Search

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pós: Revista do Programa de POS-Graduacao Em Artes - EBA/UFMG is the property of Pos - Programa de Pos-graduacao em Artes (PPG-Artes) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The "health emergency" forced analysts to seek new ways of continuing with analysis. The article focuses, in particular, on the changes brought about in the setting by the presence of the sanitary mask, following a line that begins with the theme of the "mask" in the collective uses of human cultures, and develops through the Jungian concept of persona, as opposed to the "face" that may convey an authentic image of oneself. A clinical vignette illustrates the issues that the mask raises in the setting by obstructing the communication of emotions. When there is no transformative processing of concrete data, "unmasking" can also lead to an uncanny encounter and to moments of darkness and confusion in analysis, when the analyst experiences the kind of "unconscious identity" between therapist and patient that Jung defined as nigredo. The article is intended as a contribution to the analytic community's current reflections on the new and unforeseen challenges encountered in analysis at the time of the Coronavirus. It is possible to learn from these experiences with a view to integrating new elements and thus modify one's own internal setting, the compass with which each analyst orientates himself. [ABSTRACT FROM AUTHOR]

The objectives of this scoping review are to discuss, firstly, the positive aspects of wearing face masks during training (such as a barrier to COVID-19 transmission, air pollutant exposure, and adding load on respiratory resistance flow); secondly, the negative aspects (adverse effects on body temperature and hypoxia risks); and thirdly, the training responses of wearing face masks on aerobic and anaerobic performance. Besides social distancing and hand hygiene, wearing a face mask is proposed to be the prime advocacy for virus containment. During the period of high risk of contamination, the return to sport guidelines proposed by international and national sport federations included wearing face masks during training sessions. However, it is necessary to discuss the pros and cons of wearing face masks during exercise. Although it was essential to wear a face mask during exercise or sport-specific training, there is conflicting evidence on the implications of the use of face masks on physical, physiological as well as psychological well-being or performance. Based on the conflicting empirical findings and anecdotal evidence, certain recommendations have been made for adequate use of face masks during exercise; both to break the chain of transmission and prevent the physiological compromise expected from wearing face masks during exercise. The present review can help stakeholders balance sport guidelines in the event of a respiratory virus pandemic with athlete safety. Conflicting evidence of mechanistic links between the dose of exercise and the possible adverse effects associated with exercising with face masks is available. Adequately powered studies with strong methodological quality on appropriate selection of masks and usage based on the intensity, duration, and type of sport, age, and gender is needed now for the stakeholders to make informed decisions with respect to exercising with face masks. [ABSTRACT FROM AUTHOR]

How do we trace the historical processes that grant some writers visibility and, hence, legacy, while shoving others into the historical closet? This essay offers the case study of Elizabeth Boyd (1727-1745), a novelist, poet, and playwright who has received some attention from scholars interested in women's contributions to the legacy of William Shakespeare in the second quarter of the eighteenth century. In particular, her unperformed play, Don Sancho: Or, the Students Whim, a Ballad Opera of Two Acts, with Minerva's Triumph, a Masque (1739) dramatizes a woman writer's reflections on the politics of legacy at this formative moment in the history of authorship and the British theater. While the play was not performed, key scenes were later plagiarized in popular afterpieces by theater managers and playwrights Henry Giffard and David Garrick. Boyd, along with her inclusive vision of theatrical legacy as the domain of men and women of different classes, disappears in the male playwrights' fantasies of exclusively masculine, British literary greatness. The story of Boyd's erasure speaks to the gendered and classed exclusions and elisions in the social and economic processes by which legacy is formed, in this case, in the gendered power relations of eighteenth-century theater and its management. [ABSTRACT FROM AUTHOR]

The coronavirus pandemic has generated renewed public debate about different forms of masking. In this article I analyze news frames that circulated in Englishlanguage Canadian news outlets throughout 2020, performing an informal discourse analysis of coverage of Quebec's secularism law, Bill 21, alongside coverage of two anti-mask protests held in Aylmer, Ontario. In the case of Bill 21, I argue that the predominant frame that shaped coverage was one of hypocrisy, which foregrounded the discriminatory nature of the legislation but obscured the Christian cultural politics otherwise embedded in the law. In the case of the Aylmer marches, I argue that news coverage centered on the role of the religious outlier, particularly through attention to outspoken Church of God Restoration pastor Rev. Henry Hildebrandt. This frame amplified Hildebrandt's political statements but downplayed the more quotidian role of conservative Christianity in shaping some anti-mask sentiment. In both cases I argue that attending to the Christian cultural politics which were obscured by dominant news frames can help us better understand the persistent role of religion in shaping public discourse. [ABSTRACT FROM AUTHOR]

How do we trace the historical processes that grant some writers visibility and, hence, legacy, while shoving others into the historical closet? This essay offers the case study of Elizabeth Boyd (1727-1745), a novelist, poet, and playwright who has received some attention from scholars interested in women’s contributions to the legacy of William Shakespeare in the second quarter of the eighteenth century. In particular, her unperformed play, Don Sancho: Or, the Students Whim, a Ballad Opera of Two Acts, with Minerva’s Triumph, a Masque (1739) dramatizes a woman writer’s reflections on the politics of legacy at this formative moment in the history of authorship and the British theater. While the play was not performed, key scenes were later plagiarized in popular afterpieces by theater managers and playwrights Henry Giffard and David Garrick. Boyd, along with her inclusive vision of theatrical legacy as the domain of men and women of different classes, disappears in the male playwrights’ fantasies of exclusively masculine, British literary greatness. The story of Boyd’s erasure speaks to the gendered and classed exclusions and elisions in the social and economic processes by which legacy is formed, in this case, in the gendered power relations of eighteenth-century theater and its management.

Copyright of BMS: Bulletin de Methodologie Sociologique (Sage Publications Ltd.) is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Signata is the property of Presses Universitaires de Liege and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

La crise sanitaire qu'a connue la France depuis le début de l'année 2020 a justifié la mise en place de nouvelles règles nécessitant des changements de comportements. Le contexte de mise en place de ces règles sanitaires, instituées très récemment et pour un temps limité, pose la question de leur perception et de leur respect dans la population. À partir de la psychologie sociale du développement, l'objectif de cet article est d'explorer les motivations à la conformité à ces règles sanitaires, mesurées ici au travers du port du masque, et d'étudier leur relation au vécu du contexte sanitaire et à la motivation à la conformité à d'autres règles légales, appréhendées ici au travers des règles de sécurité routière. Le recueil par questionnaire, effectué pendant le deuxième confinement auprès d'un échantillon de 4999 personnes représentatives de la population, a permis de mesurer le vécu du contexte sanitaire, l'internalisation des règles et leurs justifications, l'utilité des règles et la perception du système légal. Les résultats montrent les liens entre la règle, le type d'arguments utilisé pour la justifier pour le port du masque et pour les règles routières respectivement, ainsi que les liens entre l'internalisation et la perception du système légal. Ils montrent également que les femmes utilisent davantage les arguments moraux et prudentiels pour justifier leur internalisation des règles et qu'elles ont internalisé les règles routières (mais pas le port du masque) davantage que les hommes. Ces résultats montrent que la perception de la règle du port du masque semble davantage liée à la perception générale qu'ont les individus du système légal et d'autres règles légales de santé publique impliquant le rapport à autrui que du contexte de mise en place de ces règles. The health crisis that France has experienced since the beginning of 2020 has justified the introduction of new health rules requiring changes in behaviour. The context of the implementation of these health rules, instituted very recently and for a limited period of time, raises the question of their perception and respect among the population. Mobilising the social developmental psychology, the objective of this article is to explore inter-individual differences in the perception of these health rules measured through the wearing of masks. It aims also at studying the links between these perceptions with the experience of the health context and the perception of other legal public health rules, apprehended through some road safety rules. The questionnaire survey, carried out during the second confinement with a representative sample of 4999 people, made it possible to measure the experience of the health context, the internalisation of the rules and their justifications, the usefulness of the rules and the perception of the legal system. The results show the links between internalisation, the type of arguments used to justify it for wearing a mask and for road rules respectively, as well as the links between internalisation and the perception of the legal system. They also show that women use moral and prudential arguments more to justify their internalisation of rules and that they have internalised the traffic rules (but not the wearing of masks) more than men. These results show that the perception of the rule of wearing a mask is more related to the general perception that individuals have of the legal system and other legal public health rules involving the relationship with others than to the context in which these rules were put in place. [ABSTRACT FROM AUTHOR]

On 10 April 1654, Duke August the Younger of Braunschweig-Lüneburg celebrated his 75th birthday. Three days later the occasion was celebrated at the Wolfenbüttel court with a masquerade entitled Der Natur Banquet , conceived and organized by August's wife, Duchess Sophie Elisabeth of Braunschweig-Lüneburg. This article focuses on the opening of Der Natur Banquet , a procession of seven celestial bodies with accompanying music. Investigating the characteristics of these celestial bodies as described in contemporary astrological sources, I demonstrate that visual and aural rhetoric worked in tandem to display the political power and virtue of the duke and his dynasty. The article investigates the affective links between the astrological characteristics of each celestial body and the instruments used with it, and explores the possible influence of 'Die Tugendsterne' by Georg Philipp Harsdörffer and Sigmund Theophil Staden. [ABSTRACT FROM AUTHOR]

Copyright of Arabic Language & Literature (2008-7217) / Majallah-i Zabān va Adabiyyāt-I ̒arabī is the property of Ferdowsi University of Mashhad Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Peintre napolitain du XVIIe siècle, Salvator Rosa est principalement connu pour ses tableaux de genre, ses scènes de sorcellerie ou de batailles. Mais il a également exercé d’autres activités, comme la mise en scène théâtrale, la comédie et l’écriture de satires. Cet article, qui se fonde sur l’analyse de l’œuvre picturale et littéraire de l’artiste, propose d’interroger la relation entre le caractère hybride de sa production et l’image qu’il construit de lui-même pour son public. La thématique du masque servira de clé de lecture, tant du point de vue de la pratique théâtrale de Rosa, que de celle de l’autoportrait. Sont étudiés en particulier son autoportrait en soldat, et ses autoportraits en philosophe.

This article examines the construction of national and racial identities within Ben Jonson’s and Inigo Jones’s Masque of Blackness against the backdrop of King James’ investment in creating a ‘British’ union at the start of his reign. The article re-examines the blackface performance of the Queen and her ladies in the contexts of the Queen’s and Inigo Jones’ European connections, the Queen’s reputation as ‘wilful’, and her pregnant body’s ability to evoke widespread cultural beliefs about the maternal imagination’s power to determine a child’s racial make-up. We argue that the masque’s striking use of blue-face along with black and white-face reveals a deep investment in Britain’s ancient customs which stands in tension with Blackness’ showcasing of foreign bodies, technologies, and cultural reference points. By demonstrating the significance of understanding Queen Anna’s pregnancy and her ‘wilful’ personality within the context of early modern humoral theory, moreover, we develop existing discussions of the humoral theory that underpins the masque’s representation of racial identities. We suggest that the Queen’s pregnant performance in blackface, by reminding the viewer that her maternal mind could ‘will’ the racial identity of royal progeny into being, had the power to unsettle King James I’s white male nationalist supremacy in the very act of celebrating it before their new English court and its foreign guests.

Le syndrome de l'œil sec est un trouble multifactoriel. D'apparence bénigne, il peut entraîner de graves dégradations de la structure oculaire, qui altèrent la vision et la qualité de vie des patients. Cette maladie, qui fait partie des plus fréquentes en ophtalmologie, a connu une forte progression avec la généralisation du port du masque pendant la pandémie de Covid-19. Dry eye syndrome is a multifactorial disorder. Although it appears to be benign, it can lead to serious damage to the ocular structure, which alters the vision and quality of life of patients. This disease, which is among the most common in ophthalmology, has increased significantly with the widespread use of masks during the Covid-19 pandemic. [ABSTRACT FROM AUTHOR]

The aim of this paper is to describe the beginnings, rather unknown, of the CRICOT theatre and to demonstrate the evolution which took place between the first show of CRICOT1 and the last piece performed in 1938. Focusing on the manners of treating the scenic object, the scenography, the costumes and the masks, the paper analyses the transformation of the amateur theatre: artistic, satirical, visual and comic into quasi-professional theatre, carrying an existential message. Message to be developed afterward by the world-famous collective, reformer of the European stages: Tadeusz Kantor’s CRICOT2. [ABSTRACT FROM AUTHOR]

La crise sanitaire de la COVID-19 a mis en tension les registres de la reconnaissance au travail en (ré)interrogeant ses différents aspects (symboliques, matériels ou encore réglementaires) et leurs articulations. Cet article propose de mettre en perspective des enjeux relatifs à la continuité de l’activité en temps de pandémie pour une catégorie professionnelle socialement dévalorisée avec le processus de formalisation des situations ouvrant droit à une reconnaissance en maladie professionnelle. Sur la base de plusieurs recherches qualitatives, dont une menée de façon longitudinale, il montre comment ces différents enjeux se sont trouvés cristallisés chez des intervenantes du secteur marchand de l’aide à domicile. Le contexte de pénurie d’équipements de protection rencontré au début de la crise, en particulier des masques, a accentué les problématiques qui se posaient alors sur le plan de l’organisation de la prévention des affections du travail. Parallèlement, le registre martial largement déployé politiquement interrogeait la reconnaissance des « soldats » et les cadres institutionnels par lesquels elle allait être formalisée. Les revendications en ce sens ont différé selon les acteurs considérés, reprenant pour certaines les critiques adressées de longue date au système de reconnaissance des maux du travail.

The signature scene shifts, pastoral settings, and perspectival instabilities of Andrew Marvell’s Upon Appleton House squarely align the poem with the theatrical tradition of the court masque, a tradition that was effectively moribund at the at the time of the poem’s composition in 1651. The influence of the masque on Upon Appleton House (and other Marvell works) has been widely noted, but the significance of his poem in the longer history of English theater—specifically, in the discourse of theatrical reform—has not been fully considered. In Upon Appleton House, Marvell not only applies the strategies and techniques of the masque, but he also engages with ideas central to the ongoing debate between opponents and defenders of the stage. As such, his poem anticipates the reforms and innovations attempted by William Davenant, Richard Flecknoe, and others who campaigned to revive theater in Interregnum England. However, Marvell’s appropriation of masque theatrics is not tethered to the goals of reform. His poem is distinctly the product of the post-regicide, pre-Protectorate imagination, when the theaters are shuttered, dramatic performance is driven underground, and the fate of the Commonwealth is precarious. Accordingly, his method is not to establish a mode of theater palatable to republican interests, but instead to defamiliarize theatrical representation in a way that responds to the uncertainty of the moment.

Universal mask wear is an effective public health intervention to reduce SARS-Cov-2 transmission, especially in enclosed public spaces and healthcare environments. Concerns have been raised about possible transmission of the SARS-Cov-2 through ocular secretions, leading to enhanced protective measures during ophthalmic procedures. However, there is some evidence for air jets from the upper edge of the surgical mask to the ocular surface, especially when the mask is not well fit. Prolonged airflow towards the ocular surface during expiration may alter tear-film stability, leading to hyperosmolarity and ocular surface inflammation. This also raises the question of whether the ocular surface is contaminated with oral flora from airflow directed toward the eyes, thus increasing the risk of ocular infection. Herein we review the impact of patient face mask wear on the ocular surface, eyelids and risk of ocular infection, particularly during ocular surgery. There is some evidence for increased incidence of dry eye or eyelid disease during periods of mandatory face mask wear. While high daily exposure is consistent with a direct association, this should be mitigated by various cofounding factors which could also affect the ocular health during the COVID-19 pandemic. An increased risk of post-intravitreal injection endophthalmitis, possibly due to face mask wear by the patient, including culture-positive endophthalmitis, has been reported in one retrospective study. Several measures have been shown to prevent or limit the risk of developing dry eye disease or exacerbation, eyelid cyst, and ocular infection during intravitreal injections., (Copyright © 2024. Published by Elsevier Masson SAS.)

Ben Jonson's Eupheme poems and Anthony van Dyck's portrait of Venetia Digby as Prudence have often been seen as art works fiercely at odds, and that particularly Jonson's overall brash dismissal of the visual arts is epitomized in his poems in praise of Venetia's life. Yet ample evidence within Eupheme supports the idea that not only are Jonson's poems in peculiar ekphrastic conversations with Van Dyck's painting but that Jonson conceives of the ekphrasis as a device for guiding viewers and readers into rare contemplative poetic spaces. The nature of the interplay between Van Dyck's painting and Jonson's poems shares similarities to how Jonson conceived of the courtly masque as a cooperative, unitive experience of visual and verbal elements. In addition, the influence of emblems of Alciato on Jonson's poetry is instructive in this regard, as these emblems exhibit a cooperative interplay between discrete visual and verbal (body and soul) elements. Issues arising from the artistic cooperative interplay between the body and the soul are linked to the Catholic theology of prudence through the subject of both Jonson and Van Dyck's works. Specific Catholic contexts hitherto not considered are suggested for both the painting and poems, and especially Jonson's poem "To My Muse" (the last poem in Eupheme), but these theological contexts are also established in relation to the two titles of Jonson's poems, which take for their subject Venetia's body and mind. Furthermore, various loose ends such as the dating of Van Dyck's painting and the idea that Sir Kenlem had commissioned it to reconstruct Venetia Digby's reputation are brought up and considered throughout the essay with an eye to these contexts. [ABSTRACT FROM AUTHOR]

In Krysinska’s novel, La Force du Désir, which I consider a roman à clef, rich referentiality is a guarantee of authenticity. Spatial and cultural references build a world familiar to the reader who can easily decipher the prototypes of the presented characters. Moreover, Krysinska’s novel contains the philosophy of the mask, both explicitly and implicitly, within the characters’ behavior. This, however, does not exhaust the issue of the mask, because a roman à clef, on the generic level, is a mask of an esoteric novel. [ABSTRACT FROM AUTHOR]

The masks in Documents should be read in a broad context, which goes beyond the columns of the journal to also embrace the birth of ethnology in France, the surrealist neighborhood but also the years to come, which will hardly see the development of ideas sketched in the magazine. At the same time, the presence of the masks highlights the disparate character of the journal itself, where the more or less ethnological texts devoted to the masks of traditional societies respond to much less academic articles in which the mask slips in the direction of the strange and monstrous. This allows to deconstruct Western aesthetics and, first and foremost, the human figure as its most codified and, therefore, most untouchable expression. The mask can even be considered as the embodiment of the concept of disparity which seems to govern the counter-aesthetic of the journal. Finally, the mask is emblematic of the internal gap in the journal, that between ethnologists and poets, or between academicism and subversion. [ABSTRACT FROM AUTHOR]

The aim of this study is to question the links between Mask, Cinema and Europe. The five films selected are Three Colours: Blue from Kieślowski, Crazy Pierrot from Godard, Strada from Fellini, Death in Venice from Visconti, Wings of Desire from Wenders. These movies exhibit a particular type of mask: the mask without mask. Mask obtained by light or make-up, it seems to express the character’s aspiration for an elsewhere. [ABSTRACT FROM AUTHOR]

The pandemic affecting our world in 2020 leads us to question a centuries-old socio-cultural practice, namely the wearing of masks, and to rethink their use in light of the current context. Depending on the civilizations and eras, masks have had various functions: religious, social and artistic. None of these functions corresponds, however, to the recent use of masks. Henri Michaux, Jean Starobinski, Michel Butor and Yves Bonnefoy will help us to answer these questions : How the wearing of masks does change our relation to identity ? our relationship with others ? Does not seeing the whole face make it possible to see others better ? [ABSTRACT FROM AUTHOR]

Having recently given, and published in Third Text referee journal and Third Text Online, a series of articles on mask, class and carnival, I was recently invited to write a text to accompany an exhibition relating to masks. Mask, Masque, Masc was a group exhibition hosted online between 14 and 31 May 2020. It was curated by Marc Hulson, Alessandra Falbo and Rolina E. Blok, and hosted by Five Years and Darling Pearls & Co at Platforms Project Net 2020 (see: http://www.fiveyears.org.uk/archive2/pages/277/Masc%5fMask%5fMasque/277.html. Accessed 28 July 2021). This article is a transformed version of that text, edited and extended to suit this journal and the requirements and suggestions of the journal's reviewers. It starts out with an epigraph taken from Nietzsche, followed by two quotes from Walter Benjamin that relate writing playfully to 'magic'. It later turns towards a conclusion with two more fulsome quotes from F.W. Nietzsche, which dispute the priority of truth and claim that every word is a mask. The piece aims to encourage and support newcomers to writing, as well as non-native speakers and those from less privileged backgrounds; any and all of whom might nervously feel that their own writing is in some way illegitimate. I draw upon my experience as an arts lecturer and arts writer, as the article becomes an example of an autobiographical strain in my work that uses first-person narratives to explore ways in which writing, education (in general) and art education (in particular) might contribute to or help us negotiate class consciousness and cultural barriers. The article discusses ways in which new technologies invite and allow new voices to gain confidence in writing, and also alludes to 'masks', 'imposters' and 'imposter syndrome' (initially nominated as a feminist concern). It attempts to help and to advise aspiring writers by 'dis-spelling' myths of writing as transcendent, privileged and thereby socially divisive, and promotes the idea of writing as a material process (no less 'magical' for that) open to all. Interestingly, the title of this article alludes to its own word count, and thus the title had to be changed each time the article was edited and as it grew into the approximately 6,000-word essay it is now. As well as being, in this and other ways, self-reflexive and self-conscious, the writing becomes self-deconstructive towards its conclusion, tugging at a certain 'masc'-ulinity concerning the sources and motivations for the writing and of the author that might otherwise remain masked to the author. This allows the piece to end by extending the implications of a purported écriture feminine to become an encouragement to more and different 'others' to find a way, and to find their way, to and through writing, meanwhile expanding on the many ways in which we might deploy a new-found freedom to write according to the model of words as masks, of writing as a masque and of the author as masked. [ABSTRACT FROM AUTHOR]

Copyright of L'Année Ronsardiennne is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Antonio Hernández Centeno est un dramaturge andalou qui combine l’écriture avec la mise en scène de ses pièces. Nous nous concentrerons sur son travail d’artiste engagé et sur le jeu de masque et contre-masque. Dans son écriture, engagée sur des thématiques qui lui tiennent à cœur, Centeno défend des idéaux à travers ses personnages. L’utilisation du contre-masque permet à ces personnages de présenter une fausse apparence (masque) qui cache et protège leur véritable identité (contre-masque). Cete véritable idéntité n’est révélée que dans des situations extrêmes, conduisant au retournement de la situation dramatique.

Résumé: Pour prévenir la transmission de la Covid-19, les autorités de santé recommandent, en plus des mesures de protection collective, le port de masque à usage non sanitaire pour tous les salariés sur leur lieu de travail et plus généralement pour la population générale au moins dans tous les lieux clos. Pour les professionnels de santé, le port de masque à usage médical et celui de masque de type FFP2 sont recommandés en fonction du risque d'exposition. Cet article définit les différents types de masques, les informations permettant de les identifier, et les usages appropriés de chacun d'entre eux dans la lutte contre la transmission de la Covid-19. To prevent the transmission of COVID-19, the health authorities recommend, in addition to collective protection measures, that all employees wear masks at their workplace. More generally, the general public is encouraged to wear a mask at least in all enclosed spaces. For healthcare workers, surgical masks and FFP2 respirators are recommended depending on the exposure risk. This article defines the different types of mask, how to identify them and how to use each one appropriately in the fight against the transmission of COVID-19. [ABSTRACT FROM AUTHOR]

Headaches are a common symptom of COVID-19 infections. Patients generally describe them as bilateral, predominantly frontal, squeezing and of moderate or severe intensity. Searching for "Red Flags" often allows distinction from primary headaches – usually fever, cough, and elevated inflammatory markers accompany COVID-19-associated headaches. Prospective studies did not confirm caveats against the use of ibuprofen as symptomatic treatment. While carrying facial masks often caused headaches, probably by compressing sensory nerves, many patients' migraine frequencies dropped during lockdown. Treatment of patients with primary headaches was complicated by quarantine and many centres offered online consultations. [ABSTRACT FROM AUTHOR]

Le théâtre de marionnettes moderne cherche maintenant des points de contact avec des arts associés, en utilisant le langage et les codes spécifiques des pratiques artistiques contemporaines. Les intersections des marionnettes, des masques, des objets avec le comédien et leur coexistence parallèle repoussent les limites visuelles et sémantiques d’un spectacle de marionnettes. Le metteur en scène et marionnettiste français Philippe Saumont a présenté sa propre version de l’interaction marionnette-comédien basée sur un texte autobiographique et un système complexe de contrôle de ce texte “de l’extérieur”. Son spectacle Je t’aime papa mais merci d’être mort a été présenté avec succès au Festival d’Avignon en 2018.

Copyright of L'Année Rabelaisienne is the property of Classiques Garnier and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Cet article propose un panorama de la notion de masque dans les productions littéraires et artistiques du siècle des Lumières. De Marivaux à Laclos en passant par Rousseau, cette vision permet de saisir les enjeux du passage de la recherche de la sincérité à sa critique et met au jour une dynamique de démasquages successifs. Dans le même temps, nous montrons que le masque de l’auteur au XVIIIe siècle ne peut être réduit aux seuls textes clandestins, expression d’une pensée philosophique transgressive maximale. L’anonymat correspond à des intentionnalités très diverses et peut être porteur d’enjeux eux-mêmes très variés.

This contribution proposes to understand one specific aspect of the ongoing COVID-19 pandemic from a visual perspective. The ubiquitous non-medical masks expose not only the invisibility of the biological threat but also the fact that the pandemic is at once also a political issue. This essay begins with a brief examination of an enigmatic cover portrait from the 16th century attributed to Ridolfo Ghirlandaio that bears the inscription "sua cuique persona." The painting, executed at the time when the concept of the person entered juridical vocabulary, brings to the fore the problematic articulation between face, personhood and mask. Its examination sets the stage for a different understanding of the functions of non-medical masks. On one hand, in certain circumstances, instead of negating political participation, masks enable it and make it more visible. On the other hand, they also expose and reconduct fracture lines within society. As shared immunity machines, they both bring us together and set us apart. [ABSTRACT FROM AUTHOR]

Masks have become part of the racial identity politics of our pandemic culture. In addition to providing protection from the coronavirus, masks play a symbolic role in pandemic imaginaries by reconstituting pre-existing racial ideologies and formations in new ways that separate good liberal citizens from "folk devils." While some masked bodies are valorized and heralded as preserving the public good, others are rendered suspect and subject to greater surveillance, regulation, ostracism and exclusion. Rather than serving as a leveling device, the cultural politics of wearing masks exposes the entrenched inequalities that have resurfaced during the pandemic. [ABSTRACT FROM AUTHOR]

In August 1653, Cromwell's Nominated Assembly passed into law "An Act touching Marriages and the Registring thereof", which sought to reform and standardize English marriage laws by replacing the church ceremony with a simple civil service performed by a justice of the peace. Despite some regional successes, the Act was widely ignored and poorly enforced, and drew the ire of critics for its perceived hostility to traditional customs and institutions. In this paper I examine some of the nuptial-themed literature that responds both directly and indirectly to the 1653 marriage act, with a particular focus on the works of James Howell, whose varied output of work embodies the hopes, fears, and idiosyncrasies of Interregnum royalism. Not only does the work of Howell and his fellow royalists defend marriage against Cromwellian innovations, but more broadly, it illustrates how the discourse of marriage was uniquely suited to express cultural grievance and royalist solidarity during the early years of the Protectorate. [ABSTRACT FROM AUTHOR]

Copyright of Lublin Studies in Modern Languages & Literature / Lubelskie Materialy Neofilologiczne is the property of Maria Curie-Sklodowska University, Department of German & Applied Linguistics and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article argues that in The Tempest, Shakespeare dramatises the deepest antitheatrical anxieties of his time about music, drama, and the power that artists – playwrights, players, musicians – wield over audiences. Through a close reading of the interrelated representation of music and drama in The Tempest and in early modern English antitheatrical pamphlets, the article demonstrates the resemblance between Prospero and the antitheatrical vision of the powerful, manipulative artist who deliberately excites his audience's senses, floods them with emotion, undermines their reason, and places them in his power, while claiming that he only aims to please. [ABSTRACT FROM AUTHOR]

Copyright of ZARCH: Journal of Interdisciplinary Studies in Architecture & Urbanism is the property of Universidad de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Le fonctionnement de la littérature comme une institution est connu et a été suffisamment développé dans les études littéraires ; cela a permis aux différents théoriciens de définir l’institution et de montrer l’autonomie du champ littéraire producteur de valeurs qui sont transmises selon des codes. Le masque en Afrique est une réalité culturelle et cultuelle au-delà de sa dimension artistique ; il constitue, dans les sociétés où il existe, une référence sociale, un régulateur de la vie sociale. En particulier chez les Bobo du Burkina Faso, il est l’élément, la structure de socialisation par excellence de l’individu. En observant le fonctionnement de la littérature et du masque, nous avons été frappé par des similitudes qui nous ont conduit à nous demander si l’on ne pouvait pas considérer le masque comme une institution au même titre que la littérature. Pour répondre à notre interrogation, nous avons procédé à une approche théorique des deux phénomènes pour ensuite mettre en parallèle leur fonctionnement ; et notre conclusion est formelle : le masque est une institution comme la littérature et à ce titre, il peut faire l’objet d’une étude sous cet angle. Mots-clés : littérature, sociologie de la littérature, masque, institution.

Copyright of XVIIe Siècle is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article seeks to challenge Stanley Fish's picture of the heroine of Milton's Comus as a complete and immaculate soul, and thus a static one with no need to grow. In conversation with Book II of Edmund Spenser's Faerie Queene, I argue that Milton presents the Christian virtues as developed through the ritual enactment of prevenient grace. Thus, the pattern for the Lady's growth into sanctified maturity is a ceremonial or even liturgical movement intended to lead masquers and audience heavenward. [ABSTRACT FROM AUTHOR]

One, No One and One Hundred Thousand is a continuation of The Late Mattia Pascal in the way that it also revolves around the central theme of Pirandello's vision--crisis of individual identity. The protagonist of the novel, Vitangello Moscarda, accidentally discovers that others have a different vision of him than the one he has created for himself. This strikes him deeply and a true obsession in him is born that uproots his life and makes him commit all kinds of nonsense. He realises that there are numerous 'Moscardas', each one being different, that come to life depending on the vision of numerous people around him, especially his wife. In that way, a terror arises in him defying the prison of 'form' into which others are forcing him but he also discovers that he is a 'nobody' to his own self as well, which further creates a disturbing sensation of absolute solitude. By means of his own insanity he is trying to rebel against the rigid system of social conventions but is defeated. Although he strived to destroy all the imposed forms, he is now to accept and suffer through the one cast upon him by the society, i.e. that of an adulterer, although he is innocent. It is in this very defeat that he finds a way to heal from the agitation that irked him. The original state of mind that he is a 'nobody' tormented him and fed in him a sense of grave solitude. Now, he readily accepts an alienation from his own self and irrevocably rejects any form of personal identity, even his own name, and willingly accepts the changeable flow of life to carry him, alternately dying and being born a blank slate and without reminiscence. He no longer fixates to a single form but identifies himself with all that is outside in a complete alienation from the society and the prison of form that it imposes. [ABSTRACT FROM AUTHOR]

The author presents an analysis and interpretation of a short story Transposed Heads by Thomas Mann. She also discusses its adaptations: two as films, and one theatrical. The story is a personal version of an ancient Indian legend, which was generously updated by the writer, who decided to go far beyond the original. This "metaphysical joke" became just a pretext to discuss subjects present in his other works, e.g. a predominating motive of a conflict between body and soul. It is very important that the recognition of the legend in the 20th century was thanks to Mann, and not the original story. Both avant-garde film directors and theatre director refer to Mann: Alejandro Jodorovsky in his La cravate (1957), Fernando Birri in ORG (1979), and the director of an Indian play Hayavadana (1970). [ABSTRACT FROM AUTHOR]

The purpose of this article is to examine the different variations of the mask as well as its limits in George Sand's Uscoque, a novel very rich in events that take place between Morea and Venice at the time of the Turkish-Venetian wars. [ABSTRACT FROM AUTHOR]

This essay offers a preliminary portrait of Anna of Denmark, queen of Scotland from 1589 for her marriage with James VI and queen of England, Scotland and Ireland for her husband’s accession to the throne as James I in 1603. Unjustly described by the anti-jacobean storiography as a vague character, changeable and superficial, extremely frivolous because of her interest in the court revels, Anna was instead an emblematic and eclectic personality, both in politics and cultural activity, expecially for her patronage of arts, artists and spectacle. Patron of painters, musicians and actors, connoisseurs of the Italian Renaissance architecture, Anna was the effective promoter of the english court spectacle, creating a series of yearly events which, from 1604 to 1611, signed the ultimate codification of the English masque.