Fahimeh Pakravan, Ali Yousefian Najafabadi, Zohreh Meshkati
et al.
Abstract Introduction Injuries sustained during physical activities are a common concern among athletes, with dental trauma representing a significant yet often under-addressed component. Timely and appropriate intervention is critical to successful outcomes, making the awareness and performance of first-line responders—particularly physical education graduates—an essential focus. This study evaluates their knowledge and practices regarding emergency management of dental trauma. Materials and methods This cross-sectional descriptive study assessed 206 physical education graduates in Isfahan between 2024 and 2025. Data were collected using a researcher-designed questionnaire comprising 12 targeted items, validated with a content validity ratio (CVR > 0.51) and confirmed reliability (ICC = 0.884). Statistical analysis was performed using SPSS (Version 26), including descriptive measures (mean, standard deviation, frequency) and inferential tests (independent t-tests, ANOVA). Results Participants demonstrated moderate proficiency in dental trauma awareness and self-reported practical knowledge, with an overall mean score of 9.74 ± 4.80 (scale: 0–20). Awareness and performance scores were closely aligned (9.08 ± 4.99 and 9.07 ± 5.39, respectively). Significant predictors of higher competency included academic achievement (P = 0.023), direct exposure to dental trauma (P = 0.001), engagement in high-contact sports such as martial arts (P = 0.016), and formal training in trauma management (P = 0.012). Conversely, gender, general athletic history, and school-level sports involvement were not statistically associated with performance outcomes. Conclusion Most PE graduates demonstrated limited preparedness for managing dental trauma. Academic progression, trauma exposure, and targeted training were associated with better awareness and applied knowledge. These findings support the integration of oral emergency response modules into sports education curricula and certification programs—promoting health literacy and alignment with WHO health promotion objectives.
Résumé : La crise sécuritaire à laquelle le Burkina Faso est confronté affecte son système éducatif depuis 2016. Elle est à l’origine de la fermeture de plusieurs milliers d’établissements scolaires et du déplacement des élèves de leurs lieux habituels d’habitation vers des zones relativement mieux sécurisées. Dans ces zones d’accueil, leurs besoins éducatifs ne sont pas couverts, ce qui compromet leurs possibilités de poursuite des études. Pour accompagner l’État burkinabè dans la prise en charge de ces besoins d’urgence, des acteurs non étatiques mettent en œuvre des actions en faveur de la scolarisation des EDI. Dans le cadre d’une recherche sur les mécanismes de scolarisation de ces élèves, des enquêtes ont été réalisées dans les villes de Kaya et de Fada N’Gourma. Les résultats révèlent une multiplicité et une diversité de ces acteurs. Certains ont l’expérience de l’intervention dans le secteur humanitaire ou de l’éducation, d’autres en ont dans les deux, tandis qu’il existe des acteurs qui n’ont l’expérience dans aucun de ces domaines. Leurs actions contribuent à la scolarisation de nombreux EDI. Cependant, elles comportent des limites liées aux pratiques d’intervention et à l’insuffisance des aides apportées par rapport à la demande. Leurs interventions prennent peu en compte certains besoins prioritaires pour les EDI. Il est donc indispensable d’améliorer la gouvernance dans le domaine de l’Éducation en Situation d’Urgence (ESU) en vue d’accroître l’efficacité de ces interventions.
Mots-clés : Intervention- Acteur non étatique - Scolarisation - EDI – Zone d’accueil
Arts in general, Computational linguistics. Natural language processing
تعد الرموز من التقانات المهمة التي تثير فضول المتلقي وتزيد رغبته في الوصول الى قصد الشاعر ، والكشف عن دلالاتها القارة داخل نتاجه الشعري ، فديناميكية الرمز تكفل ولوج القارئ الى عمق النص ، فعمل القارئ يصبح فضاء لقراءات متعددة ، ذات الدلالة البعيدة عن الواقع المذكور ، إذ ان الرمز المكاني في النص الأدبي أداة فاعلة في كشف الخبايا النصية المفروزة من دلالاته في بعده المعبر عن البوح المكنون في أهواء الشاعر المكبوتة في دواخلها والمنطوية على ذاتها ، لذا فان اختيار هذا الموضوع يعد محاولة لتسليط الضوء على تلك الرموز وبخاصة الطللية منها ، وإظهار أهميتها في شعر حسام الدين الحاجري ، وما دامت الرموز متعلقة بالقارئ أكثر من ارتباطها بالنص ، لذا وجب على القارئ تفكيك تلك الرموز ، فهذا البحث قائم على رصدها والكشف عن مكنوناتها وبخاصة الرموز (الطللية) بوصفها مكانا محملا بأبعاد وايحاءات كثيرة .
History of scholarship and learning. The humanities, Arts in general
Seta Kürkçüoğlu, Nesibe Özgül Turgay, M. Akif Kılıç
et al.
In this study, a preliminary comparative study was conducted for the first time using the DoctorVox device by instructor–performer participants using two different formant patterns in Turkish and Western music. The participants used the DoctorVox device before recordings to practice the selected tonal exercises ascending and descending; they recorded glissando exercises and [a], [e], [i], [o] vocals in a constant studio setting at Week 0 at the start of the study and Week 8 at the end of the study. The data obtained from the measurements were evaluated in the Customized Praat Program in line with the determined parameters, and thus, the results were revealed. In this study, the measured values of fundamental frequency, jitter, shimmer, harmonic noise ratio, pitch values, maximum phonation time, and voice range improved in all objective measurements. The subjective measurement outcomes indicated that participants’ vocal and breathing health was good, their conditions improved, voices warmed rapidly, felt comfortable in high notes, physical and mental bonding grew gradually, and their confidence increased. In addition, participants’ motivation and professional goals improved, such as delivering performances and adding new pieces to their repertoire. Because of the athletic achievements obtained using the selected tonal vocal exercises as a vocal training method in the study, it is believed that it will help to eliminate existing negative thoughts about the use of (Western) vocal exercises that are methodologically supported by scientific data and will contribute to the present literature for vocal studies.
Marta Pérez Azcárate, Susana Duque Valero, Joan Ramon Aromi Folch
et al.
The results of the conservation work carried out on an exhibition set-up dating from the early twentieth century are presented. The exhibition set-up consists of a wooden showcase containing about twenty evaporite rocks from the collection of the Museu de Ciències Naturals de Barcelona (Spain). The work involved the remedial conservation of the rock specimens and showcase, and the improvement of the original environmental control system using sustainability criteria. An interdisciplinary team worked on the different phases of the project, which included prior historical and environmental studies. The remedial conservation of all elements in the collection has improved its accessibility and the monitoring of the environmental conditions of the new installation has confirmed the efficiency of the proposed passive environmental control system.
ركز البحث على الدوافع والاسباب المؤدية الى السقوط من خلال حقل فلسفة التاريخ متعرضا الى أراء اهم فلاسفة التاريخ . ابتدأ البحث بتعريف فلسفة التاريخ وعلاقتها بعلم التاريخ واهدافها العامة . ثم تطرق الى نظريات فلسفة التاريخ التي صبت جهدها لمعرفة القوانين او السنن المتحكمة في حركة التاريخ والعوامل التي تنقل المجتمع من مرحلة الى اخرى . الشق الاخر من البحث هو التفسير الاسلامي لحركة التاريخ واسباب سقوط الدول ابتداء من القران الكريم مرورا بفلسفة الامام علي ()التي كانت اكثر دقة وتفصيلا لعوامل النهوض وملامح الانهيار التي اسماها ( مصارع القرون ) ثم تناول البحث اراء المفكرين المسلمين الذين سبقوا ابن خلدون في هذا الباب .
History of scholarship and learning. The humanities, Arts in general
This study investigated the effect of media and information literacy (MIL) on the ability to identify fake news, disinformation and misinformation, and sharing intentions. The experimental approach was selected to study both the control group and experimental group made up of a total of 187 respondents. Comparative analysis of the two groups revealed that although more respondents in the experimental group were able to identify the inauthenticity of information presented to them, some of the respondents in the control group were also able to do the same, even though they did not receive MIL training. Conversely, some respondents in the experimental group, even though they were trained in MIL, could not determine the inauthenticity of information, possibly because the one-off training given to them did not allow them to assimilate all the information in one sitting. Nonetheless, the results of the bivariate correlation computation showed that MIL trained respondents were more likely to determine authenticity or otherwise of information and less likely to share inaccurate stories. This means that when MIL increases, sharing of fake news decreases. This is yet another evidence that MIL enables information consumers to make informed judgments about quality information. It is recommended that MIL is incorporated into mainstream educational modules and consistently revised to reflect the demands of the times. MIL programs must also consider how to effectively reach those without formal education. Actors within the information, communications, and media ecology must contribute to their quota in making information consumers more discerning with the right MIL sensitisation.
This article investigates the valuation of artworks during the COVID-19 pandemic. It examines how art market participants employ fictional expectations of the future to stabilize valuations during uncertain times. A total of 86 forecasts originating from both the center and periphery of the global art market were analyzed. Taking a meta-analytic approach, focus was placed on what each analysis predicts, how it constructs the future it purports to know, and how the expected value of artworks and methods for their purchase are justified. This uncovered the paradoxical reality of art market forecasts—their authors are convinced that the power of crisis could reformulate the art market, but their conclusions do not assume the possibility of real change. Further, the argument is made that speculation about the future is at the core of today’s art economy. Therefore, in a crisis, market participants conservatively orient themselves toward artworks that already have established value.
A lo largo de las últimas décadas, los desarrollos tecnológicos han transformado la experiencia museística, poniendo bajo cuestión varias prácticas relacionadas con ella, como la crítica de arte y la mediación cultural, que se encuentran tanto enfrentadas entre ellas como afectadas por la proliferación de relatos y agentes de opinión. Dicha democratización ha vuelto a plantear el problema de cómo legitimar enunciaciones, usar cuerpos, sensaciones y deseos, y posibilitar el cambio en el interior y exterior de los museos de arte contemporáneo. La presente reflexión intenta conceptualizar la noción de lo intermedio como eje para la discusión sobre dichos temas. Asimismo, realiza un recorrido epistemológico partiendo de la interdisciplinariedad y los estudios CTG con el fin de explorar cómo sesgos y fuerzas inhibidoras dentro de las instituciones dificultan los procesos de habitar los espacios intermedios, mientras que enfoques alternativos, híbridos y situados apoyan la intersubjetividad, el intercambio y la implicación activa.
O estudo analisa o percurso do Figuren Theater Tübingen e alguns procedimentos criativos utilizados pelo seu diretor, Frank Soehnle, em suas recentes encenações. O texto se atém principalmente a aspectos como interpretação e inspipração; texto literário e texto cênico; as possibilidades expressivas dos objetos; as relações entre artes cênicas e artes visuais; e o papel do diretor.
Palavras-chave: Figuren Theater Tübingen. Encenação teatral. Processo de criação.
O “boom da memória” vivenciado durante a década de noventa parece ter sido precedido, no meio artístico brasileiro, pelo trabalho de Lygia Clark. A série de proposições criadas para a estruturação do self procura realizar uma escavação do material psíquico na fabricação das tessituras da memória. O presente artigo realizará um diálogo entre a obra da artista e artistas brasileiras contemporâneas, a partir do que Juliano Garcia Pessanha denomina como: heterotanatografia.
Palavras-Chave: Lygia Clark, arte contemporânea, confissão, heterotanatografia.
Hunting is an essential part of socio-economic life for Indigenous peoples worldwide. For many, it allows for cultural continuity and is a source of partial or full income. This article intends to explore how hunting practices have been impacted by European imperial views of “progress” over the past 400 years, and how perceived progress can be destructive to some aspects of social life. To do this, the place of Indigenous hunting practices in global processes is examined. From the 17th century fur trade, to the fall of fur, recent anti-fur campaigns and environmental movements, ‘Western’ views on fur and hunting have grounded Indigenous practices in the global economy. This is seen through the application of world-systems and underdevelopment theory.
Este artigo desenvolve uma refl exão sobre o conceito de estudo do movimento voltado para a preparação técnica do intérprete de dança contemporânea - entendendo a mesma como uma das possíveis artes da cena. Desenvolvemos primeiramente uma refl exão sobre a dança contemporânea, seus primórdios e infl uências. Refl etimos em seguida sobre a importância da relação do artista da cena contemporânea com seu corpo próprio e adotamos o estudo da fenomenologia de Merleau-Ponty como diretriz metodológica para se pensar a dança. Este artigo parte da idéia de que o conceito de preparação corporal atual não signifi ca mais uma linguagem que o dançarino deva dominar para dançar. O conceito de estudo do movimento desenvolvido na atualidade coloca o dançarino contemporâneo dentro de um outro paradigma - a técnica como instrumento de auto-conhecimento. Não se precisa de um corpo formatado dentro de uma estética específi ca, mas um corpo disponível - energia e vida conduzida para um processo de criatividade e expressão. Dança-se com o corpo que se tem, com seu corpo próprio, e não com o corpo que se imagina ter
Never in the history of mankind have fundamental relationships changed so dramatically fast and with such far reaching consequences as in our time—now. [...]
The attempt of this paper is to propose a way of understanding<em> what is seen</em>, always, as immanent adaptation, desire and symbolization, that is, understanding it like an image. It will do so according to a concept of ‘surface’ that extends the Didi-Huberman’s reading of Aby Warburg’s concept of ‘imagesymptom’, and is supported by psychoanalytic theory, namely Jacques Lacan, in an attempt not to ruin the hermeneutic capacity of the observer but, rather, to understand the search for meaning and essence -of art, for example- as the investigation of a historical conflict of losses, crisis and memory. ‘Surface’ taken as <em>mass of what is seen</em>, atonic and senseless, where the eye always visions forms: seeing surface entails the eye adapting what is seen, willing to<em> open it</em> in its significance in a visionary way, retrieving the hidden truth but, paradoxically, <em>closing it</em>. Seeing images always implies loosing vision in relation to an alleged totality in which all meanings would be given in all their ambiguities and all their historical possibilities, which will knowable only in their return as a traumatic re-signification. We here postulate that the illusion will be to believe not that appearances are illusory but, rather, that beyond them there is “more reality”. This approach not only ratifies the subject’s position, inserted in a surface/ painting given-to-see, but also discovers the constitutive gap that governs him which is a “more in him” than himself.
Integrated under the label Villes et Pays d’art et d’Histoire − towns and territories having artistic and historical value −, the interpretation centers for Architecture and Heritage have become a highlight of this policy.Their aim is to offer a view, an “interpretation” of a territory to their target audience who is is represented by the local population and the tourists. Nevertheless, the fulfilment of the project reveals many difficulties. Its sphere of activity is at the interface of the local cultural, urban and touristic policies. Its position is often seen being at the crossroads of a tourist office and a museum. The concept of Interpretation Center becomes a means of building its legitimacy. The central position given to the visitor transforms this space into a forum of debate similar to the museum as forum and becomes a reflection tool as far as heritage is concerned.
Augusto Zubiaga Garate, Lourdes Cilleruelo Gutiérrez
Más allá del DNI, lo que llamamos identidad tiene que ver con aquello que nos hace reconocer y ser reconocidos. Por lo tanto, con lo que nos hace ser distintos y recordados. Hay quien quiere ser recordado en su individualidad, y quien se contenta con formar parte de una identidad colectiva. Muchos serán los llamados, y pocos los elegidos, y los elegidos lo serán por los llamados, por ley natural, en un ciclo de eterno retorno. ¿Por qué necesitamos ser reconocidos, tanto individual como colectivamente? La respuesta a esta interrogante puede que tenga que ver con algún tipo de designio evolutivo, porque es posible rastrear con amplitud esa pulsión por la hegemonía individual o grupal a todo lo largo y ancho de la esfera biológica. Cabría entonces preguntarnos, por qué, por ejemplo, a diferencia de las abejas, y probablemente del resto de los animales sociales, no nos contentamos con ese reconocimiento inmediato entre el tú y el yo, es decir, el nosotros, aquí y ahora, y sin embargo, reivindicamos el pasado y proyectamos el futuro como instancias legitimadoras de nuestro sentimiento identitario. Construimos historias bonitas y seductoras sobre lo que fuimos y seremos capaces de llegar a ser, historias que constituyen la pócima más potente, la feromona más arrebatadora que se haya esparcido jamás. Ese código segregador, específicamente humano, alcanzó su perfección más exquisita posiblemente cuando el ser humano aprendió a componer canciones con letra. Sentimientos con memoria. Canciones para amar, canciones para trabajar, canciones para luchar. En definitiva, canciones para juntarse y separarse: Los nuevos medios nos ofrecen el ágora más atestada que jamás hayamos podido imaginar para cantar nuestro deseo a los cuatro vientos. Que ese deseo se convierta en realidad, es una aspiración cada vez más cuestionable.