scholarly journals Reflexões sobre blue jeans e motocicletas, pessoas cinzas normais...

Author(s):  
Helton Saragor de Souza
Keyword(s):  
PEDIATRICS ◽  
1991 ◽  
Vol 88 (4) ◽  
pp. 788-788

In the August 1991 issue of Pediatrics, the authors of the Letter to the Editor, "Blue Jeans Thighs" on page 417, were published incorrectly as Robert R. Lantner, MD, and Simon P. Ros, MD. The authors' names should be Renee R. Lantner, MD, and Simon P. Ros, MD.


PEDIATRICS ◽  
1991 ◽  
Vol 88 (2) ◽  
pp. 417-417
Author(s):  
ROBERT R. LANTNER ◽  
SIMON P. ROS

To the Editor.— We wish to report an interesting phenomenon that is probably more widely prevalent than is recognized. An 18-month-old girl was brought to our Emergency Department by her parents for the sudden onset of a bluish rash on the toddler's thighs and abdomen. There was no history of recent viral illness, fever, change in appetite or activity, recent drug or toxin ingestion, or trauma. The mother thought the thighs appeared swollen, but the child was walking normally without any apparent pain or discomfort.


2018 ◽  
pp. 71-81
Author(s):  
Fintan O'Toole
Keyword(s):  

2018 ◽  
Vol 46 (1) ◽  
pp. 59-72
Author(s):  
David Mayer ◽  
Helen Day-Mayer

Scholars of Victorian and Edwardian theatre necessarily piece together their accounts of ephemeral performance through manuscripts, reviews, and other responses preserved in print and visual culture. However, films made between 1895 and 1935 offer frequent, unexpected, and sometimes curiously skewed glimpses of the Victorian and Edwardian stage. This essay focuses on John H. Collins’s 1917 silent film adaptation of Blue Jeans, Joseph Arthur’s melodrama, popular from its New York debut in 1890. The melodrama is perhaps most famous for ‘the great sawmill scene’. This iconic scene, an early example of an episode in which a helpless victim is tied to a board approaching a huge buzz saw, turns a mundane setting into a terrifying site for suspense, violence, and attempted murder. Whilst the film made alterations and abridgements, the overall effect was to preserve the play’s distinctive features. Our essay shows how the stage version is preserved within Collins’s film adaptation so that the cinematic artefact gives unique access to the Victorian theatrical work. Films not only preserve Victorian forms in modern media and extend the reach of Victorian culture, but also open a new resource and methodology for understanding Victorian and Edwardian theatre.


Author(s):  
Simone de Beauvoir

On New Year’s Eve, Brigitte Bardot appeared on French television. She was got up as usual—blue jeans, sweater, and shock of tousled hair. Lounging on a sofa, she plucked at a guitar. “That’s not hard,” said a woman.1 “I could do just as well. She’s not even pretty. She has the face of a housemaid.” The men couldn’t keep from devouring her with their eyes, but they too snickered. Only two or three of us, among thirty or so spectators, thought her charming. Then she did an excellent classical dance number. “She ...


2012 ◽  
Vol 49 (12) ◽  
pp. 49-6957-49-6957
Keyword(s):  

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