Zeitschriftenartikel zum Thema „Pastry in art“
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1
Borsato, Maddalena. „“Edible Aesthetics”: Blurring Boundaries between Pastry and Art“. Humanities 12, Nr. 5 (22.10.2023): 126. http://dx.doi.org/10.3390/h12050126.
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The inquiry into whether food can be classified as “art” has long been a subject of debate. From its roots tracing back to Plato, this question has attracted the attention of both artistic movements and philosophers, especially throughout the twentieth century. In this paper, I aim to revisit this contentious issue by exploring the realm of pastry making as a form of art. Within the broader discourse on this topic, pastry emerges as a distinctive medium. Since sweets have historically transcended their mere nutritive functions, pastry may establish an immediate connection between art and food. Simultaneously, it reiterates the persistent challenges of encompassing the edible domain within conventional aesthetic theories. Throughout various contexts and periods, confectionery has evolved through the reproduction or imitation of visual arts, often reflecting the prevailing artistic climate of its flourishing periods. Moreover, due to its intimate association with rituals and celebratory occasions, pastry carries a profound cognitive and metaphorical framework that enhances its expressive potential, capturing the attention of many artists. By exploring the intersection of pastry and various artistic genres, drawing on illustrative examples ranging from modern European pièce montées to American cake design and Japanese wagashi, I critically examine the possibility and potential aesthetic qualities of this marginal genre, thereby opening up broader inquiries into the loose categorizations and fluctuations within the intricate domain of art.
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tarantino, maria, und sabina terziani. „A Journey into the Imaginary of Sicilian Pastry“. Gastronomica 10, Nr. 3 (2010): 45–51. http://dx.doi.org/10.1525/gfc.2010.10.3.45.
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This article is an anthropological archeology of Sicilian confectionery, from the prehistoric-like assemblage of sesame seeds and honey (giurgiulena) to the extravagant gelato di campagna and the baroque-rustic cassata. Sweets are analyzed as architectural constructions that rely on newly discovered ingredients and techniques to create edible edifices that amazed the eye as much as the palate. They emerge from their historical and social context and affirm themselves as moments of innovation in the culinary art. On a deeper level, the art of pasticceri bears the marks of an existential quest that constantly redefines man's symbolic relation to the forces and contrasts of life.
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Fadhillah, Syahidah Nur, und Reno Yelfi. „Analysis Laboratory Culinary Art At SMK N 3 Solok“. Jurnal Pendidikan Tata Boga dan Teknologi 4, Nr. 2 (30.08.2023): 486. http://dx.doi.org/10.24036/jptbt.v4i2.11011.
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This study aims to describe (1) the condition of the laboratory room area, lighting, floors, walls in the pastry and bakery product practice laboratory (2) describe the effectiveness of practical learning in the pastry and bakery product subject for class 12 at SMK N 3 Kota Solok. This study uses a qualitative descriptive research method, namely research that describes the condition of an object, symptoms and events that are actually appropriate in the field. The research sources were 1 head of workforce, 1 PBB subject teacher, 1 student and 1 alumni of SMK N 3 Solok City. Data collection techniques used are observation, observation, interviews, and documentation. Data analysis techniques use descriptive qualitative, thus this study aims to describe, summarize situations, conditions and various phenomena that exist in reality. The results of the study show that: (1) The review of the area of the room is not in accordance with the standard, namely 72 m2 so that the area of the student's work area is 2 m2/student. (2) seen from the arrangement of seacra equipment and materials that have not been carried out optimally. So it is necessary to make a proposal to develop a laboratory so that it meets standards in accordance with applicable regulations, both in terms of facilities, building materials and equipment, in order to create safety and comfort in the practice process.
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Čugalj, Milana, Velibor Ivanović, Bojana Kalenjuk-Pivarski und Saveta Bikić. „The influence of confectionery product decoration on consumers“. Turisticko poslovanje, Nr. 33 (2024): 105–12. http://dx.doi.org/10.5937/turpos0-50440.
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Confectionery has always been considered an art form. From the original form to what it is considered to be today, a long development period preceded, and the desserts transformed into real work of art. The appearance of a prepared and served dish is one of the most important factors of its attractiveness on the market. Also, it is considered to be one of the main motivators when making a decision about their purchase. In fact, consumers who have expectations related to a certain product must be stimulated by sensory characteristics, the first of which is the appearance. The first data on the decoration of sweets dates back to ancient Rome, and the techniques and means of decoration have been shaped and continue to be adapted to the needs of the market. Today, there are many different techniques used in decorating sweets, and the pastry chef must be precise and concise in portaying his emotions to the finished product, through the decoration. Consumers are guided by primal instincts and choose simpler, more reduced decorations that follow the taste of the confection with their appearance. The objective of the research is to analiyze the impact of the confectionary decoration on consumer behavior. The aim of the work is to obtain information about the importance of the the pastry product decoration on consumers through consumer surveys. The research was conducted by surveying consumers in A.P. Vojvodina (R. Serbia), and the collected data was processed using descriptive statistics.
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Over, Berthold. „The Art of ‘Cooking’ a Pasticcio: Musical Recipes and Ingredients for Pasticcio Operas“. Musicology Today 18, Nr. 1 (01.12.2021): 20–34. http://dx.doi.org/10.2478/muso-2021-0004.
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Abstract Despite the rather pejorative implications that the musical pasticcio has today, it may have been an appreciated art form in the seventeenth and eighteenth centuries. The term pasticcio is clearly derived from the culinary pasticcio, which was a highlight at aristocratic banquets in this time. The mixture of tastes and the spectacular presentation which characterises the culinary pasticcio, as well as the contemporary concept that culinary as well as painted ‘pasticcios’ are distinguished by ‘unity amidst variety’, can equally be found in the musical pasticcio. Several layers can be perceived, exemplified by the pasticcio Arione (Milan 1694) and those which George Frideric Handel and the Mingotti opera troupe staged in London and other places. The ‘noble’ pasticcio may be defined as characterised by a musical idea which, like a pastry, covers the entire piece and relates the individual elements to the whole. If it is lacking, the pasticcio becomes a conglomerate of music, like a dish whose ingredients are all thrown together.
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Haminda, Jessyca Putri, und Asmar Yulastri. „The relationship between atititudes in the lecture process and student learning outcomes in the pastry and art Subjects s1 culinary arts unp“. Jurnal Pendidikan Tata Boga dan Teknologi 2, Nr. 2 (31.08.2021): 112. http://dx.doi.org/10.24036/jptbt.v2i2.165.
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This study aims to describe attitudes, describe learning outcomes and analyze the relationship between attitudes in the lecture process and student learning outcomes in the PastryAndArt S1 CulinaryArtUNP 2016 sessionA and sessionB. This type of research is descriptive correlational. The population and sources of research data are students who have completed the PastryAndArt S1 CulinaryArtUNP41 students of session A and session B were taken based on the saturated sampling technique. The data collection technique was made with a Likert scale and distributed research questionnaires through google forms which have been tested for validity and reliability. The data analysis technique was carried out by descriptive analysis, ideal data categorization methods, data analysis requirements test, correlation coefficient analysis and correlation coefficient significance analysis. The results of the overall attitude research of 41 respondents are known to be 1person(3%) in very high category, 28people (68%) in high category, 12people(29%) in moderate category, student learning outcomes of PastryAndArt S1 Culinary ArtUNP 2016 from 41 respondents in session A and session B as a whole very good category. SessionA(21 people) and sessionB(20 people) were 9people(42%) and 7people (35%); and the results of the study indicate that there is no significant relationship between attitudes in the lecture process and student learning outcomes in the PastryAndArt S1 CulinaryArtUNP 2016 course with a significant correlation coefficient value of 0.370> 0.05 so Ha is rejected and Ho is accepted.
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Roziyah, Pipit, Guspri Devi Artanti und Cucu Cahyana. „The Impact of Ambon Banana (Musa Accuminata Colla) Puree Addition to Banana Bread Making on Physical Quality and Consumer Acceptance“. Advances In Social Humanities Research 2, Nr. 5 (03.05.2024): 689–703. http://dx.doi.org/10.46799/adv.v2i5.239.
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The objective of this study was to analyze the impact of the addition of ambon banana puree in banana bread on physical quality and consumer acceptance. The method used was an experimental method with three types of treatments, namely banana bread adding 25%, 50%, and 75% ambon banana puree, conducted at the Pastry & Bakery Laboratory of Culinary Art Education, State University of Jakarta. The validity test was conducted using the organoleptic test to five lecturers of Culinary Art Education, State University of Jakarta, consisting of four external aspects and eight internal aspects, showing that banana bread adding 25% and 50% ambon banana puree excelled in various aspects. The physical quality test was conducted by measuring the volume of each product for three repetitions. The test results using the ANOVA test showed that there was no impact of the addition of banana puree on the quality of bread volume. The consumer acceptance test was conducted using the Friedman test, and data collection was done using the hedonic test for 30 panelists. The Friedman test results showed that there was an impact of the addition of ambon banana puree in banana bread on consumer acceptance in the aspects of volume, skin color, bread crust, skin characteristics, crumb color, crumb pores, crumb texture, and chewing quality. Furthermore, the results of Tuckey's test showed that banana bread adding 25% ambon banana puree was most preferred in terms of volume and chewing quality, banana bread adding 25% and 50% ambon banana puree was most preferred in terms of bread crust color, bread crust thickness, bread crust characteristics, crumb color, crumb pores, and crumb texture. Based on the results of this study, it is recommended that banana bread add 50% of banana puree products for further utilization of banana ambon.
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Zekalashvili, Rusudan. „kartuli etnok’ult’uruli realiebi kartul-germanul leksikonebshi /ქართული ეთნოკულტურული რეალიები ქართულ-გერმანულ ლექსიკონებში [Georgian Ethno-Cultural Realities as seen in the Georgian-German Dictionaries]“. Kartveluri Memk'vidreoba [Kartvelian Heritage] 25, Nr. 25-1 (01.12.2021): 123–32. http://dx.doi.org/10.54635/tpks.2022.09putk.
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Names of ethnocultural realities occur in every language. They pose quite serious challenges to lexicographers in the process of compiling translation dictionaries. The reason for that is often the untranslatability of such words and the absence of their precise equivalents in other languages. This is a serious problem when compiling any translation dictionary but at the same time, the entirety of such lexical units create the national and linguistic image of the Universe. There is not a single uniform opinon about the classification of the ethnocultural lexis among the linguists. Some of them consider that such lexis includes idioms, phraseologisms, proverbs, and even proper names. When incorporating the names of ethnocultural realities in the dictionary, it is essential to select such words beforehand and divide them into thematic groups, on the one hand, and to explore and discover the relevant translation tools, on the other hand. One of the functions of the translation dictionaries is to deliver the culturological data by means of the words of ethnocultural content. We have analyzed some of the Georgian-German dictionaries (i.e. K. Tschenkéli, 1965-1974; R. Zekalashvili, 2009) from the above-mentioned perspective. Some thematic groups were selected from the available words of ethnocultural content (it should be noted that a certain part of these lexical units was not of Georgian origin), namely:Traditional festive days, such as: xaṭoba − Chatoba (Heiligenfest, Kirchweih, Kirmes) ‘Festival of pagan shrine’, ‘Saint’s day’; bzoba − Palmsonntag ‘Palm Sunday’; mariamoba − Mariä Himmelfahrt ‘Dormition of the Virgin’; giorgoba − Tag des heiligen Georg ‘St George’s Day’.Customs and traditions: kadagi − Prediger, Propezeiher ‘shaman, seer’; tamada − Tafelleiter, Tischvorsitzender ‘chairman of feast’, ‘toast-saying master’; sadγegrӡelo − Toast, Trinkspruch ‘toast’; q̇anc̣i − Trinkhorn, Weinhorn ‘drinking horn’.Terms referring to work activities such as tone − Bäckerei, Tongefäss ‘cylindrical clay oven for flat bread’; kvevri − Weinkrug (in der Erde vergraben) ‘wine-jar (set into ground)’; sac̣naxeli − Trotte, Weinkelter ‘pressing device to press juice of grapes for wine’. Names of dishes and sweets: xinḳali − Chinkali (Art Ravioli) ‘ravioli’ (chopped meat boiled in pastry sache); xačạ ṗuri − Käsekuchen ‘pastry with cheese/ curds filling’; sacivi − Sazivi (Puten- oder Geflügelbrühe mit gewürzter Walnusssoße) ‘chicken/turkey in cold walnut sauce’; sulguni − Sulguni (eine Art Käse) ‘variety of hard cheese’; gozinaq̇i − Gosinaki (Näscherei aus Nüssen und Honig zum Neujahr) ‘chopped nuts boiled in honey’; čurčxela − Tschurtschela (aufgefädelte Nüsse, die im Most getunkt und gedörrt sind) ‘string of walnuts/hazel-nuts/raisins etc. dipped into thickened boiled grape-juice’. Clothes and shoes: čoxa-axaluxi − kaukasische männliche Tracht, Halbrock ‘Caucasian tunic and coat’, ‘man’s national dress’; kalamani − Bastschuh, Ledersandale ‘laced sandal’; nabadi − Filzmantel, kaukasischer Filzüberwurf ‘felt jacket(s) and cloak(s)’. Musical instruments: panduri − Fanduri (dreisaitiges Zupfinstrument) ‘3-stringed lute’; čonguri − Tschonguri (viersaitiges Musikinstrument) ‘four-stringed lute’; čịanuri − Tschianuri (georgisches Streichinstrument) ‘3/4-stringed Georgian viol’; gudasṭviri − Dudelsack, Sackpfeife ‘bagpipes’. Dances and songs: samaia − ‘women’s round-dance’; iavnana − child’s lullaby’. Plays and other means of entertainment: q̇eenoba − Kheenoba (Maskenspiel am ersten Montag des Fastens) ‘fertility festival, carnival’; beriḳaoba − Berikaoba (Volksmaskenspiel) ‘summer carnival (dressed as wild animal)’; laxṭaoba − Gürtelspiel der Jungen ‘boy’s belt game’; ḳuḳudamalobana − Fangspiel, Versteckspiel ‘children’s game hide-and-seek’; daxučọ bana − Blindekuh ‘hide-and-seek’. Fairy-tale characters and magic things: nacarkekia − Aschenbrödel, Faulenzer, Müßiggänger ‘lazy but sly fairytale hero’; ḳudiani dedaberi − Hexe, Alraune ‘a witch’, ‘evil demon’; učinmačinis kudi − Tarnkappe ‘magic cap of invisibility’; naṭvris tvali − Wunschstein ‘magic stone, magic jewel’. Terms of endearment: šeni čịrime − mein Liebes, du meine Güte! (dein Ungemach auf mich, deine Not mir) ‘my darling, please’ (lit. (give your) trouble to me); šen genacvale − mein Liebes!; tu mir die Liebe! (ich will dich in der Not ersetzen, ich will für dich durchs Feuer gehen) ‘my dear!’ (let me take your place, if something bad happens). In the above-mentioned Georgian-German dictionaries several means are used to express Georgian ethnocultural realities: a) definitions of words are transliterated; b) detailed explanations of the content and meaning of the realities without transliterations (or loan translation); c) selecting proper lexical units of similar content available in German. საკვანძო სიტყვები: ეთნოკულტურული ლექსიკა, ორენოვანი ლექსიკონები, გერმანულ-ქართული ლექსიკონი, თარგმნითი ეკვივალენტი. Keywords: Ethno-cultural Vocabulary, Bilingual Dictionaries, German-Georgian Dictionary, Translation equivalent.
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Johnson, William. „Pesos, Paparazzo, Pastry, Painting“. Film Quarterly 64, Nr. 2 (2010): 10–11. http://dx.doi.org/10.1525/fq.2010.64.2.10.
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WALLACH, A. „The Museum of Modern Art: The Past's Future“. Journal of Design History 5, Nr. 3 (01.01.1992): 207–15. http://dx.doi.org/10.1093/jdh/5.3.207.
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Pastan, Linda. „Linda Pastan“. Jung Journal 11, Nr. 2 (03.04.2017): 5. http://dx.doi.org/10.1080/19342039.2017.1302752.
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Alarcón, Graciela S. „Slow progression of joint damage in early rheumatoid arthritis treated with cyclosporin A or methotrexate: Comment on the article by Pasero et al“. Arthritis & Rheumatism 40, Nr. 4 (April 1997): 791. http://dx.doi.org/10.1002/art.1780400435.
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Stargardt, N. „CHILDREN'S ART OF THE HOLOCAUST“. Past & Present 161, Nr. 1 (01.11.1998): 191–235. http://dx.doi.org/10.1093/past/161.1.191.
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Stargardt, N. „Children's art of the Holocaust“. Past & Present 1998, Nr. 161 (01.11.1998): 191–235. http://dx.doi.org/10.1093/past/1998.161.191.
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Waters, Thomas. „Irish Cursing and the Art of Magic, 1750–2018*“. Past & Present 247, Nr. 1 (03.02.2020): 113–49. http://dx.doi.org/10.1093/pastj/gtz051.
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Abstract Fairies, leprechauns, banshees, witches, holy wells and rural remedies. Historic Ireland is famous for its superstitions, magic and ‘alternative beliefs’. Yet we should not ignore what was once the most widespread Irish magic of all: cursing. A righteous occult attack, a dark prayer for terrible pains to blight evildoers, cursing was unnervingly common from ancient times until the mid-twentieth century. This article explores its neglected modern history, since the late 1700s, by carefully scrutinizing the Irish style of cursing, relating it to wider social and economic conditions, and making comparisons with maledictions elsewhere. Irish imprecations can be analysed using familiar academic categories such as belief, ritual, symbolism, tradition and discourse. However, by repurposing an older way of thinking about magic, I argue that historic Irish cursing is best understood as an art, because it required knowledge, practice, wit, skill and composure. Intimidating, cathartic and virtuoso: cursing mingled gruesome yet poetic phrases with ostentatious rites, in the name of supernatural justice. It had many applications but was particularly valuable to Ireland’s marginalized people, fighting over food, religion, politics, land and family loyalties. Cursing rapidly faded from the mid-twentieth century and, unlike other forms of occultism, was not revived by the post 1970s ‘New Age’ movement. Its unusual history underlines three wider points: (i) magic can usefully thrive in modern societies, figuring in the most vital areas of life; (ii) different types of magic have distinct chronologies; (iii) the most psychologically powerful forms of magic are subtle arts that deserve our (begrudging) respect.
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Coelho, Rui Gomes. „An archaeology of decolonization: Imperial intimacies in contemporary Lisbon“. Journal of Social Archaeology 19, Nr. 2 (30.05.2019): 181–205. http://dx.doi.org/10.1177/1469605319845971.
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The fall of the European empires over the course of the 20th century forced massive migratory flows from the former colonies to the old metropolis and between colonized regions. The experiences that came with the loss of colonies were traumatic for the erstwhile colonials, who carried their imperial nostalgia to the old metropolises. The social and political consequences of these longings are still unfolding in former colonizing societies. This article critically engages the materialization of lusotropical sensibilities, focusing on contemporary Portuguese decolonization as it is experienced in Lisbon’s urban landscape. I argue that cafés, restaurants, and pastry shops frequented by retornados are not only places of memory but spaces where imperial longings are ingested and internalized.
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Hofmański, Piotr, und Emil Pływaczewski. „Zasądzenie z urzędu odszkodowania od podżegacza, pomocnika i pasera w trybie art. 363 § 3 k.p.k.“ Studia Prawnicze / The Legal Studies, Nr. 3-4 (73-74) (30.04.2023): 373–94. http://dx.doi.org/10.37232/sp.1982.3-4.12.
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Kumar, Arun. „Letters of the Labouring Poor: The Art of Letter Writing in Colonial India*“. Past & Present 246, Nr. 1 (27.12.2019): 149–90. http://dx.doi.org/10.1093/pastj/gtz035.
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Abstract This article examines the emergence of mass letter-writing in the late nineteenth- and early twentieth-century colonial north India, a region marked by the growth of an unprecedented labour mobility, postal expansion, vernacular print, and workers' literacy. It narrates how workers' and their family members' abilities and failures to read and write letters shaped their experiences of the emerging transnational labour mobility and explains how the letter-writing by the subaltern produced new sociabilities and anxieties that both colonial and indigenous elites feared and attempted to discipline and control through letter-writing manuals. It argues that the letter-writing culture in India did not merely sustain new mobilities but also produced a dominant social world which ensured that the hierarchies of caste, gender, and class were clearly mapped onto the domain of letter-writing. Hitherto unexplored (Hindi) letter-writing manuals and educational, postal, and labour records are used to challenge the rigidities of labour, communication, and literary histories of modern South Asia where the illiteracy of the labouring poor is an assumed fact.
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Thomas, Zoë. „Between Art and Commerce: Women, Business Ownership, and the Arts and Crafts Movement*“. Past & Present 247, Nr. 1 (29.04.2020): 151–96. http://dx.doi.org/10.1093/pastj/gtz071.
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Abstract In art-historical works and social and cultural histories the Arts and Crafts movement is portrayed as an anti-commercial design reform movement that revolved around the workshops of a cadre of elite male ‘craftsmen’. But a confluence of elements during this era — developments in print culture; urbanization; mass consumerism; the women’s movement; reactions against industrialization; widespread interest in medievalism and domestic crafts — created an environment in which many more people became involved in the movement than is traditionally recognized. This research offers the first history of the emergence of women’s ‘artistic’ businesses across England, c.1870–1939. The article argues that the persistent focus on institutional hierarchies in histories of skilled work has led to a failure to consider the importance of rhetorical self-fashioning and the built environment in the construction of new cultural roles. Engrained disciplinary divides have also led to discrete bodies of scholarship on the history of artistic culture, ‘professional society’ and business ownership, which belie the interwoven nature of these categories in lived experience. Tracing the gendered strategies implemented by women business owners ultimately reveals their democratization of the movement to incorporate greater reception of domestic consumerism, ‘popular’ culture, and a wider range of incomes and interests.
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Hoppenstand, Gary. „Editorial: Visiting the Past's Future“. Journal of Popular Culture 38, Nr. 3 (Februar 2005): 453–55. http://dx.doi.org/10.1111/j.0022-3840.2005.00121.x.
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Vinatier, Isabelle. „PASTRÉ Pierre. La didactique professionnelle. Approche anthropologique du développement chez les adultes“. Revue française de pédagogie, Nr. 179 (15.06.2012): 138–41. http://dx.doi.org/10.4000/rfp.3730.
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Lenman, Robin. „PAINTERS, PATRONAGE AND THE ART MARKET IN GERMANY 1850–1914“. Past and Present 123, Nr. 1 (1989): 109–40. http://dx.doi.org/10.1093/past/123.1.109.
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Jelavich, P. „Review article. National socialism, art and power in the 1930s“. Past & Present 164, Nr. 1 (01.08.1999): 244–65. http://dx.doi.org/10.1093/past/164.1.244.
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Lelong, Chloé. „I Carri di Nîmes , Nicolò Pasero (dir.)“. Cahiers de civilisation médiévale 265, Nr. 4 (01.03.2024): 277. http://dx.doi.org/10.3917/ccm.265.0277.
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Lin, Peng, Junpeng Qi und Weijing Liu. „Expert’s views and perspectives: an interview with distinguished investigator Dr. Ira Pastan at the National Cancer Institute at NIH“. Antibody Therapeutics 3, Nr. 3 (Juli 2020): 163–66. http://dx.doi.org/10.1093/abt/tbaa015.
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Nonnon, Élisabeth. „Lenoir Yves & Pastré Pierre (dir.). Didactique professionnelle et didactiques disciplinaires en débat“. Revue française de pédagogie, Nr. 169 (01.10.2009): 150–53. http://dx.doi.org/10.4000/rfp.1653.
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Li, Xianxian. „On English-Chinese Translation of Past Participles and Demonstrative Pronouns in Seeing and Knowing“. International Journal of Languages, Literature and Linguistics 10, Nr. 1 (2024): 62–65. http://dx.doi.org/10.18178/ijlll.2024.10.1.485.
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With the development of international cultural exchanges, art exchanges among countries are increasing, and there is a growing demand of the translation of books on art works. As a result, the author undertakes English-Chinese translation of the book, Seeing and Knowing. The writer of this book, Bernard Berenson, indicates his viewpoints of seeing and knowing, and states that the convention is significant to the widespread of art. The translation of this kind text will introduce the western works on art to more people and provide the reference resources for the study and research of fine arts. In the thesis, the author introduces the source of the original text, linguistic features of the source language, the process of translation, and summarizes the translation of the past participle, demonstrative pronouns and the translation strategies such as conversion. The author hopes that this paper can provide some references for the translation of art works.
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Rosenwinkel, K. H., und H. Meyer. „Anaerobic treatment of slaughterhouse residues in municipal digesters“. Water Science and Technology 40, Nr. 1 (01.07.1999): 101–11. http://dx.doi.org/10.2166/wst.1999.0023.
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The tendency to increase the number of units processed per day at slaughter yards (up to 8000 hogs daily), as well as new regulations (recycling and waste laws) in Germany, necessitate extensive utilisation of the residuals coming from slaughter yard operations. Anaerobic digestion appears to be an ideal use for the wet pasty residuals, that have little structure and a water content greater than 70%. The anaerobic digestion of sludges from municipal treatment plants in digesters, has been recognized as the state of the art process for decades. Due to changes in regulations (demands on nitrogen elimination), many digesters still have excess capacities, that allow the co-treatment of additional residuals (cosubstrate). Since little experience has been gained in co-treatment of slaughter waste in municipal digesters, a pilot plant was operated to simulate the process before planning large scale operation. This paper presents the results of the pilot plant, as well as the first months of the co-treatment of stomach contents and slaughter flotation tailings in a municipal digester.
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Spandexxx, Miss Velveeta. „Behind the Glitter: Miss Velveeta Spandexxx’s Drag School“. Canadian Theatre Review 137 (Januar 2009): 50–54. http://dx.doi.org/10.3138/ctr.137.009.
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Hey darlings, how y’all doin’? Miss Velveeta is sittin’ at her desk writin’ this li’l ol’ essay since y’all want to know more about drag and ‘specially ‘bout drag in Montreal. Now one thing first you gotta know right away, Miss Velveeta is a refugee drag queen living in Montreal. She barely escaped George W. Bush’s war against anyone and everything that ain’t a pasty-white normal straight patriotic Amur’can (that’s how Bush says “American”; for real girlfriend, he talks like that!) Montreal’s been really good to Miss Velveeta, having recently accepted her birth to the public with open arms and placed her on its top ten drag queens list! But more about me later.
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Seveline, Seveline, Nofi Diana und Moh Taufik. „FORMULASI COOKIES DENGAN FORTIFIKASI TEPUNG TEMPE DENGAN PENAMBAHAN ROSELA (Hibiscus sabdariffa L.)“. JURNAL BIOINDUSTRI 1, Nr. 2 (24.07.2019): 245–60. http://dx.doi.org/10.31326/jbio.v1i2.78.
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Cookies are a type of pastry that is consumed by many people from all of aged. Cookies can be consumed as a practical and healthy alternative food. This research aims to formulate cookies combined from wheat flour and tempeh flour with addition of roselle. The use of tempeh flour in making cookies can increase protein levels because the protein content of tempeh flour is higher than in wheat flour. In addition, the important ingredients contained in the roselle petals are anthocyanin pigments that form flavonoids that act as antioxidants. The results of this study obtained 37.00% yield of tempeh flour and moisture content of 7.36%, ash content of 2.6%, protein content of 45.59%, fat content of 24.04 % and carbohydrate content of 0.134%. Roselle produced has yield of 80.5% and has a moisture content of 7.44 %, ash content of 6.28%, protein content of 6.29%, fat content of 1% and carbohydrate levels of 78.36%. Based on the result of hedonic test, formulas F1 was selected as the best formula. Products of tempeh flour cookies and roselle powder have a yield of 72 - 85.09%. The results of physicochemical analysis of F1 cookies obtained 2.40% ash content, 7.26% protein content, 29.62% fat content, 68.60% antioxidant activity EC50 µg/ml, 206.785
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Vergnaud, Gérard. „Rabardel Pierre & Pastré Pierre (dir.). Modèles du sujet pour la conception : dialectiques, activités, développement“. Revue française de pédagogie, Nr. 154 (01.03.2006): 219–22. http://dx.doi.org/10.4000/rfp.205.
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Melnichuk, L. D. „Художник Мария Масленникова: поэзия Карельского перешейка и Гималаев в пастели“. Iskusstvo Evrazii [The Art of Eurasia], Nr. 2(21) (30.06.2021): 22–31. http://dx.doi.org/10.46748/arteuras.2021.02.002.
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The purpose of the article is to identify the ideological and stylistic features of the work of the modern Russian artist Maria A. Maslennikova, who continues the best traditions of Russian culture, especially the art of St. Petersburg. Until now, not a single article has been devoted to the talented representative of artistic creativity, working in the pastel technique. But the master takes an active part in various exhibitions in Russia and abroad. The totality of Maslennikova's artworks is a significant example of contemporary fine art. The artist's graphic sheets embody important topical searches of contemporary art: the original author's development of the landscape genre, Russian-Finnish interaction in the field of art, the specifics of the perception of northern nature, the continuation of the traditions of the Leningrad landscape. The realistic method closest to the artist proves its relevance in her works and demonstrates the limitless possibilities that allow it to solve a variety of artistic tasks. The artist's work fully manifested the so urgent nowadays “ecological consciousness”, calling for the preservation of natural wealth, the growth of ecological culture. Reproductions of the master's paintings are published here for the first time. The statements of Maria Maslennikova, who has an undoubted literary talent, about herself, her work, and their origins, are very valuable. Along with pastels, she uses oil, acrylic, gouache, and acrylic tempera. Attention is drawn to the originality of the painting technique, most often used by the master — working with very soft dry pastels on pastel or primed paper. The pastel landscape, representing the quivering, austere or monumental image of the nature of the Karelian Isthmus, is the most widespread in the work of the master. The landscape of the Himalayas also occupies a large place in her work. The artist makes her unique contribution to the artistic and aesthetic comprehension of the Himalayas and Eastern culture. The unrecognizability of nature by man, the need to search for their harmonious coexistence is the main pathos of the master's work, the identification of which is aimed at the entire complex of meaningful and artistic means of her works, which is consistently considered in this article. Задачей статьи является выявление идейно-стилистических особенностей творчества современной российской художницы Марии Александровны Масленниковой, продолжающей лучшие традиции российской культуры, в особенности искусства Санкт-Петербурга. Талантливой представительнице художественного творчества, работающей в технике пастели, до настоящего времени не было посвящено ни одной статьи. Но мастер активно принимает участие в различных выставках в России и за рубежом. Корпус работ Масленниковой является значительным образцом современного изобразительного искусства. В листах художницы воплощены актуальные поиски современного искусства: оригинальная авторская разработка жанра пейзажа, русско-финское взаимодействие в области искусства, специфика восприятия северной природы, продолжение традиций ленинградского пейзажа. Наиболее близкий художнице реалистический метод доказывает в ее работах свою актуальность и демонстрирует безграничные возможности, позволяющие решать самые разные художественные задачи. В творчестве художницы в полной мере проявилось столь актуальное ныне «экологическое сознание», призывающее к сохранению природного богатства, росту экологической культуры. Приводимые репродукции картин мастера публикуются впервые. Ценны высказывания Марии Масленниковой, обладающей несомненным литературным дарованием, о себе, своем творчестве, его истоках. Наряду с пастелью художница применяет масло, акрил, гуашь, акриловую темперу. В статье обращено внимание на своеобразие живописной техники, чаще всего применяемой мастером, — работе очень мягкой сухой пастелью по пастельной или грунтованной бумаге. Пастельный пейзаж, представляющий трепетно-строгий или монументальный образ природы Карельского перешейка, является самым распространенным в творчестве мастера. Изображение природы Гималаев также занимает большое место в ее творчестве. Художница вносит свой неповторимый вклад в художественно-эстетическое осмысление Гималаев и восточной культуры. Непознаваемость природы человеком, необходимость поиска их гармоничного сосуществования — основной пафос творчества М. Масленниковой, на выявление которого нацелен весь комплекс содержательно-художественных средств ее работ, последовательно рассмотренный в предлагаемой статье.
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Divin, A. G., S. V. Ponomarev und D. A. Liubimova. „Experimental Determination of the Thermophysical Properties of Polygraphene-Based Pastes“. Advanced materials and technologies, Nr. 4 (2016): 071–76. http://dx.doi.org/10.17277/amt.2016.04.pp.071-076.
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Sisarwal, Ajay. „Past, Present, and Future Barriers to Digital Transformation in Small Business Enterprises in Manufacturing Sector: A State - of - Art Review“. International Journal of Science and Research (IJSR) 12, Nr. 10 (05.10.2023): 1570–78. http://dx.doi.org/10.21275/sr231021035635.
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Benedict, Philip. „TOWARDS THE COMPARATIVE STUDY OF THE POPULAR MARKET FOR ART: THE OWNERSHIP OF PAINTINGS IN SEVENTEENTH-CENTURY METZ“. Past and Present 109, Nr. 1 (1985): 100–117. http://dx.doi.org/10.1093/past/109.1.100.
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Valenze, Deborah. „THE ART OF WOMEN AND THE BUSINESS OF MEN: WOMEN'S WORK AND THE DAIRY INDUSTRY c. 1740–1840“. Past and Present 130, Nr. 1 (1991): 142–69. http://dx.doi.org/10.1093/past/130.1.142.
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Del Moral Azanza, Nerea, und Alicia Sánchez Ortiz. „Pastas de relleno para reintegración volumétrica de esculturas en cera. Primeros resultados experimentales“. Ge-conservacion 6 (11.12.2014): 68–82. http://dx.doi.org/10.37558/gec.v6i0.236.
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La conservación de esculturas en cera supone un gran reto para el restaurador al tratarse de un material que presenta diversas dificultades derivadas tanto de sus propiedades físicas como de sus procesos de envejecimiento natural. Con el tiempo, los propios materiales adicionados a la cera para la preparación de las pastas de modelar sufren transformaciones químicas que ocasionan un aumento de la fragilidad en este tipo de objetos. Este hecho unido a la acción de agentes de degradación externos, sobre todo cambios bruscos de temperatura, en el ambiente expositivo puede conllevar la formación de micro-fisuras y grietas, y en grado extremo la existencia de fracturas y pérdidas del material, haciendo necesario efectuar tratamientos de reintegración en las zonas dañadas. Este trabajo muestra los primeros resultados obtenidos tras someter a estudio ciertas características físicas de la cera, a fin de desarrollar un método científico de intervención en lagunas. Se ha partido de ocho posibles pastas de relleno para analizar sus intervalos de fusión y su comportamiento tras ser sometidas a envejecimiento artificial, con el objetivo de encontrar una pasta idónea para la restauración de los modelos anatómicos en cera de la colección Javier Puerta de la Universidad Complutense de Madrid. Los resultados que se exponen podrían ser aplicables a otras colecciones de ceroplástica y/o artefactos en cera.
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Brîndușa, Grigoriu. „Tristan en reverdie: l’arborescence mythique d’un corpus“. Anastasis. Research in Medieval Culture and Art 7, Nr. 1 (29.05.2020): 49–64. http://dx.doi.org/10.35218/armca.2020.1.02.
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In most of its European versions of the central Middle Ages, Tristan nurtures an arborescent dynamics in which human agents reveal a spectacular potential for vegetalization, from the living couple to its tombal avatars, from the French poems to the Norse and German adaptations of a greening narrative matter (Pastré 1999, Victorin 2009). While exploring the affinities between the romance’s modeling of human ethos and its stylization of sylvan, vegetal figures under the sign of the philter, the present article focuses on the metamorphosis of the love tree in Béroul’s, Marie de France’s, Eilhart von Oberg’s and Robert’s realms of Tristania. In Béroul’s version, the couple fuses into an Edenic matrix where sleeping becomes an ensavaging, liberating process excluding the possibility of corporeal fecundity. (Marchello-Nizia 1981). Marie de France takes the idea of a refuted genealogy one step further, via the symbiosis of the honeysuckle and the hazel tree; this vegetal self-sufficiency excludes God’s commandments by suppressing the mere possibility of achieving a living descendance. In Eilhart’s romance, death is the catalyzer of a revegetation of the consubstantial souls of the lovers, as they are transcendentally reunited by the philter. Robert’s Saga crowns the textual regeneration of the Tristanian matter by resignifying its distinctive sign of mythical arborescence.
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Islam, Sumaiya, Md Nasim Reza, Samsuzzaman Samsuzzaman, Shahriar Ahmed, Yeon Jin Cho, Dong Hee Noh, Sun-Ok Chung und Soon Jung Hong. „Machine vision and artificial intelligence for plant growth stress detection and monitoring: A review“. Precision Agriculture Science and Technology 6, Nr. 1 (31.03.2024): 33–57. http://dx.doi.org/10.12972/pastj.20240003.
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The agricultural sector faces increasing challenges in ensuring food security and optimizing crop yield, necessitating innovative solutions for early detection and mitigation of plant growth stress. The integration of advanced imaging technologies with artificial intelligence (AI) has emerged as a powerful tool for non-invasive, real-time monitoring of plant health. The objective of this paper was to review the application of machine vision and AI in identifying and classifying plant growth stress, with a focus on stressors, datasets, and the use of intelligent algorithms. The significance of plant growth stress induced by environmental variables, including temperature, light, nutrient deficiencies, and water supply were addressed and the conventional stress detection methodologies, underscores their inherent limitations, and establishes the groundwork for the exploration of state-of-the-art technologies in stress assessment. Various sensor technologies were explored, encompassing traditional RGB cameras, multispectral and hyperspectral sensors, and thermal imaging, each capable of capturing distinct stress signatures. Machine vision, leveraging high-resolution imaging and spectroscopy, offers detailed insights into plant physiological responses. Coupled with AI approaches such as deep learning, neural networks, and pattern recognition, machine vision enables the automated analysis of vast datasets, enhancing the accuracy and speed of stress detection. The recent advancements in image processing techniques tailored for plant stress identification were focused and discussed the role of feature extraction, classification, and predictive modelling in achieving robust results. The potentials of AI in plant stress physiology and its role in overcoming the limitations of traditional methods, and the use of unsupervised identification of visual symptoms to quantify stress severity, allowing for the identification of different types of plant stress were studied. Moreover, the potentials of machine vision technology and AI for real-time monitoring and decision support systems in precision agriculture were discussed. The findings of this review would contribute to the growing field of agricultural technology, offering insights into the development of automated tools that could aid farmers and researchers in mitigating the impact of abiotic stressors on crop/plant health and productivity.
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Rubin, Lois E. „Creativity in Later Life: The Poetry of Maxine Kumin and Linda Pastan“. Journal of Aging, Humanities, and the Arts 3, Nr. 4 (30.11.2009): 245–65. http://dx.doi.org/10.1080/19325610903329039.
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Ramos Arenas, Fernando. „Un cambio suave“. Anales de Historia del Arte 32 (14.07.2022): 13–16. http://dx.doi.org/10.5209/anha.83044.
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El presente número de Anales de Historia del Arte llega con una serie de cambios. A principios de este año un nuevo equipo de dirección tomó el relevo con la intención de continuar la transformación iniciada en 2017 por Eva Fernández del Campo (en la dirección) y Laura Rodríguez Peinado (en la secretaría). El cambio suave que esperamos guíe nuestro hacer a partir de ahora pasará por fortalecer algunos de los valores que forman parte ya del ADN de la revista y son al mismo tiempo esenciales para poder hacer aportaciones relevantes al debate actual de nuestra disciplina. Buscaremos pues profundizar en la internacionalización de Anales de Historia del Arte, continuar con el fomento de las miradas transversales y con la apertura a otras disciplinas colindantes con la historia del arte y la cultura visual.
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Blasco-Pérez, Valle, und Yazmin del Carmen Fraga Valero. „Evaluación de aglutinantes vegetales en pastas de caña de maíz para reintegración volumétrica de soportes leñosos“. Ge-conservacion 22, Nr. 1 (24.10.2022): 36–46. http://dx.doi.org/10.37558/gec.v22i1.954.
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Esta investigación está enfocada al análisis de un conjunto de pastas elaboradas a partir de la médula de caña de maíz molida y aglutinada con dos productos de origen vegetal: el parénquima de nopal (chumbera) de la especie Opuntia robusta y el de la sábila o Aloe Vera de la especie Aloe barbadensis. La finalidad de las mezclas con diferentes combinaciones y proporciones de sus componentes es obtener una pasta que tenga las características adecuadas para su uso en la reintegración volumétrica de esculturas policromadas con soportes leñosos. El análisis y comparativa de las probetas se ha llevado a cabo mediante la realización de pruebas que reflejan su comportamiento ante diferentes circunstancias y los factores de deterioro que inciden sobre ellas durante y después de su elaboración. Los resultados obtenidos muestran que las características y la degradación o alteración que presentan las hacen aptas en algunos casos para la restitución de faltantes de escultura policromada con soporte leñoso. La totalidad de la investigación ha sido desarrollada en México, donde la pasta de caña de maíz se ha utilizado frecuentemente como material escultórico, por tanto se trata de adecuar estos materiales tradicionales a la reintegración volumétrica cuando la compatibilidad lo permita, fomentando así el uso de materiales inocuos, accesibles y sostenibles.
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Ramiro Reglero, Elisa. „La porcelana del siglo XVIII. El nacimiento de un nuevo arte“. Ge-conservacion 8 (04.12.2015): 89–97. http://dx.doi.org/10.37558/gec.v8i0.295.
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Marco Polo introdujo la porcelana china en occidente en el año1295.A finales del siglo XV, el control del comercio con Oriente, pasará a manos de los portugueses que abrirían la ruta hacia el Índico. A partir del siglo XVI se multiplicaron los intentos por conseguir este extraordinario material. Los ejemplares más antiguos conocidos de pasta tierna son los realizados en Florencia hacia 1575, las porcelanas de los Medici. En el siglo XVII nuevas investigaciones en Francia dieron como resultado la obtención de pasta tierna que carecía de caolín. El conde Ehrenfried Walther Von Tschirhausen, en 1704 consigue crear porcelana caolinita. Así se creará la fábrica de Meissen que sirvió como modelo para el resto de las fábricas fundadas en Europa durante el siglo XVIII.
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Deveci, Bilal, Serkan Türkmen und Cevdet Avcıkurt. „Vanilla spice and investigation on areas of usageVanilya baharatı ve kullanım alanları üzerine bir araştırma“. Journal of Human Sciences 13, Nr. 3 (09.12.2016): 5340. http://dx.doi.org/10.14687/jhs.v13i3.4177.
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Many countries are of rare plants growing thanks to geographial conditions. Spices which are rare and precious not only primarily provide different flavour and aroma to food and beverages but also commercially contribute to the economy of the country. The transformation of these plants into the spice is made throught traditional or contemporary methods. As a term association, spice generally evokes bitter, salty and refreshing feelings on people. On the other hand, vanilla is also a spice that can be used in ice-cream, chocolate, dessert, pastry, and confectionery. Also, vanilla is utilized in sector such as medicine, cosmetic and parfume. The purpose of this study is to discuss the general characteristics of vanilla, the orchid plant family it belongs to, its tranformation process to be a spice, the contribution of vanilla type that can be produced in to the industry, the types of vanilla, its areas of usage, how vanilla is produced and differences between vanilla and vanilin. ÖzetBirçok ülke, coğrafi şartların uygunluğu sayesinde nadir olarak yetişen bitkilere sahiptir. Az bulunan ve kıymetli olan baharatlar; öncelikle yiyeceklere ve içeceklere farklı tat ve koku sağlamakta, diğer bir yandan da ticari olarak ülke ekonomilerine katkı sağlamaktadır. Bu bitkilerin baharat haline dönüştürme süreçleri geleneksel veya modern şekilde yapılmaktadır. İnsanlar tarafından genel olarak baharat, kelime çağrışımı itibariyle; acı, tuzlu, ferahlatıcı vb. his uyandırmaktadır. Fakat vanilya dondurma, çikolata, tatlı, pasta ve şekerlemelerde kullanılan bir baharat olma özelliği taşımaktadır. Ayrıca vanilya ilaç, kozmetik, parfüm gibi endüstrilerde de kullanılmaktadır. Bu çalışmada vanilya bitkisinin genel özelliklerine, ait olduğu orkide ailesine, kullanılabilir bir baharat olması için geçirdiği sürece, üretilebilen türün endüstriye olan katkısına, vanilyanın çeşitlerine, kullanım alanlarına ve vanilinin nasıl üretildiğine, vanilya ve vanilin arasındaki farklılığa yer verilecektir.
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Zbyr, Iryna. „Totalitarianism and Ukrainian Literature: Traumatic Memory and Revelation of the Past“. East European and Balkan Institute 46, Nr. 3 (31.08.2022): 133–51. http://dx.doi.org/10.19170/eebs.2022.46.3.133.
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The article highlights the topic of totalitarianism in Ukrainian literature, in particular, shows the traumatic memory and exposure of the past, which is interpreted differently by writers of different generations. Particular attention is paid to the causes of totalitarianism in Europe after the World War I and its impact on modern post-totalitarian cultures. Such cultures include primarily Ukrainian. Numerous social protests, revolutions, the war in Donbass are not so much the consequences of geopolitical conflicts as permanent attempts to return to the Ukrainian identity, to express national traumas, to identify cultural and human losses, which did not happen immediately after the collapse of the USSR. The problem of totalitarianism is also key in determining the specifics of its modern literary interpretation, because most works of art, which to varying degrees appeal to the reconstruction of the past, for the first time clearly verbalize those relevant topics that are still inconvenient and provoke misunderstandings among Ukrainians themselves.
Today Ukrainian literature demonstrates a double stance against the totalitarian past. First, we read in it a steady protest against the socialist-realist heritage, embodied in the long search for inherent forms of artistic self-expression; secondly, modern Ukrainian literature resorted to a total revision of the consequences of cultural stagnation provoked by the experience of many years of totalitarian terror.
The article reveals the connections between this regime and the art of speech, in particular the birth of the pseudo-artistic literary trend of the time - social realism. The author analyzes the peculiarities of the use of literature as a tool of propaganda. In addition, one of the main problems of modern research is the modern ways of artistic rethinking and the process of elaboration of totalitarian experience. In particular, it is about the cultural trauma of oppressed peoples in the Soviet period, which is related to human rights and freedoms, concentration camps, desecration of the myth of victory in World War II, denial of God, etc., which affects the behavior of modern societies and often provokes unpredictable in European politics.
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Morrissey, Susan K. „Terrorism and Ressentiment in Revolutionary Russia*“. Past & Present 246, Nr. 1 (20.09.2019): 191–226. http://dx.doi.org/10.1093/pastj/gtz027.
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Abstract During the late nineteenth century, revolutionary terrorism emerged as a political tactic in Europe and across the world, where it formed one part of anti-colonial, anti-capitalist and national liberation movements. While its public spectacle took advantage of the new media landscape to communicate affective and political messages, terrorism was ultimately a ‘weapon of the weak’, a means for individuals and small groups to fight against the increasingly powerful modern state. The turn to insurgent violence was consequently imbricated with the experience of state violence. Focusing on a period of revolutionary unrest and heightened political violence in early twentieth-century Russia, this article takes a micro-historical approach to examine how individuals and radical parties came to explain, justify, and incite terrorist acts through narratives of vengeance and ressentiment. Drawing on recent scholarship by anthropologists and historians of emotion and bypassing psychological modes of explanation, it tracks specific articulations of political subjectivity that combine claims to (popular) sovereignty, universalism, dignity and rights with the language of honour and shame. The terrorist act was frequently justified as a sovereign right derived from the experience of state violence upon the body.
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Broad, John. „WHIGS AND DEER-STEALERS IN OTHER GUISES: A RETURN TO THE ORIGINS OF THE BLACK ACT“. Past and Present 119, Nr. 1 (1988): 56–72. http://dx.doi.org/10.1093/past/119.1.56.
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Murray, Penelope. „Philosophy - (E.) Jouët-Pastré Le Jeu et le Sérieux dans les Lois de Platon. Sankt Augustin: Academia Verlag, 2006. Pp. 215. €54. 9783896653765.“ Journal of Hellenic Studies 129 (November 2009): 235–36. http://dx.doi.org/10.1017/s0075426900003931.
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Mallory, J. P. „Armagh and the Royal Centres in Early Medieval Ireland: Monuments, Cosmology, and the Past.N. B. Aitchison“. Speculum 72, Nr. 3 (Juli 1997): 777–78. http://dx.doi.org/10.2307/3040763.
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Valencia M., Gabriela, und Lorena Goetschel G. „CONTENIDO DE ÁCIDOS GRASOS TRANS PRESENTES EN LOS PRODUCTOS DE PASTELERÍA LLAMADOS “PASTAS MILHOJAS” EN LA CIUDAD DE QUITO“. infoANALÍTICA 9, Nr. 2 (16.07.2021): 61–79. http://dx.doi.org/10.26807/ia.v9i2.199.
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En este estudio se investigó la cantidad de ácidos grasos trans (AGT) presentes en los productos de pastelería llamados “pastas milhojas” en la ciudad de Quito. El trabajo se ejecutó en tres etapas: la primera consistió en una investigación de campo, donde se aplicó una encuesta en treinta y dos panaderías deQuito que permitió identificar las marcas de margarina empleadas como materia prima para elaborar estos productos y sus fabricantes, además de las condiciones de horneo (tiempos y temperaturas de elaboración); en la segunda etapa se analizó el contenido de grasas trans en las muestras de milhojas por cromatografía de gases, cuyos resultados fueron de 0,29 ± 0,05 % a 0,46 ± 0,05 % (porcentaje en 100 g de producto), que equivalen a 0,05 ± 0,00 % a 0,11 ± 0,02 %, valores que no sobrepasan al límite del 2 % establecido por el Ministerio de Salud Pública del Ecuador en el Acuerdo Ministerial No. 4439. Posteriormente, la tercera etapa consistió en hornear masas estandarizadas de hojaldre para evaluar la influencia del tipo de margarina y condiciones de horneo (temperaturas 186 ± 6 °C, 165 ± 8 °C y 147 ± 9 °C en un tiempo constante de 14 minutos) en el aumento del contenido de ácidos grasos trans. Se encontró que no hubo diferencia significativa entre los tratamientos y tampoco con el contenido inicial.