Ciências da Linguagem

Enterococci are now frequent causative agents of nosocomial infections. In this study, we analyzed the frequency and distribution of antibiotic resistance and virulence genotypes of Enterococcus isolates from broiler chickens. Fecal and cecal samples from nine commercial poultry farms were collected to quantify total enterococci. Sixty-nine presumptive enterococci were isolated and identified by API 20 Strep, and their susceptibilities to antibiotics were determined. Genotypes were assessed through the use of a novel DNA microarray carrying 70 taxonomic, 17 virulence, and 174 antibiotic resistance gene probes. Total enterococcal counts were different from farm to farm and between sample sources (P < 0.01). Fifty-one (74%) of the isolates were identified as E. faecium, whereas nine (13%), seven (10%), and two (3%) isolates were identified as E. hirae, E. faecalis, and E. gallinarum, respectively. Multiple-antibiotic resistance was evident in E. faecium and E. faecalis isolates. The most common multiple-antibiotic resistance phenotype was Bac Ery Tyl Lin Str Gen Tet Cip. Genes conferring resistance to aminoglycoside (aac, aacA-aphD, aadB, aphA, sat4), macrolide (ermA, ermB, ermAM, msrC), tetracycline (tetL, tetM, tetO), streptogramin (satG_vatE8), bacitracin (bcrR), and lincosamide (linB) antibiotics were detected in corresponding phenotypes. A range of 9 to 12 different virulence genes was found in E. faecalis, including ace, agg, agrB Efs (agrB gene of E. faecalis), cad1, the cAM373 and cCF10 genes, cob, cpd1, cylAB, efaA Efs , and gelE. All seven E. faecalis isolates were found to carry the gelE gene and to hydrolize gelatin and bile salts. Results from this study showed the presence of enterococci of public and environmental health concerns in broiler chicken farms and demonstrated the utility of a microarray to quickly and reliably analyze resistance and virulence genotypes of Enterococcus spp. Enterococcus spp., particularly E. faecium and E. faecalis, are important in public health; these species are responsible for approximately 12% of all nosocomial infections in the United States (11, 22). In humans, enterococci cause urinary tract infections, bacteremia, peritonitis, and endocarditis, with about 90% of all clinical infections being caused by E. faecalis and E. faecium (22). The virulence of enterococci is associated with several genes, including ace (collagen binding cell wall protein), acm (surface-exposed antigen), agg (aggregative pheromone-inducing adherence to extra-matrix protein), agrB Efs (AgrB protein of E. faecalis), esp (enterococcal surface protein), hyl (hyaluronidase), cad1 (pheromone cAD1 precursor lipoprotein), the cAM373 gene (sex pheromone cAM373 precursor), the cCF10 gene (pheromone cCF10 precursor lipoprotein), cob (pheromone cOB1 precursor/lipoprotein, YaeC family), cpd1 (pheromone cPD1 lipoprotein), cylABLM (hemolysin), efaA Efs (endocarditis-specific antigen), sagA

My intention here is none other then to demonstrate that Cocteau, Welles and Pasolini were deep concerned with this kind of "mixing and melting" of the arts, this denial of the genre's borders, precisely because they have -as many other artists in the twentieth century have -experienced different kinds of artistic practices not as dilettantes, but with profound engagement. We all know that this is not new in the realm of art

Wenn ich das Licht setze, habe ich gern das Gefühl, dass jedes Licht eine dramatische Logik und Funktion innerhalb der Komposition erfüllt. Es ist wirklich wie Malerei: Jede Lichtton ist wie ein Pinselstrich und transportier unterschiedliche emotionale Werte. Lazlo Kovacs (ETTEDGUI 2000 S. 89) Si vis me flere, dolendum est/ primum ipsi tibi (Horaz, "Willst du, dass ich weine, so traure erst einmal selbst". Ars poetica, v. 101-103) I -ÜBER DEN TITEL Ich glaube viele Leserinnen und Leser des Titels dieser Vorlesung werden sich fragen: warum heißt es "auch Unmenschen lieben? Meine Antwort dazu liegt in der Geschichte der Einladung, die ich von Frau Prof. Kathrin Sartingen und Frau Doktor Eva Gugenberger erhalten habe. Wenige Woche vor dieser Einladung, ich hatte ein Film in Rio gesehen (Cabeça a prêmio), und und über den Titel eines Berichts ("Faroeste de Afetos", affektive Western) von O Globo nachgedacht. Wenige Wochen vor der Einladung hatte ich einen Film in Rio gesehen (Cabeça a prêmio) und dachte über den Titel eines Berichts von O Globo über den Film: "Faroeste de Afetos" (affektive Western) nach. Als ich die Einladung heute vor Ihnen zu Sprechen erhielt, fielen mir der Film und der Bericht wieder ein. Gleichzeitig dachte ich an den Klassiker aller Western, Gerge Stevens Shane, dessen Titel in Brasilien "Os brutos também amam" lautet. Sie wissen, die Übersetzungen der Filmtitel sind immer erstaunlich! Bei meinen Überlegungen zur Affekt-und Emotionsdarstellung im brasilianischen Film der Gegenwart, dachte ich daran, mit dieser Übersetzung zu spielen, sie wieder zu übersetzen und zu schauen, was passiert -als eine Erfahrung der Hybridisierung. Ich weiß nicht, ob diese Erklärung überzeugend ist. Vielleicht

Sandbothe, among others, begins to question the tenets of both hermeneutic tradition and Frankfurt school critique on cultural industry. Some may assume a more or less enthusiastic or prophetic vision of media impact on society and culture (like Bolz) , some will try to constitute a more systemic epistemology of the media (under the influence of Nikklas Luhmann) and finally others, like Zielinski, will historicize the the concept of media, trying to constitute an archeology of the media and the different kinds of devices of storage, transmission and processing of information. Among them, Czech-German-Brazilian philosopher Vilém Flusser

Viajo porque preciso, volto porque te amo (200), de Karim Aïnouz e Marcelo Gomes, é um diário de viagem. Um diário audiovisual. Começo a escrever sobre o filme com esta afirmação porque pretendo dar ênfase ao seu caráter literário, tendo em consideração que os diários (de viagem e outros) há muito são um género conhecido e estudado dentro do campo literário. Não é por ser um filme que Viajo porque preciso, volto porque te amo escaparia às características desse género, mas é justamente por ser um filme que a narrativa (documental?) produzida e dirigida por Aïnouz e Gomes acrescenta a essa tradição novos matizes estéticos e éticos. Posto isto, passo a tratar do filme como se fosse uma peça a mais no tabuleiro antigo dos relatos de viagem, como um seu avatar contemporâneo. Evidentemente que, em tal tabuleiro, todas as questões teóricas e conceituais relativas a trânsito, deslocamento, fronteiras, identidade, nomadismo -questões que transcendem campos disciplinares definidos como cinema ou literatura -entram em jogo. Com os acréscimos de dois novos lances: paisagens e afetos.

il analyse les touches de la peinture d'Elstir ou les dissonances harmoniques de la sonate de Vinteuil. Plus encore, la « théorie esthétique » de Proust ne se fixe pas seulement sur les oeuvres artistiques, mais essaye de fonder une théorie de la perception qui se rapporte aux sentiments, aux impressions et à la mémoire. C'est ainsi que la mémoire involontaire sera éveillée autant par la phrase de la sonate de Vinteuil que par le goût de la madeleine trempée dans l'infusion de tilleul . Dire que Proust est un « esthéticien » n'a de sens que si on le considère comme un théoricien du sensible et du vécu, que ce soit dans l'art ou dans la vie elle-même.

A segunda metade dos anos 70 foi decisiva para Paulo Leminski. Tendo iniciado sua trajetória de poeta dentro do movimento concretista, em 1964 1 , e já com a redação do Catatau concluída, o poeta curitibano passaria nessa época a buscar outros ventos estéticos, que o levariam a uma gradual ruptura com a poesia de vanguarda, e à busca de algo que se pode chamar de uma poesia de comunicação. Centrada não mais na estética make it new da poesia visual (ou "verbivocovisual", se se quiser), e distanciada do estilo barrocodélico 2 do Catatau, tal poesia se articularia sobre alguns princípios essenciais, como os de leveza e rapidez, que o aproximariam cada vez mais do universo da cultura pop e da publicidade, marcando a virada que é o livro Caprichos & Relaxos, publicado em 1983 3 . Para se entender essa virada, é necessário que se investigue o intrincado conjunto de circunstâncias que compõe a tessitura desse livro: a vida literária e cultural dos anos 70 (tropicalismo, contracultura, ditadura militar, poesia marginal, "literatura do eu" 4 ); o gradativo afastamento de Leminski do ideário concretista; o envolvimento do poeta com a canção popular e com a publicidade; o seu trabalho como editor de algumas revistas literárias e suplementos culturais; a influência cada vez mais sensível do pensamento e da poesia japonesa, particularmente do zen-

Filmgeschichte und Filmtheorie in Brasilien sind eng miteinander verbunden. Man hat in Brasilien heute eine breite Palette von Theorien zur Verfügung, wenn man sich mit der Filmproduktion und dem Filmmarkt in Brasilien beschäftigen will. Von der Gender-Theorie über die Rezeptionsästhetik bis zur post-hermeneutischen Theorie der Intermedialität, die Möglichkeiten sind sehr verschieden. Will man aber wissen, woher diese Theorien stammen, dann kommt eine etwas unangenehme Überraschung: Meistens kreisen sie nur in der Welt des wissenschaftlichen Diskurses, sie kreisen wie die Waren einer globalisierten Welt. Sie sind grenzenlos und mit ihnen könnte man auch Bollywood-Filme oder das neue mexikanische Kino erklären.

La telenovela brésilienne compte parmi nos produits culturels locaux les plus reconnus et renommés au monde, à côté du carnaval et du football et des métisses. Il semblerait aisé de traduire d'emblée le mot « telenovela » par « soap-opera » ou « feuilleton télévisé », mais la 1 Source : http://redeglobo.globo.com 2 Cf. MÜLLER, Jürgen, Intermedialität. Formen modernen kultureller Komunikation. Münster, Nodus, 1996, et aussi PAECH, Joachim, "Intermedialität". In: FELIX, J. (dir.) Moderne Film Theorie. Mainz: Bender, 2003.

My concern here is to discuss three adaptations of Brazilian poet Manoel de Barros’ work to cinema: Joel Pizzini’s (1986) prizewinning Caramujo-Flor, my own short Wenceslau e a árvore do gramofone (2008) and Pedro César’s documentary Só dez por cento é mentira (2008). I use the word ‘adaptation’ ironically, because actually the three films are everything but adaptations. They are rather ‘devices’ created to somehow ‘read’ and interpret Manoel de Barros’ poetry in cinematic terms. In doing so, they compel cinematographic language to change its ‘nature’ just as nature compels Manoel de Barros to change his poetry. I also clarify the distinction between poetry and cinema, and expansive terms such as Pasolini’s ‘cinema di poesia’ and Jean Cocteau’s ‘poésie de cinéma’, aiming to illuminate the possible connections between art forms apparently diametrically opposed to one another in the way they function relative to their media. In other words, poetry and cinema can live together as long as some process of intermediality takes place.

In a prophetic essay from 1991, “Digitaler Schein”(digital appearance) Czec-brazilian philosopher Vilém Flusser recognizes the end Modernity as the process of a radical transformation of alphabet into numbers, a process that would create no further difference between “real” and “artificial” (künstleriches) world. According to Flusser, Post-history era – or the era of “alpha-numeric society” – creates a gap between those who think and act in a “formal and numeric” way (the “programmers”) and those who still think and act in a “lettered”(büchstablich) way (the “programmed ones”). This gap could only be overcome through the opening or de-cyphering of the codes that sustain the “black boxes” created by the programmers, which seems nowadays almost a task for Sisyphus, specially for the scholars of the Humanities. However, german ex-”Germanist” and media philosopher Friedrich Kittler creates a literary-tecno-archeological kind of “hardware” hermeneutics that somehow accomplishes Flussers call for a new kind of research vis-à-vis the digital world. My aim is here to understand the heritage of the Flusser-Kittler way of thinking of the digital world in order to look through his dark side.

Através de uma leitura de alguns textos de Stéphane Mallarmé, Jorge Luís Borges e João Cabral de Melo Neto – que tratam do livro e da biblioteca – procura-se demonstrar que há uma estreita relação entre a materialidade do livro e o conceito de Literatura. Define-se, assim, através da mídia (ou suporte), a relação entre o material e o conceitual, visando esclarecer por que o paradigma hermenêutico, nos estudos literários, parece ter chegado a um certo esgotamento na era das imagens técnicas e das mídias digitais. Uma versão ampliada deste texto foi publicada em Linhas Imaginárias: poesia, mídia, cinema (Ed. Sulina, 2012).

Se é verdade que todo filme pressupõe um narrador, visível/audível ou não, a presença do narrador na cena do filme - interpretado por um ator visível no enquadramento – é um procedimento no mínimo curioso. Qual a sua importância para os estudos de narrativa cinematográfica? Para distinguir esse tipo de narrador dos demais, usamos o termo "narrador encenado".