ABSTRACT A hydroponic experiment was carried out to investigate the effect of phosphorus (P) nutrition on arsenic (As) uptake and translocation within the seedlings of rice cultivars. The experiment occurred in three stages: I 5 days of acclimatization (nutritive solution); II 10 days under P (0.0 and 0.09 mM) and As (0.0 and 100 mM) treatments; III 5 days under recovery. The As exposure had significant effect reducing dry weights of shoots or roots, resulted in elevated concentrations of As in shoot tissues. BR-IRGA 409 showed the highest susceptibility to As in biomass production and root system parameters regardless the P level. This cultivar showed contrasting responses of As translocation to shoot tissue dependent on P levels, with the highest As concentration under low P and lowest under normal P levels. P nutrition was most striking on plants recovery for all cultivars under As exposure. Clearer separation of cultivars for phosphorus use efficiency (PUE) occurred at lower shoot P contents, that was, at higher levels of P deficiency stress. IRGA 424 showed higher PUE as compared to the others cultivars. Our results go some way to understanding the role of P nutrition in controlling the effects of As in rice shoots.

A artista marroquina Majida Khattari utiliza a fotografia, as instalações e os desfiles de moda como uma provocação/reflexão sobre o papel do véu no universo muçulmano e no imaginário ocidental. Na série de fotografias denominada Orientalismes, a artista recria os quadros de Delacroix de uma forma subversiva. A relação com a obra do pintor ultrapassa a mera questão temática e pode ser aprofundada. Paul Jamot, ao falar da obra de Delacroix na Documents nº 5, de 1930, diz que qualquer tema, nas mãos do artista, converte-se numa forma de revelação e numa visão trágica, tanto nos gestos desesperados de homens em luta, como na aparente lassidão das jovens cativas. O uso das imagens orientalistas de Delacroix, por Majida Khattari, absorve o sentido trágico e absorve ainda a ideia da imagem como meio de eternizar e universalizar gestos quotidianos. Os véus que, na sua obra, escondem e desvelam, funcionam como mecanismos que tornam visível o que se quer ocultar. Este é o procedimento utilizado nos seus desfiles-instalações, que criam a delimitação de um espaço ambíguo entre eu e o outro. Entre o que se vê e o que se mostra.

The Moroccan artist Majida Khattari uses photography, installations and fashion shows as a means of establishing a provocation/reflection on the role of the veil in the Muslim world and in the Western imagination. In the series of photographs called Orientalismes, the artist recreates the paintings of Delacroix in a subversive way. The relationship with Delacroix’s work goes beyond the mere thematic issue and can be further developed. Paul Jamot, in speaking about the work of Delacroix in Documents No. 5, 1930, says that any theme in the artist’s hands becomes a form of revelation and a tragic vision, both in the desperate gestures of fighting men, as in the apparent looseness of the young captive. The use of Orientalist images in Delacroix, by Majida Khattari, absorbs both the tragic sense and the idea of the image as a means of perpetuating and universalizing everyday gestures. The veils, which in her works hide and reveal, function as mechanisms which make visible what is supposed to be hidden. This is the procedure used in her shows-installations that create the boundaries of an ambiguous space between the Self and the Other. Between what is seen and what is shown.

Este texto discute as relações entre o cinema e o teatro a partir do conceito de mise en scéne. O que aproxima, e distancia, essas duas formas artísticas? De que maneira o cinema, ao longo da sua história, construiu a sua própria mise en scéne, recorrendo, sobretudo, à montagem? Para aprofundar as questões levantadas pelo texto, irei analisar o filme O Processo do Rei (1990), de João Mário Grilo. Baseado no processo contra D. Afonso VI, o realizador conseguiu ser fiel ao tempo histórico, o séc. XVII, mas também profundamente contemporâneo, explorando aspectos eternos e cíclicos da própria história. O cinema, nesse filme, funciona como um palco onde a história revela a encenação que os livros de história costumam ocultar.

This text discusses the relationship between cinema and theatre starting with the concept of mise en scéne. What joins together and separates these two artistic forms? How has cinema built its own mise en scéne throughout its history while resorting mostly to editing? In order to thoroughly examine the issues raised by this text, I will analyze João Mário Grilo's movie: O Processo do Rei (The Lawsuit against the King) (1990). Based on the lawsuit against Dom Afonso VI, the director was able to remain faithful to the historical time, the seventeenth century, but at the same time give it a contemporary feel, while exploring eternal and cyclical aspects of the actual story. The cinema, in this movie, works as a stage where the story reveals the directing, which history books habitually hide.

O surrealismo, como a arte do seu tempo, propõe uma nova estética, capaz de extrair o belo do absurdo e de instaurar o desvio para que daí surja, de fato, o real. Através da análise de algumas obras de David Lynch e dos livros Les champs magnétiques de Breton e Philippe Soupault e Poisson soluble, de Breton, irei mostrar a pertinência da designação surrealista para a obra do cineasta norte-americano. Lynch, como os surrealistas, constrói uma operação dialética entre o racional/irracional. Ao mesmo tempo em que opera no campo artístico em direção à irracionalidade absoluta, Lynch não nega a sua inserção na sociedade. Acredito que o realizador, como os surrealistas, tenha conseguido encontrar um equilíbrio entre as duas formas de se estar no mundo, racional/irracional, jogando com suas antíteses. O prazer do jogo surrealista consiste em ir até as profundezas do inconsciente e retornar com matéria suficiente para fazer uma obra de arte.

Surrealism, as the art of its time, proposes a new aesthetics, one that is able to extract the beautiful from the absurd and to establish the swerve from the standard, from which, in fact, the real comes through. Through the analysis of some works by David Lynch, of Breton and Soupault's Les champs magnétiques, and of Breton's Poisson soluble, I will attempt to show the relevance of the surrealist designation for the work of the American filmmaker. Lynch, like the surrealists, builds a dialectic operation between the rational and the irrational. While operating in the artistic field towards absolute irrationality, Lynch does not deny its role in society. It is my belief that the director, as the surrealists, has managed to find a balance between the two ways of being in the world: rational and irrational; by playing with their antitheses. The pleasure of the surrealist game is to go to the depths of the unconscious and return with sufficient material to make a work of art out of it.

A relação entre cinema e literatura data do momento em que o cinema descobre seu potencial narrativo. Assim, ele absorve o modelo narrativo do romance do séc. XIX para ajudá-lo a melhor contar histórias, ao mesmo tempo em que liberta a literatura dessa "obrigação". Na era da imagem digital, onde a plasticidade do meio permitiria grandes vôos formais, por que o cinema ainda continua preso a um modelo narrativo que já foi superado pela própria literatura?

The relation between cinema and literature was born when cinema realized its real function: to tell stories. Thus, the directors learned, from the nineteenth century novels, how to tell something - and literature could be left to do different things. In the "digital age", despite the enormous possibilities of creation, cinema is still telling stories in the same way.