de uma sibila das letras -- Les dé-figurations du féminin chez Agustina Bessa-Luis -- Quête d'identité féminine en terres de passions : essai de rime entre Vale Abraâo et Vale da Paixâo -- Contiguïtés cinématographiques -- Agustina Bessa-Luis et l'art cinématographique : une conversation inachevée -- Vale Abraham, de Agustina Bessa-Luis à Manoel de Oliveira -- Incertitude et réflexivité.
"Les concepts d'audace et de défiguration permettent d'envisager la production de l'écrivain portugais Agustina Bessa-Luis selon une approche plurielle : thématique, comparatiste, esthétique, sociocritique et textuelle. Tous genres littéraires confondus, il s'agit ici d'étudier l'oeuvre dans sa totalité comme le produit d'une poétique et d'un humanisme pensés par l'auteur. A. Bessa-Luis pratique la défiguration comme un acte créatif ; d'où une prose hybride, déconstructrice et subversive. Entre prose poétique et pensée discursive, elle propose des antiromans contaminés par des catégories génériques telles que la biographie, le roman personnel, l'essai. La défiguration appelle à la surface du texte les profondeurs cachées de l'image. C'est en effet l'image surgissant, parfois violemment, de "derrière la porte" que poursuit la romancière afin de défigurer les personnages figés dans une identité socialement fixée, en particulier sexuelle. Cette vertigineuse médiation intersémiotique accentue le délire, l'un des thèmes favoris de A. Bessa-Luis qui inverse par ce biais les valeurs tant morales qu'esthétiques, créant des situations limites où la notion de transcendance, très jaspérienne, transparaît à travers visions, apparitions, révélations. C'est ainsi que l'écrivaine opère des (re)constructions audacieuses qui, du fantôme, font émerger le personnage."--P. [4] of cover.
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
PQ9261 .L758 Z59 2015 Unavailable On order Request
Book
359 pages : illustrations ; 28 cm
Green Library
Status of items at Green Library
Green Library Status
Stacks Find it
PN1993.5 .P6 P48 2015 Unavailable On order Request
Video
1 online resource (1 video file, approximately 93 min.) : digital, .flv file, sound Sound: digital. Digital: video file; MPEG-4; Flash.
Four characters struggle with the disillusionment of the revolutionary generation in post-independence Guinea-Bissau. In Udju Azul di Yonta, the most compelling character is Vicente, a disenchanted hero of the independence struggle who has only grudgingly adapted himself to post-revolutionary society. He is a figure with whom many disappointed Western '60s activists will identify. As "Comrade Boss" of a fish warehouse, he continues to work for the development of his country against staggering odds. A power outage (a recurrent motif in the film) has spoiled an entire catch of fish and the fishermen and fishmongers are furious. Corruption and kickbacks have become rampant in the city; unbridled free market capitalism is triumphant. Vicente confesses to an old comrade, "We thought the revolution was for everyone, but it is only here for a few of us." Despairing at his own compromised ideals, he exclaims, "Vicente no longer exists; I am a vulture, " devouring the carcass of his revolutionary hopes. Vicente is so despondent he doesn't notice that Yonta, the beautiful daughter of two of his old comrades, is infatuated with him. Yonta represents the generation which has grown up since liberation whose heads are full of dreams of fashion, music and European affluence. In fact, one of the guilty pleasures of this film is noting how revolutionary culture has given way to stunning couture. Yonta, for her part, is unaware of the attentions of a third character, Zé, a poor student from the country. He anonymously sends her love poems cribbed from a book written about a Swedish girl. One reads, "In the cold long nights when snow caresses your windows...the blue of your eyes is the immensity of the sky over my life." The younger generation's incongruous dreams give the film its striking title. Flora Gomes identifies a fourth important character, "quite an unusual one, who gradually changes everything, the motion and color of the film: it is Bissau, the capital city of Guinea-Bissau, where I have always lived...For fifteen years, while I reluctantly grew older, I saw Bissau recovering its youth almost every day. I heard it switching to another language, another dream, another aim." A reluctance to abandon old dreams results in the tragi-comic rejection of present opportunities. A distraught Vicente vilifies Yonta: "You have replaced ideals with clothes and night clubs." And she retorts: "It's not my fault if your ideals are spoiled. I want to be free to chose - isn't that what you fought for?" The film doesn't end, however, with an endorsement of Yonta's fascination with Western consumer culture. In the penultimate scene, Zé finally encounters Yonta; he angrily demands his poem back saying it doesn't make sense anymore. He warns Yonta that time will pass her by if she doesn't accept the opportunities offered by the real world. The ending of Udju Azul di Yonta is one of the most unexpected in recent African cinema and can justifiably be described as "Felliniesque." The high society of Bissau gathers for an absurd European style reception around a swimming pool, bathed in an otherworldly azure glow. Then in the harsh light of the morning after, they sleep slouched in their deckchairs, hungover with history, while fishermen vainly cast their nets in this artificial pool and Vincente sits dejectedly on its edge. Suddenly, Yonta and the children of Bissau begin to dance around the pool, past their dreaming elders and into an uncharted future. And perhaps we recall the film began with these same children rolling inner-tubes numbered with each year since independence through the streets of Bissau: a striking image of history's anarchy and unpredictability. Udju Azul di Yonta can, in a sense, only end by leaving the world of narrative for that of symbol. The director cannot and will not try to dictate history's direction. All that remains is the faith that the young will come up with dreams of their own, dreams which, Flora Gomes hopes, will not hold them hostage, but inspire them to make something real in the real Africa all around them.
Four characters struggle with the disillusionment of the revolutionary generation in post-independence Guinea-Bissau. In Udju Azul di Yonta, the most compelling character is Vicente, a disenchanted hero of the independence struggle who has only grudgingly adapted himself to post-revolutionary society. He is a figure with whom many disappointed Western '60s activists will identify. As "Comrade Boss" of a fish warehouse, he continues to work for the development of his country against staggering odds. A power outage (a recurrent motif in the film) has spoiled an entire catch of fish and the fishermen and fishmongers are furious. Corruption and kickbacks have become rampant in the city; unbridled free market capitalism is triumphant. Vicente confesses to an old comrade, "We thought the revolution was for everyone, but it is only here for a few of us." Despairing at his own compromised ideals, he exclaims, "Vicente no longer exists; I am a vulture, " devouring the carcass of his revolutionary hopes. Vicente is so despondent he doesn't notice that Yonta, the beautiful daughter of two of his old comrades, is infatuated with him. Yonta represents the generation which has grown up since liberation whose heads are full of dreams of fashion, music and European affluence. In fact, one of the guilty pleasures of this film is noting how revolutionary culture has given way to stunning couture. Yonta, for her part, is unaware of the attentions of a third character, Zé, a poor student from the country. He anonymously sends her love poems cribbed from a book written about a Swedish girl. One reads, "In the cold long nights when snow caresses your windows...the blue of your eyes is the immensity of the sky over my life." The younger generation's incongruous dreams give the film its striking title. Flora Gomes identifies a fourth important character, "quite an unusual one, who gradually changes everything, the motion and color of the film: it is Bissau, the capital city of Guinea-Bissau, where I have always lived...For fifteen years, while I reluctantly grew older, I saw Bissau recovering its youth almost every day. I heard it switching to another language, another dream, another aim." A reluctance to abandon old dreams results in the tragi-comic rejection of present opportunities. A distraught Vicente vilifies Yonta: "You have replaced ideals with clothes and night clubs." And she retorts: "It's not my fault if your ideals are spoiled. I want to be free to chose - isn't that what you fought for?" The film doesn't end, however, with an endorsement of Yonta's fascination with Western consumer culture. In the penultimate scene, Zé finally encounters Yonta; he angrily demands his poem back saying it doesn't make sense anymore. He warns Yonta that time will pass her by if she doesn't accept the opportunities offered by the real world. The ending of Udju Azul di Yonta is one of the most unexpected in recent African cinema and can justifiably be described as "Felliniesque." The high society of Bissau gathers for an absurd European style reception around a swimming pool, bathed in an otherworldly azure glow. Then in the harsh light of the morning after, they sleep slouched in their deckchairs, hungover with history, while fishermen vainly cast their nets in this artificial pool and Vincente sits dejectedly on its edge. Suddenly, Yonta and the children of Bissau begin to dance around the pool, past their dreaming elders and into an uncharted future. And perhaps we recall the film began with these same children rolling inner-tubes numbered with each year since independence through the streets of Bissau: a striking image of history's anarchy and unpredictability. Udju Azul di Yonta can, in a sense, only end by leaving the world of narrative for that of symbol. The director cannot and will not try to dictate history's direction. All that remains is the faith that the young will come up with dreams of their own, dreams which, Flora Gomes hopes, will not hold them hostage, but inspire them to make something real in the real Africa all around them.