An investigation into intermittency

CAPÍTULO 1 -NOTAS PRELIMINARES 1. INTRODUÇÃO Por que Direito Penal, e não Direito Criminal? O Brasil, desde que se tornou independente, só se utilizou da expressão Direito Criminal uma única vez: em seu Código Criminal do Império, de 1830. Em todos os outros Códigos passou a adotar a expressão Direito Penal.

2024

Oggi come nel Trecento i medici non ci hanno capito molto della pandemia, la medicina non sa dare una definizione precisa di virus, il vaccino non corrisponde alla definizione di vaccino, i dati economici dicono che stiamo andando incontro a una decrescita dovuta alle guerre e al cambiamento climatico. Ecco perché dobbiamo prepararci a una carestia…

2021

Alontrachim editions is just born! But what is exactly Alontrachim? You have to read my book Travel from Alexandria to India to find it out. But I am a cool writer, seriously concerned with sharing so I'll tell you.

Liberty Academic Publishers, 2024

The movie One Day Surely has a scenario based on normative values that we can examine at the real political level. The script of the movie was written by Yılmaz Güney, and the place where the script is located bears the traces of revolutionary cinema. As it stands, the movie One Day Surely offers an opportunity to analyze the moments of social crisis and political argumentation in 1970s Turkey. By transferring his own habitus to the screenplay of the film, Yılmaz Güney can also give answers to how the field he idealized establishes a contextualism with a problematic and methodology in Turkish politics. It is also possible to read this effort of Güney as a kind of manifesto. At this point, in the study, first of all, it will be discussed in the context of which hegemony project Yılmaz Güney’s habitus is tried to be transferred to the film. Secondly, the epistemology of the movie One Day Surely will be discussed in parallel with Pierre Bourdieu’s concepts. Finally, the main problematics in the script of the film will be tried to be resolved by considering Bourdieu’s Marxist critique of political economy.

Chinese thinkers and educators in antiquity displayed a strong interest in issues pertaining to morality, teaching and learning. This chapter explores the significant features of ancient Chinese ethics and their continuous application to educational thought and practice. The focus of this essay is on the concept of virtue (de) in Confucianism and Daoism, which are the two prominent indigenous traditions in ancient China. It is argued that virtue, from an ancient Chinese paradigm, is essentially about moral excellence and influence. In the Confucian traditions, virtue is manifested in the exaltation of goodness and ethical charisma of exemplary persons. In the Daoist traditions, virtue is encapsulated in the emptying of one's heart-mind and non-coercive action. In terms of major educational implications, Chinese ethics in the ancient past stress the utmost importance of (inter)personal cultivation of virtues and rolemodelling. School leaders, teachers, students and other educational stakeholders should develop themselves and others morally so as to collectively achieve dao (Way) which is a shared vision of human excellence.

Papers of BAS, 2021

This text analyses the issue of the musical theatre-to-screen adaptation emphasizing particularly on the specifics of theatre and musical film and outlining the differences between theatrical and screen language as a method of artistic expression. Furthermore, it analyses how the stage-screen adaptation may impact the aesthetic characteristics of the new product and how musical dramaturgy derives as a common denominator for both arts and a reason for choosing the director’s means of expression. Текстът анализира проблема за адаптацията на музикалния театър на екран, с особен акцент върху спецификата на театралния и филмов мюзикъл, с очертаване на разликите между театралния и екранния език като начин на художествено изразяване. Изследва се как адаптацията от сцената на екран влияе върху естетическата характеристика на новия продукт и се извежда музикалната драматургия като общ знаменател за двете изкуства и основание за избор на режисьорските изразни средства.