In the first half of the 60s, António Reis co-directed with César Guerra Leal the short documentary Do céu ao rio (1964) about the hydro-electrical system of Cávado-Rabagão. Besides this short, another one was credited to both directors, Alto Rabagão (1966). Probably edited from the same raw material and with some similitudes, however, the generic of this film was not signed by António Reis. Thus, the present article will attempt to: 1) clarify the destinations and production contexts of each one of these short films; 2) aesthetically understand the main differences between them having as main reference the relationship established with nature; 3) try to establish, from the relationship of this short film with the other films by António Reis and by Margarida Cordeiro, the main characteristics of what could be considered as the genesis of a proper cinematographic style. 

This article deals with the construction of the documentary narrative undertaken by the Portuguese filmmaker António Campos when he points his camera toward the historical world. To do so, I will use the concept of "voice" formulated by Bill Nichols (2005) to refer to the ways of approaching the real that directors use in the elaboration of their discourses about reality. In Campos' documentaries, I identify the use of expository, observational, and participatory modes.

This dissertation approaches the music by Eduardo de Góes Lobo, Edu Lobo (1943 -), from 1960 to 1980. The research identifies the characteristics of these works in context, looking at the compositional phases and considering the influences that built his style. Five compositions were selected, transcribed and analyzed taking into account the importance of the work and the final results reached by Edu Lobo as a composer and arranger. The diversity of procedures found in his works unleashed us from the traps of labeling styles and music genres. A theoretical framework was built around the concepts of identity, hybridism and style, related to his musical career and the elements found in the analysis. In addition, interviews with musicians who worked with Edu Lobo provided additional data to the research. The results show the music hybridisms used by Edu Lobo as a tool for the formation of his style and musical identity, or signature, pointing to the recurring and particular compositional elements in the works under scrutiny.

The aim of this paper is to present some theoretical aspects, postulated by German writer Alfred Döblin in his essays, as he developed his own conception of the epic work in "the technical era", based on stylistic aspects, proposing concepts such as "film style", "depersonalization", "factual fantasy" and "kinetic fantasy". As a basis for a conceptual definition concerning the notion of "style", this paper takes into account Antoine Compagnon´s arguments in the work Literature, theory and common sense (1998), as well as Walter Benjamin´s reflections presented in the review "The crisis of the novel" (1930) and the essay "The Storyteller" (1936).

This paper aims to show, through the lexical choices made by an author, what aesthetic effect achieved in the description of women in literary discourse. For this, we take as example of descriptive passages important novels published in the nineteenth century, taking into consideration the significance and value of notional words selected, and the expressiveness of semantic networks, with the intention of verifying how the lexical choices featuring female characters, placing them in the context of the work and in your universe. From the analysis presented is intended to show that the works of renowned Brazilian literature can be worked in the classroom with linguistic approach.

This article presents and describes the implementation of an augmented reality system to assist in the task of warehouse inventory. The proposed system integrates an augmented reality engine (NyARToolkitCS) with a QR Code library. This integration enables users to capture product codes add the product's information to the view of the product itself. This article also presents the challenges for developing this system, the adopted architecture and the tested threshold algorithms. These algorithms were evaluated under real environment conditions.

Melancómica is a poetry book that seeks, in a deconstructed manner and with its modus operandi driven by intuition, impulse—and the poet's own sense of humor—to undertake a process of discovery, consolidation, and assertion of style. Through the interplay of everyday and literary language, as well as both creative and non-creative writing, Melancómica explores the possibilities presented by every deviation, every chance occurrence, beginning with the first: the collision between the words “melancholic” and “comic.” Here, the term “melancómica” expresses “a way of seeing the world through a movement of spirit marked by a pulsating irony, a gaze inclined towards the comic, yet combative against the melancholy constantly prompted by the abyss behind everything; more precisely, the abyss behind (or within?) language itself.” Within its pages, we witness the realization of the poet's humor, as well as that of her writing persona, which are both one and distinct. Divided into two parts, this book-project also explores the aesthetic possibilities of “melancomic” poetic creation beyond its comfort zone, drawing on the work O anjo do ocidente à saída do ferro, by Portuguese poet Natália Correia, to explore non-creative writing techniques. In addition to the idiolects that reveal the “melancomic” style of "the Lia that writes," other textual, extratextual, and paratextual elements consolidate the style, such as the creation of paragrams, the playful tone, the intentional line breaks, and a lighthearted disposition before poetry’s oppacity, among others.

Translating instructions – differences between instruction manuals written in German and EnglishThe following document is composed by two parts. The first one holds a report on my experience as an intern, at L10N, a translation company in Lisbon, describing the internship and all the projects that have been completed. The internship started on the 6th of October 2020 and ended on the 28th of January 2021, more specifically, during the Covid-19 pandemic. Having that said, this condition will also be briefly analyzed, regarding the way it affected my experience and the interaction with my work colleagues and how it affects the working market in general. By the end of this part, the working market idealized during the Translation Master’s will also be compared to the real life of a translator.The second part of the document constitutes a monograph that explores an investigation whose thesis, mentioned on the title of the document, arose during the internship. The investigation aims to point out differences between instruction manuals written in German and English. Previous to the presentation of the results obtained on the investigation, there will be some sections that aim to define the concept of technical translation with the help of some literature about the area, and always remembering that instruction manuals are the kind of document that can be worked upon this type of translation. The data will be analyzed accordingly to several characteristics of the instruction manuals, namely: i) context of communication; ii) type of title; iii) each manual’s structure; iv) the reference to sender and receiver; v) common sentence structure found in instructions manuals; vi) the usage of warning signs and symbols; and vii) the usage of politeness markers.

Consequente de um atribulado contexto social e cultural, o decorrer do século XIX e respetiva transição para o século XX na Europa, acompanha uma transformação brusca no campo da arquitetura, bem como nas formas de habitar burguesas. Escondido no seu invólucro privado, o habitante burguês revela, no início do século XIX, uma postura defensiva em relação à grande cidade, que cresce abruptamente no exterior urbano. Mais do que um lugar físico, esse interior positivo é uma prefiguração do sonho burguês, onde o habitante assegura que a sua identidade é preservada, dentro das quatro paredes da sua habitação, face à indiferença cosmopolita. Porém, o fim do século revela uma clara obsessão pela autoridade cultural e artística, culminando no período estilístico da Arte Nova. Ansioso pela arte, o habitante burguês entrega-se vivamente à originalidade das novas formas que, pretensiosamente decoradas e ornamentadas, acabam como todo o sentido de apropriação e identidade no interior doméstico. É nesse interior tenso que a personalidade do habitante é ofuscada pela arte, bem como pelos ideais artísticos do arquiteto que, inevitavelmente se refletem nas formas domésticas. Nesse sentido, o habitante vive “intoxicado” pelas formas inquietantes e deambulantes que se apoderam vivamente da sua mente. O orgânico funde-se com o inorgânico e o sonho funde-se com a realidade concreta. Para além de uma reflexão acerca da complexidade do interior habitado – já que representa a união entre a arquitetura e a componente psíquica do habitante – a presente dissertação aborda a imprudência estilística da Arte Nova, bem como a respetiva incompatibilidade entre o processo de uniformidade artística e as exigências do habitar. Representante da articulação contraditória entre o moderno e o arcaico, o período da Arte Nova não só questiona o papel do arquiteto na conceção do espaço doméstico, como evidencia a importância da apropriação do habitante nesse lugar tão pessoal. O que deveria ser uma representação da identidade do habitante é – nas representações artísticas da Arte Nova – um reflexo expressivo do individualismo do arquiteto, bem como das suas aspirações artísticas. Toda a plasticidade fantasiosa das conceções da Arte Nova, comprovam o caráter efémero e fugaz do estilo arquitetónico, bem como a necessidade do pensamento racional e funcional do arquiteto, especialmente na conceção do espaço doméstico. Nesse sentido, a presente dissertação procura refletir e responder à questão: de que forma o estilo arquitetónico e respetiva visão artística do arquiteto, pode influenciar e/ou romper, positiva ou negativamente, com o interior doméstico e respetivas formas de habitar?

We propose to apply a heuristic of the analysis of serial television formats, considering systems of textual redundancy and aesthetic reception horizons (consigned by art history as "style marks" of these works). We observe the functioning of elements of the audiovisual staging of serials, in the "aspectual" status that guides the recognition of these works, in the presumed acceptance of these stylistic marks in the narrative and plastic fabrics of the series. As a field of evidence of this aspectual validity of style in television serials, we chose the work of the American playwright Aaron Sorkin, concentrating on the case of The West Wing, in the continued cooperation between him and his directors.