Thematische Bibliographien / Main altar

Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Auswahl der wissenschaftlichen Literatur zum Thema „Main altar“

Autor: Grafiati
Veröffentlicht am 28. Juni 2021
Zuletzt aktualisiert am 26. April 2022

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Zeitschriftenartikel zum Thema "Main altar"

1

Kuhn, Stephan. „Marian Tabernacles on Main Altars. Norwegian Thirteenth-Century Altar Decorations in Their European Context“. Medievalia 23, Nr. 1 (20.05.2020): 101. http://dx.doi.org/10.5565/rev/medievalia.506.

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2

Morell, Joan Aliaga, und Nuria Ramón Marqués. „Bertomeu Coscollà and Valencia Cathedral’s Main Altar: New documents“. La corónica: A Journal of Medieval Hispanic Languages, Literatures, and Cultures 42, Nr. 2 (2014): 15–51. http://dx.doi.org/10.1353/cor.2014.0012.

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3

Tulić, Damir. „Nepoznati anđeli Giuseppea Groppellija u Zadru i nekadašnji oltar svete Stošije u Katedrali“. Ars Adriatica, Nr. 6 (01.01.2016): 155. http://dx.doi.org/10.15291/ars.182.

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As the former capital of Dalmatia, Zadar abounded in monuments produced during the 17th and 18th century, especially altars, statues, and paintings. Most of this cultural heritage had been lost by the late 18th and the first decades of the 19th century, when the former Venetian Dalmatia was taken over by Austrian administration, followed by the French and then again by the Austrian one. Many churches were closed down, their furnishings were sold away or lost, and the buildings were either repurposed or demolished. One of them had been home to two hitherto unpublished angels-putti located on the top of the inner side of the arch in the sanctuary of Zadar’s church of Our Lady of Health (Kaštel) at the end of Kalelarga (Fig. 1). Both marble statues were obviously adjusted and then placed next to the marble cartouche with a subsequently added inscription from 1938, which tells of a reconstruction of the church during the time it was administered by the Capuchins. The drapery of the right angel-putto bears the initials I. G., which should be interpreted as the signature of the Venetian sculptor Giuseppe Groppelli (Venice, 1675-1735). This master signed his full name as IOSEPH GROPPELLI on the base of a statue of St Chrysogonus, now preserved in the Permanent Exhibition of Religious Art in Zadar (Fig. 2). Same as the signed statue of St Anastasia by master Antonio Corradini (Fig. 3), it used to form part of the main altar in Zadar’s monumental church of St Donatus, desacralized in 1798. Recently, two more angels have been discovered, inserted in the tympanum of the main altar in the church of Madonna of Loreto in Zadar’s district of Arbanasi, the one to the right likewise bearing the initials I. G. (Fig. 4). Undoubtedly, these two artworks were once part of a single composition: the abovementioned former altar in the church of St Donatus, transferred to the cathedral in 1822 and reconstructed to become the new altar in the chapel of St Anastasia. Giuseppe and his younger brother, Paolo Groppelli, led the family workshop from 1708, producing and signing sculptures together. Therefore, the newly discovered statues produced by Giuseppe are a significant contribution to his personal 174 Damir Tulić: Nepoznati anđeli Giuseppea Groppellija u Zadru... Ars Adriatica 6/2016. (155-174) oeuvre. It is difficult to distinguish between his statues and those by his brother, but it is generally believed that Paolo was a better artist. It is therefore important to compare the two sculptures, as they are believed to have been made independently. Paolo’s statue of Our Lady of the Rosary (1708) was originally located in the former Benedictine church of Santa Croce at Giudecca in Venice, and acquired early in the 19th century for the parish church of Veli Lošinj. If one compares the phisiognomy of the Christ Child by Paolo to that of Giuseppe’s signed sculpture of angel-putto in Zadar, one can observe considerable similarities (Figs. 5 and 6). However, Paolo’s sculptures are somewhat subtler and softer than Giuseppe’s. The workshop of Giuseppe and Paolo Gropelli has also been credited with two large marble angels on the main altar of the parish church in Concadirame near Treviso, as they show great similarity in style to the angels in Ljubljana’s cathedral, made around 1710 (Figs. 7, 8, 9, and 10). The oeuvre of Giuseppe and Paolo Gropelli can also be extended to two kneeling marble angels at the altar of the Holy Sacrament in the Venetian church of Santa Maria Formosa, with their marble surface somewhat damaged (Figs. 11 and 12). Coming back to the former main altar in Zadar’s church of St Donatus, it should be emphasized that it was erected following the last will of Archbishop Vettore Priuli (1688-1712), that contains a clearly expressed desire that the altar should be decorated as lavishly as possible. As the construction contract has been lost and the appearance of the altar remains unknown, it can only be supposed what it may have looked like (Fig. 13). It is known that the altar included an older, 13th-century icon of Madonna with the Child, which was later transferred to the Cathedral and is today preserved in the Permanent Exhibition of Religious Art. Scholars have presumed that the altar may had the form of a triumphal arch, with pillars enclosing the pala portante with an older icon and statues placed lateraly. However, it can also be presumed that the executors of the archbishop’s last will, canons Giovanni Grisogono and Giovanni Battista Nicoli, found a model for the lavish altar in Venice, in the former altar of the demolished oratory of Madonna della Pace. That altar had been erected in 1685 and included an older Byzantine icon of Madonna with the Child. It was later relocated to Trieste and its original appearance remains unknown, but can be reconstructed on the basis of its depiction on the medal of Doge Alvise IV Mocenigo (1764), preserved in the parish church of Plomin (Fig. 14). This popular solution undoubtedly served as a model for the main altar in the church of Madonna delle Grazie at Este (Fig. 15), constructed between 1692 and 1697. Today’s appearance of the chapel of St Anastasia does not reveal much about its previous altars (Fig. 16). A recently discovered document at the State Archive of Zadar sheds a new light on the hypothesis that the old main altar was transferred from St Donatus in 1822 and became, with minor revisions, the new altar of St Anastasia, demolished in 1905. According to a contract from 1821, the saint’s altar was designed by Zadar’s engineer and architect Petar Pekota, and built by parish priest Giovanni Degano by using segments from older altars, including that of St Donatus. The painting ordered for the new altar, Martyrdom of St Anastasia by Giuseppe Rambelli from Forli (Fig. 17), is the only surviving part of the 19thcentury altar. The overall reconstruction of the chapel of St Anastasia took place between 1903 and 1906, according to a project of architect Ćiril Metod Iveković, which intended to have the chapel covered in mosaics ordered from Venice. However, during the reconstruction works, remnants of 13th-century frescos were discovered in the apse and the project had to be altered. The altar from 1822 was nevertheless demolished and a new marble mensa was built, with a new urn for the saint’s relics, made in the Viennese workshop of Nicholas Mund, as attested by receipts from 1906 (Fig. 18). A hundred years after the intervention, another one took place, in which the marble altar was disassembled and replaced by a new one, made of glass and steel, yet bearing the old marble urn of Bishop Donatus.
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4

Shin, Yoon. „Confessing at the Altar“. Pneuma 42, Nr. 2 (24.08.2020): 201–19. http://dx.doi.org/10.1163/15700747-bja10004.

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Abstract This article responds to J. Aaron Simmons’ concerns that James K.A. Smith’s methodology for confessional pentecostal philosophy prohibits philosophical dialogue with the confessional Other. Its responses specifically address Simmons’ proposed personal methodology and his two main concerns about Smith’s methodology: (1) confessional philosophy allows an encroachment of theology into philosophy that threatens the autonomy of philosophy; and (2) confessional philosophy discourages philosophical dialogue with the confessional Other, and promotes insularity and defensiveness by utilizing theologically determinate evidence that act as incommensurable authority structures. The first section of this paper exposits Simmons’ other works that illumine the reasons for his concern. Specifically, it identifies Simmons’ Thomistic view of reason and new phenomenology’s commitment to the hypothetical status of God-talk as the reasons for Simmons’ opposition to Smith’s confessional philosophical method. After clarifying Simmons’ own position, the second section addresses Simmons’ concerns that confessional philosophy promotes epistemic arrogance, defensiveness, and dialogical insularity. Moreover, it provides five responses to Simmons’ concern that confessional philosophy utilizes incommensurate authority structures and that it threatens philosophy’s autonomy through the incursion of theology. The paper concludes with a reflection on the current state and future of pentecostal philosophy
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Ožanić, Martina. „Conservation, Iconography and Typology of the Main Altar of St. Anthony’s Church in Slavetić“. Portal 5 (2014): 149–60. http://dx.doi.org/10.17018/portal.2014.9.

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Morresi, Manuela, und Dorothy Hay. „Cooperation and Collaboration in Vicenza before Palladio: Jacopo Sansovino and the Pedemuro Masters at the High Altar of the Cathedral of Vicenza“. Journal of the Society of Architectural Historians 55, Nr. 2 (01.06.1996): 158–77. http://dx.doi.org/10.2307/991118.

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In 1534 the Vicentine masters, Giovanni da Porlezza and Girolamo Pittoni da Lumignano (the so-called Pedemuro masters) signed a contract with Aurelio Dall'Acqua for the construction of the main altar in the cathedral of Vicenza. Documents concerning the altar, later Dall'Acqua's funerary monument, have led scholars to attribute the design to Andrea Palladio, who began his career as a stone carver in the Pedemuro workshop. Designed following the model of a triumphal arch, the altar constitutes an extraordinary novelty in Vicenza, which was still unfamiliar with ancient models in the 1530s and 1540s. Documents show that Aurelio Dall'Acqua had connections to Venetian intellectual close to the doge, Andrea Gritti and the Franciscan theologian Francesco Zorzi, who, in those same years, wrote the program for the church of S. Francesco della Vigna and was in contact with Jacopo Sansovino. The inventory of the library of Dall'Acqua and an examination of his correspondence reveal his religious interests: that he was close to Catholic reform circles and interested in Erasmus; an expression of those interests should be considered part of the realization of the altar. Architectural analysis of the monument allows us to note in it a series of medieval and Renaissance elements from Florentine sources, direct borrowing from antique sources, and elements from Venetian architecture of the same period. Comparison of these elements with the architectural language that Palladio developed in the 1540s, after his first visit to Rome, excludes an attribution to him. In any case, the date of design is too early for him to have undertaken an autonomous project. Many of the architectural elements on the altar are to be found in the work of Jacopo Sansovino, who was invited to Vicenza in 1538 to furnish an opinion on the roofing of the tribune of the cathedral and the movement of the original altar to the end of the apse. The design for the architectural structure of the altar is attributed here to Sansovino, while the disposition of the semiprecious stones which entirely cover the altar is considered to be the work of the Pedemuro masters. Francesco Zorzi seems to have been the connecting figure between patron and architect, as he was in Sansovino's commission for the main altar and funerary monument of Cardinal Francesco Quiñones in the basilica of S. Croce in Gerusalemme, Rome.
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Romero, Gabriela Natalí Fonseca, Danny Daniel Castillo Vizuete und Luis Alberto Quevedo Báez. „Mora: ¿Fuente De Ingresos Para Productores Y Comercializadores?. Un Enfoque Desde El Análisis De La Dinámica Del Mercado De Las Familias De La Ciudad De Riobamba. Estudio De Caso: Parroquia El Altar, Ecuador.“ European Scientific Journal, ESJ 13, Nr. 7 (31.03.2017): 399. http://dx.doi.org/10.19044/esj.2017.v13n7p399.

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Agriculture is one of the main economic activities in Ecuador, and it is fundamental to an economy in terms of food security. Currently, the country is involved in a process of changing its production system. Its main objective is to carry out the substitution of exports for imports and the generation of added value. In order to achieve these goals, agriculture is considered as a dynamic element of the rural Andean regions. El Altar is a rural parish located in the Penipe area of Chimborazo Province. Due to its particular geographical location, El Altar has several climates ranging from the subtropical to the high altitude plane. This climate facilitates the development of a heterogeneous agriculture. In this mix, the cultivation of blackberries has developed into an important economy activity for the parish inhabitants. Consequently, based on an analysis of the demand of the competition and a calculation of the objective demand, we determined the likely acceptance of families in Riobamba to consume the blackberries cultivated in the El Altar parish. Also, we ascertain the possibility of the producers to expand their market and the profit the seller could receive. In conclusion, it was found that families in Riobamba would like to consume the blackberry cultivated from El Altar. However, this activity could generate significant economic benefits for the producers and commercial sellers of this fruit.
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Pummer, Reinhard. „Was There an Altar or a Temple in the Sacred Precinct on Mt. Gerizim?“ Journal for the Study of Judaism 47, Nr. 1 (18.02.2016): 1–21. http://dx.doi.org/10.1163/15700631-12340451.

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After the recent excavations by Itzhak Magen on the main summit of Mount Gerizim it has become clear that the Samari(t)an sanctuary stood within a sacred precinct in the Persian and Hellenistic times. So far, no direct evidence of the nature of the sanctuary has been unearthed. The excavator and many contemporary scholars assume it was a temple building. However, some scholars question the accuracy of this assumption and believe that the sanctuary more likely was an altar. This paper reviews both the arguments that speak for an altar and those that speak for a walled and roofed temple.
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Kuznetsova, Nataliya S. „THE IMAGE OF THE ALTAR OF ST. PETER'S BASILICA IN THE ROMAN CHURCHES OF THE 12-13TH CENT.“ Articult, Nr. 3 (2020): 56–64. http://dx.doi.org/10.28995/2227-6165-2020-3-56-64.

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The Main purpose of the study is an analysis of influence of the image of St. Peter's Basilica on the Roman church architecture of the 12th-13th centuries. It is possible to search the special type of the presbytery, characterized by uniting of the altar on the pedestal and the reliquary “confession” in the general vertical composition. The congregation of these churches had opportunities to see the process of worship and approach the saint relicts. The altar stood so that the Priest served the mass facing the worshippers, as it was in San Pietro. So, this important monument of Rome could be a model for the other churches of the Middle Ages. Among the churches of this period, such features have the altar space of San Giovanni in Laterano, as well as the basilicas of San Giorgio in Velabro, Santa Maria Assunta in Anagni and Santi Giovanni e Paolo in Ferentino. All these buildings was connected with the Power of Papa.
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Gavrilovic-Vitas, Nadezda. „Monumental altar from Singidunum with scenes of a sacrificial procession - pompa et immolatio“. Starinar, Nr. 70 (2020): 95–109. http://dx.doi.org/10.2298/sta2070095g.

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A monumental altar was found in the very centre of Belgrade, ancient Singidunum, in 1932, with iconographic scenes of the sacrificial procession for a ritual animal sacrifice - immolatio. The scenes depict the procession of sacrificial animals to the altar known as pompa, by the victimarii, but also represent priests of a lower rank (flamines minores), with ritual utensils like a wine-pitcher, patera and acerra, used for the ritus of purification which precedes the sacrifice and for ritual acts during the sacrifice. The altar from Singidunum represents a unique monument with the described iconography in the territory of Moesia Superior and it has only been published in catalogue form to date, never fully analysed or interpreted. Through the analysis of its iconography, typology, function, geographically closest analogies and possible context of its finding, new conclusions regarding the praxis of public ritual sacrifice are brought to light related to the period from the second half of the 2nd century to the first decades of the 3rd century in Singidunum, one of the main centres of Moesia Superior.
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Dissertationen zum Thema "Main altar"

1

Solomon, Catherine Marie Richards DeVault Marjorie L. „'Sacrificing at the altar of tenure' Untenured assistant professors' work/life management /“. Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2004. http://wwwlib.umi.com/cr/syr/main.

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Bach, Thomas Parnell. „Throne and altar Halle Pietism and the Hohenzollerns. A contribution to the history of church state relations in eighteenth-century Brandenburg-Prussia (Germany) /“. Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2005. http://wwwlib.umi.com/cr/syr/main.

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3

Lyzhanov, Iurii. „Architektonická studie sakrálního objektu a komunitního centra Salesiánského Brno - Líšeň / druhá etapa“. Master's thesis, Vysoké učení technické v Brně. Fakulta stavební, 2021. http://www.nusl.cz/ntk/nusl-443691.

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The main task of diploma is creating a sacral object and community centre of Salesians in Brno-Líšeň. A construction of the Salesian complex started in 1998. As a result, the whole complex of institution got to the district of Brno-Lisen with the help of the endowment fund for youth. The Congregation focuses on the methods of educating the youth of Don Bosco, the father and teacher of the youth, the first head of the Salesian. The creation of a church is a very desirable step for the Salesian Center, because Masses are currently being celebrated in the existing building in the gym, where not everything is needed to carry out of the event. The church should be developed in the vicinity of Salesian centre and has to be available for a wide range of societies. The architectural project includes the designing of church, parish building and enviroment. The form and view of the complex suit to this environmental area and react on its entire structure. The object consists of two forms, which are connected by the horizontal communication. In the middle of the Salesian complex, there is a semi-open area. The first object is a church with a capacity of approximately 200 hundred visitors, the second object is a parish building, which perform the functions of administration with multifunction space for the exhibitions, aparmtments and offices for its employees.
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Thomas, Alicia Hill. „Learning from the field : are high poverty, high performing schools professional learning communities? /“. Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Fügemann, Christiane. „Probleme von Männern in der Lebensmitte empirische Studien“. Hamburg Kovač, 2005. http://www.verlagdrkovac.de/3-8300-2079-1.htm.

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Hyyppä, M. (Marlene). „Huutoja maan alta!:oululaiset alakulttuurilehdet — kulttuurinen tila, vastakulttuuriset sisällöt ja keinot“. Master's thesis, University of Oulu, 2014. http://urn.fi/URN:NBN:fi:oulu-201410161936.

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Tutkimukseni käsittelee oululaisia alakulttuurilehtiä. Primääriaineistoni koostuu seuraavista lehdistä: Tilt Zeitung (1979–1980), Anonyymi mustetahra (1979–1981), Kupla (1981–1983), Ruuvari (1988–1995) ja Esa (2005–). Tilt Zeitung ja Anonyymi mustetahra kytkeytyvät 1970-luvun lopulla ja 1980-luvun alkupuolella kukoistaneisiin paikallisiin punk- ja uusi aalto -alakulttuureihin. Lehdet välittävät tietoa alakulttuurin sisällä ja kritisoivat valtakulttuurin instituutioita. Sarjakuvalehdet Kupla ja Ruuvari pyrkivät vahvistamaan suomalaisen sarjakuvan kehnoa asemaa julkaisemalla kotimaista ja paikallista sarjakuvaa 1980-luvulta 1990-luvun puoliväliin saakka. Esa on nuorten aikuisten miesten elämäntyyliä kuvaava alakulttuurilehti, joka on yhteydessä paikalliseen skeittikulttuuriin esitellen myös graffitia ja katutaidetta 2000-luvun puolelta. Tutkimukseni tärkein tehtävä on dokumentaarinen: kirjoittamattoman paikalliskulttuurin tallentaminen ja esitteleminen. Toisena merkittävänä osuutena tutkimuksessa on alakulttuurilehtien asettaminen kulttuuriseen kontekstiin. Kolmantena, koko tutkimuksen läpi jatkuvana teemana, on vastakulttuuriset sisällöt ja keinot oululaisissa alakulttuurilehdissä, joita pyrin kartoittamaan ja hahmottelemaan työkaluja niiden tulkitsemiseen. Aiheesta ei löydy aiempaa tieteellistä tutkimusta, eikä siitä ole kirjoitettu syventävästi myöskään lehdistössä tai kulttuurihistoriaa käsittelevissä teoksissa. Keskeisenä kysymyksenä on alakulttuurilehtien kulttuurisen tilan määrittely, jota selvitän tekijöiden haastattelujen, sanomalehtijuttujen ja lehtiin liittyvien alakulttuurien taustojen avulla. Kerron myös zine-lehtien historiasta yleisesti ja sitten tarkemmin Suomen zine-julkaisujen kahdesta huippukaudesta: suomalaisesta undergroundista (n.1967–1970) ja punk-kulttuurin mukana tuomasta pienlehtivillityksestä, joka jatkui 1970-luvun lopulta 1980-luvulle asti. Tekemäni haastattelut paljastavat uutta tietoa alakulttuurilehtiin liittyvien tietojen lisäksi myös punk-, sarjakuva-, skeitti- ja graffitikulttuureista Oulussa. Lähestymistapani yhdistelee kulttuurintutkimuksen, sosiologian, kulttuuriantropologian ja taiteentutkimuksen keinoja. Tutkimieni lehtien asema kulttuurin kentällä on alakulttuurinen ja ne toimivat valtakulttuurin sivussa vahvasti omaperäisiä toimituskäytäntöjä hyödyntäen. Osallistuva DIY eli Do It Yourself -asenne ja bricolage eli käsillä olevien ainesten luova hyödyntäminen ilmenevät niin lehtien sisällöissä kuin tekotavoissakin. Alakulttuurilehtien ilmaisullinen vapaus peilautuu valtakulttuurin tabuja, sensuuria ja skandaaleja aiheuttavia sisältöjä vasten. Vastakulttuuriset sisällöt ilmenevät tutkimusaineistossani muun muassa valtainstituutioiden ja normien kritisointina sekä ruumiillisuuden vapaana kuvauksena. Käsityksiä hyvästä mausta rikotaan karnevalistisella hulluttelulla, joka näkyy eritteiden ja groteskin ruumiin kuvauksen lisäksi myös splatter-genrelle ominaisena graafisena ruumiin silpomisena ja veren kuvauksena Valtakulttuurin genrejä ja hahmoja ”kaapataan” ja esitetään uusissa konteksteissa, gonzo-journalismi vie toimittajan osalliseksi tapahtumia ja dadaistiset vaikutteet näkyvät spontaanissa ja hyppivässä tekstin etenemisessä. Vastakulttuuriset sisällöt ja keinot haastavat valtakulttuurin diskursiivista valtaa ja luovat toisinaan uusia ilmaisutapoja ja tyylejä. Alakulttuurilehtien tekijät ammentavat sisältöä lehtiinsä omista alakulttuureistaan ja elämäntyyleistään. Lehdet muodostavat kuvan alakulttuureista ja ihmisistä, joille ne ovat tarjonneet vapaan ilmaisukanavan. Alakulttuurilehtien yksi ansio on alakulttuurin määrittely sisältäpäin ja äänen antaminen virallisten valtarakennelmien sivussa toimiville alakulttuurin jäsenille. Itsenäiset tekotavat mahdollistavat lehtien tekemisen ympäröivistä yhteiskunnallisista ja kulttuurisista olosuhteista riippumatta.
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Costa, José Santana Campos. „Rigidez e semi-rigidez dos expoentes de Lyapunov em dimensão mais alta e folheações patológicas“. Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/55/55135/tde-26072017-145418/.

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Neste trabalho nós estudamos os expoentes de Lyapunov de aplicações f : Td → Td homotópicas a uma aplicação Anosov linear e a continuidade absoluta de folheações. Nós mostramos para algumas classes de homotopia de aplicações que a soma dos expoentes de Lyapunov está limitado pela soma dos expoentes de Lyapunov da aplicação Anosov linear. Além disso, admitindo uma propriedade conhecida como densidade uniformemente limitada (UBD) nas folheações, mostramos uma igualdade entre a soma dos expoentes de Lyapunov de f e do Anosov linear. Também construímos um conjunto C1 aberto de difeomorfismos parcialmente hiperbólicos do toro T4, preservando volume, com folheação central bidimensional não compacta e não absolutamente contínua. Ainda construímos um exemplo parcialmente hiperbólico com folhas centrais bidimensionais, não compactas onde a desintegração do volume ao longo da folheação central não é nem Lebesgue nem atômica.
In this work we study the Lyapunov exponents of maps f : Td → Td homotopic to a linear Anosov map. We proof for some homotopic classes of maps which the sum of Lyapunov exponents is bounded by the sum of the Lyapunov exponents of the linear Anosov map. Moreover, by assuming a property known as uniformly bounded density (UBD) in the foliations, we show an equality between the sum of the Lyapunov exponents of f and the linear Anosov. We also construct an C1 open set of volume preserving partially hyperbolic diffeomorphisms with non compact two dimensional center foliation and non absolutely continuous. We still build an example of partially hyperbolic diffeomorphism with non compact bidimensional center leaves where the disintegration of volume along the center foliation is neither Lebesgue nor atomic.
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Sales, Jorge Henrique Oliveira [UNESP]. „Da lei de Coulomb generalizada ao eletromagnetismo com derivadas de ordem mais alta via relatividade especial“. Universidade Estadual Paulista (UNESP), 1995. http://hdl.handle.net/11449/132687.

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Made available in DSpace on 2016-01-13T13:27:38Z (GMT). No. of bitstreams: 0 Previous issue date: 1995. Added 1 bitstream(s) on 2016-01-13T13:33:06Z : No. of bitstreams: 1 000026726.pdf: 835192 bytes, checksum: 83920038a2ee84e729d445cc359d3b2b (MD5)
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Sales, Jorge Henrique Oliveira. „Da lei de Coulomb generalizada ao eletromagnetismo com derivadas de ordem mais alta via relatividade especial /“. São Paulo : [s.n.], 1995. http://hdl.handle.net/11449/132687.

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Lima, Giuliana Souza de. „Almirante, \"a mais alta patente do rádio\", e a construção da história da música popular brasileira (1938-1958)“. Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-10052013-123543/.

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Esta investigação tem como objetivo central discutir peculiaridades da historiografia da música popular brasileira na primeira metade do século XX, por meio da trajetória de um de seus precursores: Almirante (Henrique Foreis Domingues, Rio de Janeiro, 1908-1980). Além de ter se tornado conhecido como a mais alta patente do rádio já no final da década de 1930, em razão de sua importância para a profissionalização e diversificação da programação radiofônica, Almirante teve papel fundamental nos estudos sobre a história da música popular brasileira, integrando o que podemos chamar de sua primeira geração de historiadores. Seus programas eram caracterizados pela organização e preocupação em conferir valor científico aos temas abordados que abrangiam do folclore à música urbana difundida pelos meios de comunicação em massa , e baseados em pesquisas que contribuíram para a formação de um vasto arquivo sobre música popular, o qual deu origem e sentido ao Museu da Imagem e do Som (MIS-RJ), em 1965. Almirante, junto com outros nomes de sua geração, foi responsável pela seleção, organização, compilação, e arquivamento de registros, estabelecendo hierarquias, determinando recortes, problemas e, assim, um discurso fundador em torno da história da música popular brasileira. Esta historiografia é singular sobretudo porque foi desenvolvida e difundida nos meios de comunicação em massa. É também de certa maneira inovadora na tentativa de compreender a importância da música popular para a formação das identidades culturais urbanas, criando paradigmas e precedendo as investidas acadêmicas, por já recorrer a novas temáticas, objetos e fontes antes que os historiadores se ocupassem disso. Este trabalho propõe, assim, abordar a obra de Almirante do ponto de vista de sua contribuição à historiografia da música popular, através de sua atuação no rádio, de 1938 a 1958.
This research has as its main goal to argue particularities of the historiography on Brazilian popular music in the first half of the XX century, by analyzing the trajectory of one of its precursors: Almirante (Foreis Domingues, Rio de Janeiro, 1908-1980). Besides being known as the highest rank in the radio in the late 30s, due to his roles in the professionalization and diversification of radio broadcasts, Almirante also had a central role in the development of studies on the history of Brazilian popular music, being part of what we can call as the first generation of historians on the subject. His broadcasts were known by their organization, as well as for their concern in treating the subjects presented in a scientific manner subjects ranging from folklore to the more urban music, diffused by the mass media. These broadcasts were based on researches whose results helped forming a vast archive on popular music, which would be the basis for the formation of the Museu da Imagem e do Som (Museum of Image and Sound MIS-RJ), in 1965. Almirante, together with other personalities of his generation, was responsible for the process of selecting, organizing, compiling, and archiving the records, establishing priorities, determining the research approaches and questions and, thus, defining a founding discourse on the history of Brazilian popular music. This historiography is unique in the sense that it was developed and disseminated within and by the mass-media. It is also innovative, in a certain way, in its effort to understand the importance of popular music in the forming of urban cultural identities, creating paradigms and preceding the academic researches in this field. This is due to the fact that these researches worked with new subjects, sources and objects long before \'professional\' historians worked with them. Thus, this work aims to study the works of Almirante from the point of view of their contribution to the historiography of popular music, through his performance in the radio, from 1938 to 1958.
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Bücher zum Thema "Main altar"

1

Evelin, Bubenik, Hrsg. Leonardo Da Vinci's Single Immaculate Madonna, painting from the altar of the Chapel of the Immaculate Conception in the church San Francesco Grande at Milan : Leonardo's Annunciation, lunette intended for the crown piece of the main altar of the church Santissima Annunziata in Florence: And the Virgins of the Rocks, case. Wolnzach: Kastner, 2009.

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Brownley, Margaret. Left at the altar. Naperville, IL: Sourcebooks Casablanca, 2016.

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Duarte, Judy. Race to the altar. New York: Silhouette, 2009.

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Copyright Paperback Collection (Library of Congress), Hrsg. Race to the altar. New York: Silhouette Books, 2009.

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Brenna, Duff. The altar of the body. New York: Picador USA, 2001.

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Brenna, Duff. The altar of the body. New York: Picador USA, 2001.

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Milburne, Melanie. Enemigos ante el altar. Madrid: Harlequin Iberica, 2012.

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Guhrke, Laura Lee. Wedding of the Season: Abandoned at the Altar - 1. New York, NY: Avon Books, 2011.

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Copyright Paperback Collection (Library of Congress), Hrsg. Scandal of the Year: Abandoned at the Altar - 2. New York: Avon Books, 2011.

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The altar of the body: A novel. New York: Picador USA, 2002.

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Buchteile zum Thema "Main altar"

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Rocca, Alessandro. „Cassa di Risparmio Headquarters in Maia Alta, Merano“. In Modern Alternatives, 109–19. Vienna: Springer Vienna, 2008. http://dx.doi.org/10.1007/978-3-211-79194-3_9.

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Eremin, Mikhail, und Pavel Makarov. „Numerical Modelling of Main Shock and Aftershock Line of Chuya Earthquake 27.09.2003, Altay, Russia“. In Springer Series in Geomechanics and Geoengineering, 1462–65. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-97115-5_123.

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Grünewald, Dietrich. „»Jeder wehrt sich gegen die Zeit«:“. In Alter(n)skulturen, 195–216. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839459928-010.

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Harold Fosters Prinz Eisenherz gehört zu den wenigen Serien, in denen der Protagonist nicht auf einen Lebenszeitpunkt »eingefroren« ist, sondern allmählich älter (und erfahrener) wird. Das geschieht kaum merklich von Album zu Album. Doch in Band 3 der Werkausgabe, Ritter der Tafelrunde, begegnet er in der Höhle der schönen Hexe einem Greis, der personalisierten Zeit. Er versucht mit dem Alten zu kämpfen, doch der besiegt ihn und zeigt ihm, wie er als alter Mann aussehen wird: abgemagert, hohlwangig, weißhaarig - ein »Schatten des einst so stolzen Prinzen«. (27 f.) Hans Tischler hat das Thema auf parodistische Weise aufgegriffen: Wenn die Comic-Helden so alt wären, wie sei eigentlich sein müssten (MAD 211). Klingt hier eher die Angst vor dem Alter an, das uns Kraft, Vitalität und Lebensmut nehme, so setzte eine Bilderbuch-Bildgeschichte 1988 einen anderen Akzent: Meine Oma hat schwarze Haare. Mary Hoffman und Joanna Burroughes erzählen von einer aktiven Oma, die - ganz anders als die alten Märchenomas mit weißem Haar und altmodischer Kleidung - fit und aktiv ist, sich modisch kleidet. Und der Opa, der sich auf der letzten Seite sehen lässt, sieht auch nicht aus, wie das Klischee den Opa zeichnet. Beide Extreme, aktive alte Menschen, die sich nicht treiben lassen, die neue Herausforderungen suchen, gerne mit anderen Generationen mal anecken aber auch suchen, mit allen klarzukommen, wie auch alte Menschen, die durch Krankheiten körperlicher wie geistiger Natur in ihrer Energie, ihren Möglichkeiten, ihrem Willen eingeschränkt sind, haben als Akteure ihren Platz in Bildgeschichten gefunden. Von witzig-trotzigen Geschichten, wie sie die Reihe Die Alten Knacker (Paul Cauuet/ Wilfird Lupane) erzählt, von überraschenden Erfahrungen im Alter, von denen Pascal Rabaté in Bäche und Flüsse berichtet, vom Opa, der als Superman unterwegs (Philip Waechter) ist bis zu umfangreich angelegten Bildromanen, die sich mit den problematischen Seiten des Alterns, mit Krankheit, mit Pflege, mit den Problemen, die die Generationen miteinander haben, auseinandersetzen, wie z. B. Kopf in den Wolken (PacoRoca), Können wir nicht über was Andres reden (Roz Chast) oder das unabwendbare altern der gefühle (Zidrou & Aimé de Jongh) oder auch Besondere Jahre. Ein Abschied in Bildern ( Joyce Farmer). Der Tenor vieler Geschichten ist, die Leserschaft für das Thema Alter zu sensibilisieren, Verständnis zu schaffen, Einblick zu geben in eine Lebensspanne, in der die meisten Leserinnen und Leser selbst nicht sind, die aber auch sie erwartet. Bei allem Ernst bleibt auch der Humor nicht auf der Strecke. Zahlreiche Cartoons (die ja oft so etwas wie Ein-Bild-Geschichten sind) spiegeln diesen witzigen Blick. Ralf König (Herbst in der Hose) spielt selbstironisch mit dem Altwerden, ohne die Probleme lächerlich zu machen. Dass Altern uns alle betrifft, und dass niemand von uns weiß, wie er das Alter meistern wird, hat die Bildende Kunst mit ihren zahlreichen Altersbildern unterschiedlicher Thematik schon immer aufgezeigt. In diesen Zusammenhang - vom Cartoon bis zur Bildenden Kunst - eingebunden, sollen ausgewählte Comic-Beispiele, die sich differenziert mit dem Thema Alter auseinander setzen, vorgestellt werden.
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Verhoeven, Timothy. „“Prostrating Our Rights on the Altar of Superstition and Bigotry”: The Sunday Mail Controversy in the Early Republic“. In Secularists, Religion and Government in Nineteenth-Century America, 33–62. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-02877-0_3.

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Zola, Émile. „Chapter VIII“. In The Sin of Abbé Mouret. Oxford University Press, 2017. http://dx.doi.org/10.1093/owc/9780198736639.003.0046.

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At first she could see nobody. Outside it was raining again, with a fine, persistent drizzle. She went behind the main altar and then on to the pulpit. In the middle of the nave were the benches disarranged by the catechism children. The pendulum...
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Hendrickson, Brett. „The Origin of the Santuario“. In The Healing Power of the Santuario de Chimayó. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479815500.003.0003.

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This chapter collects and recounts several important origin stories for the Santuario de Chimayó and its healing dirt and argues that the various stories reveal the religious and political needs of the storytellers. Origin stories range from apparitions of miraculous crucifixes to mysterious priests to pre-Hispanic Tewa Pueblo mythology. Key figures in the Santuario’s origins are its original owner, Bernardo Abeyta, and the Señor de Esquipulas, the crucified image of Jesus that now hangs on the main altar.
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Maia, Filipe. „Alter-Carnation“. In Beyond Man, 226–44. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021339-009.

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Maia, Filipe. „Alter-Carnation:“. In Beyond Man, 226–44. Duke University Press, 2021. http://dx.doi.org/10.2307/j.ctv1m46fsx.12.

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Maia, Filipe. „8 Alter-Carnation“. In Beyond Man, 226–44. Duke University Press, 2021. http://dx.doi.org/10.1515/9781478021339-010.

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„6 The Alter Ego“. In The Thousandth Man. Toronto: University of Toronto Press, 2000. http://dx.doi.org/10.3138/9781442620827-010.

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Konferenzberichte zum Thema "Main altar"

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Ribichini, Luca. „Notre Dame du Haut, Ronchamp, the shape of a listening. A whole other generative hypothesis“. In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.719.

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Abstract: The article will examin one of Le Corbusier's more emblematic works: the Ronchamp Chapel. The aim is to discover some of the intentionalities hidden within the design of this work by the swiss architect. It will start with the following considerations of Le Corbusier about the Ronchamp chapel:“it began with the acoustics of the landscape taking the four horizons as a reference...to respond to these horizons, to accomodate them, shapes were created…” And: “ Shapes make noise and silence; some speak and others listen...”And again: “ Ear can see proportions. It's possibile to hear the music of visual proportion” (Le Corbusier). The article sustains that the church is nothing but a giant acoustic machine dedicated to Virgin Mary which main purpose is the listening of the prayers. Infact in the Christian religion Mary is the very vehicle between God and man , she has a human but also divine nature since she is the mother of Jesus. To get in contact with the divine it is necessary to pray Mary, she can listen to man's prayers but she can also pass down God's word to man. In support of this hypothesis there stands an analogy between the chapel's map and the image section of a human ear, highlighting the coincidence between the altar position and that of cochlea, which shape is so dear to le Corbusier that he makes use of it very often in his work. Keywords: Ronchamp; acoustic landscape; human ear, architecture as chrystallized music. DOI: http://dx.doi.org/10.4995/LC2015.2015.719
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Seregin, N. „THE MAIN ASPECTS OF THE SOCIAL INTERPRETATION OF THE ARCHAEOLOGICAL COMPLEXES OF ALTAI DATED BY THE MONGOLIAN PERIOD“. In Ancient cultures of Mongolia, Southern Siberia and Northern China: Transactions of the XIth International Conference (September 8–11, 2021, Abakan). Institute for the History of Material Culture of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.31600/978-5-907298-19-4.237-242.

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Pereira, Ronilson W. S., Marcelino S. Silva und José Jailton. „Análise de QoE para Streaming de Vídeo em Redes Aéreas 5G mmWave de Conectividade Dupla“. In Escola Regional de Computação Ceará, Maranhão, Piauí. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/ercemapi.2021.17903.

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A comunicação de ondas milimétricas (mmWave) surge como parte essencial para as futuras redes de quinta geração (5G), pois adotam frequências portadoras mais altas oferecendo alta largura de banda, menor latência, entretanto, o desempenho do sistema se degrada devido à sensibilidade dos links para obstáculos, por isso torna-se necessário a combinação do 5G mmWave com UAV. Este trabalho apresenta uma análise da Qualidade de Experiência (QoE) percebida pelo usuário, na transmissão de vídeo num sistema mmWave de comunicação dupla utilizando UAV-BS. Os resultados apontam a eficiência desse sistema para aplicações multimídia utilizando vídeos, melhorando a QoE dos usuários sem fio em 43%.
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Silva, Felipe Augusto Guedes da, und Maicon R. Correa. „Métodos de Galerkin Descontínuo de Mais Alta Ordem para Leis de Conservação Hiperbólicas“. In CNMAC 2018 - XXXVIII Congresso Nacional de Matemática Aplicada e Computacional. SBMAC, 2018. http://dx.doi.org/10.5540/03.2018.006.02.0291.

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Maciel, Luciana da Silva, Glaycianne de Souza Alves, Cynthia Djan Alves Costa und Tamiris Maia Barrocas. „Orientação farmacêutica na alta hospitalar: um passo a mais na segurança do paciente“. In II Encontro do Programa de Pós-Graduação em Ciências Farmacêuticas da Universidade Federal do Ceará e I Simpósio Norte-Nordeste de Ciências Farmacêuticas. Fortaleza - CE, Brazil: Galoa, 2017. http://dx.doi.org/10.17648/ppgcf-2017-66342.

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Frade, Thiago Costa, Gustavo Lobato Campos und Natália Rodrigues de Melo. „FENÔMENOS DE ALTA FREQUÊNCIA EM MODELAGEM DE ATERRAMENTOS ELÉTRICOS“. In XVIII CEEL – Conferência de Estudos em Engenharia Elétrica. Universidade Federal de Uberlândia, 2020. http://dx.doi.org/10.14295/2596-2221.xviiiceel.2020.570.

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A função do aterramentos elétrico é proteger os seres vivos e equipamentos em suas proximidades, e por isso, seu dimensionamento deve ser feito de forma adequada. Para fenômenos de baixas frequências, esses sistemas são bem definidos na literatura, porém considerando fenômenos de altas frequências, o dimensionamento desses sistemas demanda cálculos mais complexos e maior esforço computacional. Dado o exposto, este artigo apresenta a modelagem de um aterramento elétrico, solicitado por fenômenos de alta frequência, pela teoria das linhas de transmissão. São definidos, para um eletrodo horizontal, a impedância de aterramento e a sobretensão na entrada do aterramento. Os parâmetros do solo são considerados constantes com a frequência, em alguns casos, e em outros, variáveis. Por fim, destaca-se a importância deste trabalho aproximando os leitores da área do Eletromagnetismo aplicado.
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DeBoo, Guy, Kevin Ramsden, Roman Gesior und Brian Strub. „Identification of Quad Cities Main Steam Line Acoustic Sources and Vibration Reduction“. In ASME 2007 Pressure Vessels and Piping Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/pvp2007-26658.

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The Quad Cities Nuclear Power Station, Units 1 and 2, have a history of steam line vibration issues. The implementation of an Extended Power Uprate resulted in significant increases in steam line vibration as well as acoustic loading of the steam dryers, which led to equipment failures and fatigue cracking of the dryers. This paper discusses the extensive data collection on the Quad Cities Unit 2 replacement dryer and the Main Steam Lines. This data was taken with the intent of identifying acoustic sources in the steam system. Review of the data confirmed that vortex shedding coupled column resonance in the relief and safety valve standpipes were the principal sources of large magnitude acoustic loads in the main steam system. Modifications were developed in subscale testing to alter the acoustic properties of the valve standpipes and add acoustic damping to the system. The modifications developed and installed consisted of acoustic side branches that were attached to the Electromatic Relief Valve (ERV) and Main Steam Safety Valve (MSSV) attachment pipes. Subsequent post-modification testing was performed in plant to confirm the effectiveness of the modifications. The modifications have demonstrated a reduction in the acoustic pressure loads at full Extended Power Uprate (EPU) conditions to levels below those at Original Licensed Thermal Power (OLTP).
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Otto, O. V., und V. A. Mironycheva. „ASSESSMENT OF ANTHROPOGENIC IMPACT ON FOREST RESOURCES BY MATERIALS OF ALTAI REGION“. In Prirodopol'zovanie i ohrana prirody: Ohrana pamjatnikov prirody, biologicheskogo i landshaftnogo raznoobrazija Tomskogo Priob'ja i drugih regionov Rossii. Izdatel'stvo Tomskogo gosudarstvennogo universiteta, 2020. http://dx.doi.org/10.17223/978-5-94621-954-9-2020-78.

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The impact of economic activity on the natural vegetation cover is associated both with the withdrawal of resources and the change in the ecological conditions of plant growth. Based on the assessment of wood reserves, we identified the main negative changes in the forest cover of the Altai region.
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DeBoo, Guy, Kevin Ramsden und Roman Gesior. „Quad Cities Unit 2 Main Steam Line Acoustic Source Identification and Load Reduction“. In 14th International Conference on Nuclear Engineering. ASMEDC, 2006. http://dx.doi.org/10.1115/icone14-89903.

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The Quad Cities Units 1 and 2 have a history of steam line vibration issues. The implementation of an Extended Power Uprate resulted in significant increases in steam line vibration as well as acoustic loading of the steam dryers, which led to equipment failures and fatigue cracking of the dryers. This paper discusses the results of extensive data collection on the Quad Cities Unit 2 replacement dryer and the Main Steam Lines. This data was taken with the intent of identifying acoustic sources in the steam system. Review of the data confirmed that vortex shedding coupled column resonance in the relief and safety valve stub pipes were the principal sources of large magnitude acoustic loads in the main steam system. Modifications were developed in subscale testing to alter the acoustic properties of the valve standpipes and add acoustic damping to the system. The modifications developed and installed consisted of acoustic side branches that were attached to the Electromatic Relief Valve (ERV) and Main Steam Safety Valve (MSSV) attachment pipes. Subsequent post-modification testing was performed in plant to confirm the effectiveness of the modifications. The modifications have been demonstrated to reduce vibration loads at full Extended Power Uprate (EPU) conditions to levels below those at Original Licensed Thermal Power (OLTP).
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Abramov, A. G., und I. N. Abramova. „Influence of heterosis value in spring wheat hybrids on the efficiency of valuable selection“. In Растениеводство и луговодство. Тимирязевская сельскохозяйственная академия, 2020. http://dx.doi.org/10.26897/978-5-9675-1762-4-2020-78.

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The article presents the results of the influence of the magnitude of heterosis on the main elements of the formation of yield (grain size and productivity of the main spike) of spring wheat in the Irkutsk region. The following were used as maternal varieties: Irgina, Krasnoyarskaya 83, Tulun 15, Tselinnaya 60, Altayskaya 92, Niva 2 and a variety from Mongolia Orkhon 85, as testers - Skala, Angara 86, Tulunskaya 12 The best indicators of hypothetical heterosis were manifested by the number of grains in ear in combinations Krasnoyarskaya 83 × Angara 86, Krasnoyarskaya 83 × Skala, Altai 92 × Skala (81.6 ... 85.7%). In terms of grain weight from the main spike, the best results of hypothetical heterosis were noted in hybrid combinations Krasnoyarskaya 83 × Angara 86, Orkhon 85 × Angara 86, Ni-va × Angara 86, Altai 92 × Angara 86 (100.0 ... 130.7%) ... Krasnoyarskaya 83 × Angara 86, Altai 92 × Angara 86, Or-khon × Angara 86 are recognized as the best hybrid combinations that can give the greatest yield of transgressive forms of elite plants.
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Berichte der Organisationen zum Thema "Main altar"

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Eshed, Yuval, und Sarah Hake. Shaping plant architecture by age dependent programs: implications for food, feed and biofuel. United States Department of Agriculture, Dezember 2012. http://dx.doi.org/10.32747/2012.7597922.bard.

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Age dependent programs are responsible for the physiological and developmental differences of young and mature plants. These include a range of morphological characters such as leaf shape and leaf composition (waxes, lignin etc..) but also different in developmental potentials. Apical buds of juvenile plants are vegetative, while those of mature plants can be reproductive. Likewise, basal buds form in the axills of juvenile leaves have different fates than distal buds formed in the axils of mature leaves. The goal of our joint project is to understand and exploit theses age related programs for specific improvement of crop plants. To that end both the WIS group and the PGEC group are using mutants with age related defects as well as modified expression of miR156 to modify age related programs in crop plants- Tomato and potato in Israel and Maize, switchgrass and Brchipodium in the US. In the US, major effort were made to: Characterize the contribution of selected miR156 target genes to yield component traits of maize. Functional analysis of microRNAs and their targets in new crop plants. In Israel, the research progressed in several directions: Understanding the interplay between age dependent programs and the potential of tomato and potato meristems to produce tubers. Evaluation of the agronomic value of mutants that alter flowering regime in side shoots in general, and in the sympodial buds in particular Characterization of wild type axillary buds, comparing shoot ontogeny of gradually maturing apices from basal and distal positions along the main shoot of tomato.
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Barash, Itamar, J. Mina Bissell, Alexander Faerman und Moshe Shani. Modification of Milk Composition via Transgenesis: The Role of the Extracellular Matrix in Regulating Transgene Expression. United States Department of Agriculture, Juli 1995. http://dx.doi.org/10.32747/1995.7570558.bard.

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Altering milk composition via transgenesis depends on three main factors. (1) The availability of an efficient regulatory sequences for targeting transgene(s) to the mammary gland; (2) a reliable in vitro model to test the expression of transgenes prior to their introduction to the animal genome; and (3) better understanding of the major factors which determine the rate of gene expression and protein synthesis. The current studies provide the necessary means and knowledge to alter milk protein composition via transgenesis. The following specific goals were achieved: a: Identifying regulatory regions in the b-lactoglobulin (BLG) gene and the cross-talk between elements which enabled us to construct an efficient vector for the expression of desirable cDNA's in the mammary gland. b: The establishment of a sheep mammary cell line that serves as a model for the analysis of endogenous and exogenous milk protein synthesis in the mammary gland of livestock. c: An accurate comparison of the potency of the 5' regulatory sequences from the BLG and whey acidic protein (WAP) promoters in directing the expression of human serum albumin (HSA) to the mammary gland in vitro and in vivo. In this study we have also shown that sequences within the coding region may determine a specific pattern of expression for the transgene, distinct from that of the native milk protein genes. d: Characterizing the dominant role of ECM in transgene expression in mammary epithelial cells. e: Further characterization of the BCE-1 enhancer element in the promoter of the b-casein gene as a binding site for the c/EBP-b and Stat5. Identifying its interaction with chromatin and its up regulation by inhibitors of histone deacetylation. f: Identifying a mechanism of translational control as a mediator for the synergistic effect of insulin and prolactin on protein synthesis in the mammary gland.
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Palukaitis, Peter, Amit Gal-On, Milton Zaitlin und Victor Gaba. Virus Synergy in Transgenic Plants. United States Department of Agriculture, März 2000. http://dx.doi.org/10.32747/2000.7573074.bard.

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Transgenic plants expressing viral genes offer novel means of engendering resistance to those viruses. However, some viruses interact synergistically with other viruses and it is now known that transgenic plants expressing particular genes of one virus may also mediate synergy with a second virus. Thus, our specific objectives were to (1) determine if transgenic plants resistant to one virus showed synergy with another virus; (2) determine what viral sequences were essential for synergy; and (3) determine whether one of more mechanisms were involved i synergy. This project would also enable an evaluation of the risks of synergism associated with the use of such transgenic plants. The conclusion deriving from this project are as follows: - There is more than one mechanism of synergy. - The CMV 2b gene is required for synergistic interactions. - Synergy between a potyvirus and CMV can break natural resistance limiting CMV movement. - Synergy operates at two levels - increase in virus accumulation and increase in pathology - independently of each other. - Various sequences of CMV can interact with the host to alter pathogenicity and affect virus accumulation. - The effect of synergy on CMV satellite RNA accumulatio varies in different systems. - The HC-Pro gene may only function in host plant species to induce synergy. - The HC-Pro is a host range determinant of potyviruses. - Transgenic plants expressing some viral sequences showed synergy with one or more viruses. Transgenic plants expressing CMV RNA 1, PVY NIb and the TMV 30K gene all showed synergy with at least one unrelated virus. - Transgenic plants expressing some viral sequences showed interference with the infection of unrelated viruses. Transgenic plants expressing the TMV 30K, 54K and 126K genes, the PVY NIb gene, or the CMV 3a gene all showed some level of interference with the accumulation (and in some cases the pathology) of unrelated viruses. From our observations, there are agricultural implications to the above conclusions. It is apparent that before they are released commercially, transgenic plants expressing viral sequences for resistance to one virus need to be evaluated fro two properties: - Synergism to unrelated viruses that infect the same plant. Most of these evaluations can be made in the greenhouse, and many can be predicted from the known literature of viruses known to interact with each other. In other cases, where transgenic plants are being generated from new plant species, the main corresponding viruses from the same known interacting genera (e.g., potexviruses and cucumoviruses, potyviruses and cucumoviruses, tobamoviruses and potexviruses, etc.) should be evaluated. - Inhibition or enhancement of other resistance genes. Although it is unlikely that plants to be released would be transformed with HC-Pro or 2b genes, there may be other viral genes that can affect the expression of plant genes encoding resistance to other pathogens. Therefore, transgenic plants expressing viral genes to engender pathogen-derived resistance should be evaluated against a spectrum of other pathogens, to determine whether those resistance activities are still present, have been lost, or have been enhanced!
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