AIDS, the Problem of Representation, and Plurality in Derek Jarman's Blue

Lawrence, Tim

doi:10.2307/466743

Cited by 11 publications

(7 citation statements)

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“…Among these, 1,8-cineole (mean 38.4%, 0.13-76.3%), terpinen-4-ol (up to 5%), α-terpineol (up to 24%) and α-terpinyl acetate (up to 10%). A high level of 1,8-cineole is generally found in niaouli oils 7,17,21,22 and is always a criterion for niaouli oil trading. A significant percentage of α-terpinyl acetate (1.0-10%) characterizes the New Caledonia oil.…”

Section: Resultsmentioning

confidence: 99%

“…9,10 Niaouli oils, known to have biological activity, have been used since olden times in traditional medicines and more recently as active ingredients in modern formulations. [10][11][12][13][14][15][16] Literature data 7,[17][18][19][20][21][22][23][24] have described the chemical composition of niaouli oils from Australia, [22][23][24] Egypt, 18 Nigeria, Vietnam, 21 Madagascar 19 and Benin. 20 The occurrence of a large variability in chemical composition (chemotypes) of niaouli oil from Australia, [22][23][24] Madagascar, 25 Benin 20 and India 26 has been reported.…”

Section: Introductionmentioning

confidence: 99%

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Occurrence of various chemotypes in niaouli [Melaleuca quinquenervia (Cav.) S. T. Blake] essential oil from New Caledonia

Trilles

Bombarda²,

Bouraïma-Madjèbi

et al. 2006

Flavour Fragr. J.

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The chemical composition of the leaf essential oil of Melaleuca quinquenervia (Cav.) S. T. Blake from NewCaledonia has been investigated on 133 samples collected from seven harvesting locations on the island. Forty-two components were identified by GC-MS analysis and the major ones were 1,8-cineole (0.1-76%), viridiflorol (0-67%), p-cymene (0 -40%), γ γ γ γ γ-terpinene (0-33%), α α α α α-pinene (0-30%), α α α α α-terpineol (0-24%), terpinolene (0-19%), limonene (0.1-16%) and ledol (0-21%). Viridiflorol and ledol, two sesquiterpene alcohols, were identified unambiguously by 1 H-and 13 C-NMR analyses. A sulphur compound, methylthiobenzoate, was characterized by gas chromatography-mass spectrometry (GC-MS). Niaouli essential oils from New Caledonia were classified into three chemotypes, using principal component analysis (PCA). Of these three chemotypes, found co-occurring in the harvesting locations across the island, chemotype 2, already characterized in Madagascar, is rich in 1,8-cineole (up to 80%) and is widespread (65.4% of the overall samples); chemotype 1 (24.8% of samples) is rich in terpinene derivatives; and chemotype 3 (9.8% of samples) is rich in α α α α α-pinene and viridiflorol.

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Section: Resultsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Occurrence of various chemotypes in niaouli [Melaleuca quinquenervia (Cav.) S. T. Blake] essential oil from New Caledonia

Trilles

Bombarda²,

Bouraïma-Madjèbi

et al. 2006

Flavour Fragr. J.

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“…com Lawrence (1997), com os estudos monocromáticos e, em particular, com o IKB, Klein escapou de duas grandes categorias nas artes plásticas: a dos tradicionalistas, que viam a pintura como representação transparente de uma visão particular do mundo, e a dos modernistas, que compreendiam a obra de arte como um objeto finito que se refere a si mesmo e a seu elemento pictórico formal 6 . Ménard (2018 social mais amplo, que inclui ações do governo, da medicina e da imprensa.…”

Section: Conceitos E Contextosunclassified

“…Nos filmes mencionados e em muitos outros, há uma regularidade narrativa: a Aids afeta quase que somente personagens homossexuais masculinos, muitos dos quais morrem após um longo período de internamento em hospitais. Conforme aponta Lawrence (1997), essa abordagem da doença, que atravessa décadas, insere-se no escopo de narrativas culturais tipificadas como reacionárias e, por isso, provocam e alimentam preconceitos na sociedade. Assim, as obras fílmicas supracitadas aderem à linha de pensamento que tomou a Aids como um dos símbolos da decadência moral contemporânea.…”

Section: Introductionunclassified

A Aids no cinema: uma análise do regime de imagéité no longa-metragem experimental Blue

Ramari

2020

LEDI

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Este artigo analisa o longa-metragem experimental Blue (1993), do realizador britânico Derek Jarman (1942-1994), a partir do conceito de regime de imagéité, proposto por Rancière (2012). Metodologicamente baseado em análise fílmica e revisão bibliográfica, este estudo investiga a relação entre dois elementos fílmicos da obra de Jarman: a tela preenchida pela cor International Klein Blue (IKB) e a narração de frases autobiográficas que contêm o vocábulo blue, na formulação de imagens que abordem, de maneira antirreducionista, a vida de pessoas que vivem com HIV/Aids. Como resultado, observa-se que, quando a narração menciona o vocábulo blue, o espectador elabora, por meio de um gesto de interpretação, uma imagem mental que é imediatamente assumida pelo IKB onipresente na tela, favorecendo uma abordagem ampla sobre a vida com HIV/Aids e, consequentemente, lançando um olhar crítico à maneira como o cinema comercial costuma tratar o tema.

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“…68 This plurality and fluidity of 'roles' resists 'mainstream attempts to fix and render transparent the identity of the person with [HIV]/AIDS'. 69 Aesthetically, rather than simultaneity and assaultive overload, Philpott's emphasis falls on the affective impact of the materiality of language, and his strength is in the orchestration of voices and wordplay. In staging, this linguistic corporeality tests the materiality of the stage, forcing the creation of an open, unfixed space that can move with the same fluidity and pace as the spoken words.…”

Section: Bison: 'About-aids'mentioning

confidence: 99%

FromBogeymantoBison: A Herd-Like Amnesia of HIV/AIDS in Theatre?

Campbell¹

2011

Theatre Research International

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Queer theorists from across a broad range of disciplines argue that we are in a ‘normalizing’ or ‘homonormative’ period, in which marginalized subjectivities strive to align themselves with hegemonic norms. In terms of LGBTQ rights and representation, it can be argued that this has resulted in an increased visibility of ‘desirable’ gays (monogamous – ideally civil-partnered, white, financially independent, able-bodied) and the decreased visibility of ‘undesirable’ gays (the sick, the poor, the non-white, the non-gender-conforming). Focusing specifically on the effects of this hierarchy on the contemporary theatrical representation of gay HIV/AIDS subjectivities, this article looks at two performances, Reza Abdoh'sBogeyman(1991) and Lachlan Philpott'sBison(2009–10). The article argues that HIV/AIDS performance is as urgently necessary today as in the early 1990s, and that a queer dramaturgy, unafraid to resist the lure of normativity or the ‘gaystreaming’ of LGBT representation, is a vital intervention strategy in contemporary (LGBT) theatre.

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AIDS, the Problem of Representation, and Plurality in Derek Jarman's Blue

Cited by 11 publications

References 1 publication

Occurrence of various chemotypes in niaouli [Melaleuca quinquenervia (Cav.) S. T. Blake] essential oil from New Caledonia

Occurrence of various chemotypes in niaouli [Melaleuca quinquenervia (Cav.) S. T. Blake] essential oil from New Caledonia

A Aids no cinema: uma análise do regime de imagéité no longa-metragem experimental Blue

FromBogeymantoBison: A Herd-Like Amnesia of HIV/AIDS in Theatre?

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