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    <dc:date>2013-05-14T18:24:08Z</dc:date>
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  <item rdf:about="http://hdl.handle.net/10451/5592">
    <title>A primeira página de jornais portugueses à luz da análise multimodal</title>
    <link>http://hdl.handle.net/10451/5592</link>
    <description>Title: A primeira página de jornais portugueses à luz da análise multimodal
Authors: Carvalho, Flaviane Faria
Abstract: Tendo em vista a importância do layout da primeira página de jornal na construção e reprodução de ideias e valores na sociedade, bem como a inexistência de trabalhos em Portugal que focalizem tal objeto a partir de uma perspectiva multimodal, este artigo mostra-se relevante por colaborar com a expansão dos estudos sobre a teoria da multimodalidade no cenário de pesquisa internacional, nomeadamente ao abordar questões relacionadas à construção de significados sociais a partir do layout da&#xD;
primeira página de jornais portugueses. Para o presente estudo, propõe-se o corpus de análise composto pela primeira página das edições dos jornais tidos como “imprensa de referência” em Portugal: Diário de Notícias,&#xD;
Correio da Manhã e Público, edições de 23 de fevereiro de 2008.</description>
    <dc:date>2008-01-01T00:00:00Z</dc:date>
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    <title>Reading a Book, Reading a Film: A Portrait of Youth in “My Son the Fanatic”</title>
    <link>http://hdl.handle.net/10451/5591</link>
    <description>Title: Reading a Book, Reading a Film: A Portrait of Youth in “My Son the Fanatic”
Authors: Costa, Lígia Maria de Sá Garcia da
Abstract: “My Son the Fanatic”, a short story by Hanif Kureishi, explores the relations within a Pakistani family, specifically between a father, fully adapted to the English way of life, and a son, caught in the mesh of religious fundamentalism. What my paper wishes to explore, however, goes beyond this&#xD;
father/son relationship, and takes, as its starting point, another dualism: the connection between Kureishi’s short story and its film adaptation by Udayan Prasad. Therefore, it is my aim to compare and contrast the short story with the film: how different is it to create a film having as its starting point a novel from creating a film by taking a short story as its basis, especially, as is the case here, when that short story doesn’t amount to more than thirteen pages? How do we as readers and/or viewers stand before each of the two narratives?</description>
    <dc:date>2008-01-01T00:00:00Z</dc:date>
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    <title>Millicent Garrett Fawcett: writing in the Defence of Women’s Emancipation</title>
    <link>http://hdl.handle.net/10451/3497</link>
    <description>Title: Millicent Garrett Fawcett: writing in the Defence of Women’s Emancipation
Authors: Duarte, Paula Cristina Lampreia Lopes Pinto</description>
    <dc:date>2008-01-01T00:00:00Z</dc:date>
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    <title>“Framed-up by the frame”: deception and point of view in Peter Greenaway’s The Draughtman’s Contract</title>
    <link>http://hdl.handle.net/10451/3496</link>
    <description>Title: “Framed-up by the frame”: deception and point of view in Peter Greenaway’s The Draughtman’s Contract
Authors: Avelar, Mário,1956</description>
    <dc:date>2008-01-01T00:00:00Z</dc:date>
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