Relevant bibliographies by topics / Antonio Porta

Academic literature on the topic 'Antonio Porta'

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Published: 14 March 2023

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Journal articles on the topic "Antonio Porta"

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Picchione, John. "A colloquio con Antonio Porta." Quaderni d'italianistica 7, no. 2 (October 1, 1986): 247–54. http://dx.doi.org/10.33137/q.i..v7i2.11005.

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Welle, John P., and Mario Moroni. "Essere e fare: L'itinerario poetico di Antonio Porta." Italica 70, no. 2 (1993): 247. http://dx.doi.org/10.2307/479901.

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Vaccaro (book editor), Adam, and Beppe Cavatorta (review author). "Il giardiniere contro il becchino. Memoria e (ri)scoperta di Antonio Porta." Quaderni d'italianistica 34, no. 1 (July 23, 2013): 328–29. http://dx.doi.org/10.33137/q.i..v34i1.19918.

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Moroni, Mario. "Passi passaggi e invasioni:i libri di trasformazione nella poesia di Antonio Porta." Italian Culture 9, no. 1 (January 1991): 371–80. http://dx.doi.org/10.1179/itc.1991.9.1.371.

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Moroni, Mario. "Passi passaggi e invasioni: i libri di trasformazione nella poesia di Antonio Porta." Italian Culture 9, no. 1 (January 1, 1991): 371–80. http://dx.doi.org/10.1179/016146291803814790.

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Borgarello, Esther Susana, and Carlos Alfredo Juárez Centeno. "El derecho al medio ambiente: opinión consultiva de la Corte Interamericana de Derechos Humanos." Acta Hispanica, no. II (October 7, 2020): 435–46. http://dx.doi.org/10.14232/actahisp.2020.0.435-446.

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En el Art. 41 de la Constitución Nacional el derecho al medio ambiente expresamente contempla: “Las autoridades proveerán a la protección de este derecho, a la utilización racional de los recursos naturales, a la preservación del patrimonio natural y cultural y de la diversidad biológica, y a la información y educación ambientales”. Legislación –conteste a ella– se dicta a nivel nacional y provincial en febrero de 2018 un hecho de trascendencia en la materia es la opinión consultiva OC-23/17 de la Corte Interamericana de Derechos Humanos (CIDDHH) sobre ‘‘Medio Ambiente y Derechos Humanos’’ dictada en San José, Costa Rica, en función de la aplicación del artículo 11 del Protocolo de San Salvador –el cual contiene los derechos económicos, sociales y culturales– y del artículo 26 de la Convención Americana. En ella la CIDDHH reconoció ‘‘la relación innegable entre la protección del medio ambiente y la realización de otros derechos humanos’’. Sostiene la Corte la innegable relación de interdependencia e indivisibilidad que existe entre los derechos humanos, el medio ambiente y el desarrollo sostenible. Esperemos que el fallo VUDAS vs Porta Hnos contemple la normativa constitucional, legal y la Opinión Consultiva de la CIDDHH. La firma Porta Hnos. es una empresa dedicada a la producción de alcohol y derivados, que tiene su planta ubicada en Av. Valparaíso en la ciudad de Córdoba y aledaña a los Barrios San Antonio, Parque San Antonio, Inaudi e Inaudi Anexo. Esta empresa produce 100.000 litros de agro-combustibles –bioetanol– por día, provocando graves problemas en la salud en la citada población, afectando de este modo al medio ambiente e incidiendo en la salud de sus habitantes. Los vecinos agrupados en la organización denominada VUDAS han iniciado acciones legales ante la justicia raíz de la inactividad de las autoridades municipales, provinciales y nacionales pese a los imperiosos reclamos.
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Molero Mesa, Jorge. "Francisco Moliner y Nicolás (1851-1915) y el inicio de la lucha antituberculosa en España." Asclepio 42, no. 1 (June 30, 1990): 253. http://dx.doi.org/10.3989/asclepio.1990.v42.1.577.

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Las primeras propuesta de organización antituberculosa surgieron en España muy tempranamente, patrocinadas por Antonio Espina y Capó (Madrid,1889) y Luis Comenge y Ferrer (Barcelona, 1892). Ambas iniciativas fracasaron al no encontrar el eco apropiado entre los médicos españoles. La primera campaña efectiva fue llevada a cabo en Valencia por Francisco Moliner y Nicolás (1851-1915) a partir de 1899. En este año abrió el Sanatorio de Porta-Coeli para tuberculosos indigentes, primero de este tipo que se erigía en nuestro territorio. Además fundó con éxito la Liga Nacional contra la Tuberculosis y de socorro a los tísicos pobres. Su campaña aspiraba a que el Estado crease en toda España sanatorios populares que tendrían al de Porta-Coeli como modelo. Para Moliner, la asistencia al tuberculoso pobre en estos centros reportaría la ventaja de aislar los focos de infección además de mantener la paz social. Esta última, sería posible gracias a que la instauración de estos centros transmitiría al proletariado una sensación de justicia social. Sus movilizaciones contribuyeron a la divulgación de las teorías contagionistas entre la sociedad española e influyeron en el posterior desarrollo de la lucha antituberculosa oficial que se inició en 1906.
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Cortizo, María del Carmen, and Débora Ruviaro. "Brasil: fascismo ou neoescravidão?" Revista Katálysis 24, no. 1 (April 2021): 76–85. http://dx.doi.org/10.1590/1982-0259.2021.e75203.

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Resumo: O artigo tem por objetivo discutir a pertinência do conceito de “fascismo” em referência ao atual governo do Brasil. A reflexão segue o caminho teórico-metodológico que dois dos maiores intelectuais italianos de início do século XX propuseram nas suas respectivas análises sobre o fascismo, trata-se de Piero Gobetti e Antonio Gramsci, servindo também como referência os relatos de Norberto Bobbio sobre a sua experiência pessoal em relação a esse regime. A partir dessa porta de acesso à problemática, são apresentadas as ponderações sobre a possibilidade de denominar o atual governo e o Estado brasileiro como “fascistas”. A conclusão do estudo é que as atuais relações sociais no Brasil respondem ao desenvolvimento histórico de ininterrupta reprodução das relações de subordinação a partir da escravidão, e não a uma forma particular de fascismo ou de fascistização. Metodologicamente assume-se a perspectiva da “história integral”. Em termos das ferramentas para as análises, o estudo se vale de material bibliográfico.
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Ziemba, Antoni. "Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia." Porta Aurea, no. 19 (December 22, 2020): 35–56. http://dx.doi.org/10.26881/porta.2020.19.01.

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In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era). An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology. The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’. The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and modernité), Charles Perrault (1687–1697: category of le notre siècle preceded by le siècle passé, namely the grand masters of the Renaissance), and Pellegrino Antonio Orlandi writing from the position of an academic studioso for connoisseurs and collectors (Abecedario pittorico, 1704, 1719, 1733, 1753; the antichimoderni category as distinct from the i viventi). Together with Christian von Mechel (1781, 1783) the new understanding of ‘old modernity’ enters the scholarly domain of museology and the devising of displays in royal and ducal galleries opened to the public, undergoing the division into national categories (schools) and chronological ones in history of art becoming more a science (hence the alte niederländische/deutsche Meister or Schule). While planning and describing painterly schools at the Vienna Belvedere Gallery, the learned historian and expert creates a tripartite division of history, already without any reference to antiquity, and with a meaningful shift in eras: Alte, Neuere, and lebende Meister, namely ‘Old Masters’ (14th–16th/17th c.), ‘New Masters’ (Late 17th c. and the first half of the 18th c.), and contemporary ‘living artists’. The Alte Meister ceases to define ancient artists, while at the same time the unequivocally intensifying hegemony of antique attitudes in collecting and museology leads almost to an ardent defence of the right to collect only ‘new’ masters, namely those active recently or contemporarily. It is undertaken with fervour by Ludwig Christian von Hagedorn in his correspondence with his brother (1748), reflecting the Enlightenment cult of modernité, crucial for the mental culture of pre-Revolution France, and also having impact on the German region. As much as the new terminology became well rooted in the German-speaking regions (also in terminology applied in auction catalogues in 1719–1800, and obviously in the 19th century for good) and English-speaking ones (where the term ‘Old Masters’ was also used in press in reference to the collections of the National Gallery formed in 1824), in the French circles of the 18th century the traditional division into the ‘old’, namely ancient, and ‘new’, namely modern, was maintained (e.g. Recueil d’Estampes by Pierre Crozat), and in the early 19th century, adopted were the terms used in writings in relation to the Academy Salon (from 1791 located at Louvre’s Salon Carré) which was the venue for alternating displays of old and contemporary art, this justified in view of political and nationalistic legitimization of the oeuvre of the French through the connection with the tradition of the great masters of the past (Charles-Paul Landon, Pierre-Marie Gault de Saint-Germain). As for the German-speaking regions, what played a particular role in consolidating the term: alte Meister, was the increasing Enlightenment – Romantic Medievalism as well as the cult of the Germanic past, and with it a revaluation of old-German painting: altdeutsch. The revision of old-German art in Weimar and Dresden, particularly within the Kunstfreunde circles, took place: from the category of barbarism and Gothic ineptitude, to the apology of the Teutonic spirit and true religiousness of the German Middle Ages (partic. Johann Gottlob von Quandt, Johann Wolfgang von Goethe). In this respect what actually had an impact was the traditional terminology backup formed in the Renaissance Humanist Germanics (ethnogenetic studies in ancient Germanic peoples, their customs, and language), which introduced the understanding of ancient times different from classical-ancient or Biblical-Christian into German historiography, and prepared grounds for the altdeutsche Geschichte and altdeutsche Kunst/Meister concepts. A different source area must have been provided by the Reformation and its iconoclasm, as well as the reaction to it, both on the Catholic, post-Tridentine side, and moderate Lutheran: in the form of paintings, often regarded by the people as ‘holy’ and ‘miraculous’; these were frequently ancient presentations, either Italo-Byzantine icons or works respected for their old age. Their ‘antiquity’ value raised by their defenders as symbols of the precedence of Christian cult at a given place contributed to the development of the concept of ‘ancient’ and ‘old’ painters in the 17th–18th century.
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Orlandis, José. "Antonio LINAGE CONDE, San Benito y los benedictinos, 7 tomos, Edição da Irmandade de S. Bento da Porta Aberta, Braga 1993, XXVI + 4472 pp." Anuario de Historia de la Iglesia 6 (May 14, 2018): 520–22. http://dx.doi.org/10.15581/007.6.24786.

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Dissertations / Theses on the topic "Antonio Porta"

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Carvalho, Gerson. "A obra poética de Antonio Porta." Florianópolis, SC, 2007. http://repositorio.ufsc.br/xmlui/handle/123456789/89789.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Estudos da Tradução.
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Esta dissertação tem como objetivo principal apresentar traduções comentadas de poemas selecionados dentre a obra do poeta italiano Antonio Porta (1935-1989). Como preparação do trabalho prático de tradução, faz-se uma apresentação da obra poética do autor, acompanhada de comentários críticos, com ênfase especial aos aspectos lingüísticos e estilísticos. Discutem-se também aspectos teóricos da tradução em geral e da tradução de poesia. Neste campo, dá-se atenção especial ao tema da "impossibilidade da tradução", de que se apresenta uma breve digressão histórica, ao conceito de equivalência em geral e no que tange à tradução de poesia, e também à tradução como interpretação. A partir da fundamentação teórica mencionada, são apresentadas análises, de cunho preponderantemente lingüístico e estilístico, de poemas selecionados dentre a obra de Antonio Porta, acompanhadas de traduções comentadas.
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PASSALACQUA, VERONICA. "Storia del teatro di Antonio Porta. Dalle carte alla messa in scena." Doctoral thesis, Università degli studi di Genova, 2019. http://hdl.handle.net/11567/943909.

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The work focuses on the theatre of Antonio Porta (Vicenza, 1935 – Milan, 1989), one of the most important voices of Italian poetry of the second half of the twentieth century. The purpose is to retrace the author’s theatre production, from a both historical – critical and philological point of view, by including it in the context of the “unofficial” Italian theatre between 1960s and 1980s.
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Panarella, Valentina. "Poesia e oralità in Italia nel secondo Novecento." Doctoral thesis, Università di Siena, 2021. http://hdl.handle.net/11365/1171493.

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This thesis proposes a theoretical and historic-literary recognition on the relationship between poetry and orality in the second half of the 20th century. The study is structured into three levels: 1) the reconstruction of the methodological and theoretical issue of oral and written texts; 2) the reconstruction of the historic-literary scenario in the poetry of the second half of the 20th century, with its disclosure in radio, vinyl records and on the stage; 3) the analysis of Elio Pagliarani and Antonio Porta’s poetic production.
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Farrés, Puntí Ramon. "Antoni Pous, poeta i traductor." Doctoral thesis, Universitat Autònoma de Barcelona, 2002. http://hdl.handle.net/10803/5254.

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Antoni Pous, poeta i traductor és un estudi monogràfic de la figura d'Antoni Pous i Argila (Manlleu, 1932 - Barcelona, 1976), activista cultural i home de lletres que va destacar de molt jove, en la immediata postguerra, com a poeta de gran talent; que als anys seixanta va dur a terme una tasca cultural i pedagògica de gran transcendència a Igualada, amb la fundació del grup Lacetània i la creació de la revista Textos; que a partir de 1968 va impulsar de manera decisiva els estudis de llengua i literatura catalanes en l'àmbit alemany, primer des de Tübingen i després des de Zuric, i que finalment, amb la seva tasca de traductor, va introduir a l'àmbit literari català l'obra de dos autors clàssics del segle XX: Walter Benjamin i Paul Celan.
La tesi es divideix en quatre grans blocs: el primer, titulat "L'home", reconstrueix la trajectòria vital de Pous a partir dels seus propis escrits, molts d'ells inèdits, i del testimoni de les persones que el van tractar directament, sigui a través de la correspondència que van mantenir-hi o bé de les entrevistes orals fetes expressament per a aquest treball; el segon, titulat "El pensament", analitza els escrits en prosa que ens va deixar Pous, tant els publicats com els inèdits, per tal d'esbossar les seves idees sobre la religió, la filosofia, la política i la literatura; el tercer, amb el títol de "La poesia", recull i comenta la seva obra poètica, en gran part també inèdita, i en traça l'evolució des de la filiació ribiana dels inicis fins a l'hermetisme influït per Paul Celan de la darrera època, passant per la poesia de to social de finals dels seixanta; finalment, el quart bloc, sota el títol de "Les traduccions", cataloga i analitza les versions que Pous va fer de textos poètics, teològics i filosòfics al català, especialment de l'alemany, amb especial atenció a les seves seleccions de textos de Walter Benjamin i Paul Celan, les primeres que es van fer en català, i també les seves versions en alemany, fetes en col·laboració amb Johannes Hösle, de poesia catalana del segle XX.
A banda de ser el primer treball exhaustiu sobre aquesta figura fins ara pràcticament desconeguda de les nostres lletres, Antoni Pous, poeta i traductor aporta també dades de primera mà sobre diversos aspectes fins ara poc estudiats de la literatura i la cultura catalanes al llarg del tercer quart del segle XX, com ara la formació de l'anomenat "Grup de Vic" i la relació que aquest grup va mantenir amb Carles Riba, a través de Joan Triadú, o la relació d'amistat i de fecunda influència mútua que Antoni Pous va establir amb Miquel Martí i Pol i Jordi Sarsanedas.
Antoni Pous, poet and translator, is a monographic study on Antoni Pous i Argila (Manlleu, 1932 -- Barcelona, 1976), the cultural activist and man of letters who distinguished himself from an early age as a highly gifted poet, during the immediate post-war period; who in the 1960s developed an important cultural and pedagogical work in Igualada, while founding the group Lacetània and creating the magazine Textos; who since 1968 decisively encouraged the studies of Catalan language and literature in the German-speaking world, first in Tübingen and then in Zürich; and who finally, thanks to his translations, introduced to the Catalan literary world the work of two classical authors from the XXth century: Walter Benjamin and Paul Celan.
This thesis is divided into four main parts: the first with the title "The Man", reconstructs Pous' biography based on his own writings, many of them still unpublished, as well as on the testimony of those who knew him personally, using both correspondence and the taped interviews especially made for the present work; the second part, called "The Thought", analyses the prose by Pous, both published and unpublished, in order to outline his ideas about religion, philosophy, politics and literature; the third part, called "The Poetry", collects and comments upon his poetic work, for the most part unpublished, describing the evolution from his first period, influenced by Carles Riba, to the hermetism of his last phase, under the influence of Paul Celan, through his social poetry from the late 1960s; finally, the fourth part is called "The Translations", which catalogues and analyzes the versions made by Pous of poetic, theological and philosophical texts into Catalan, particularly from the German, focusing mainly on his own selection of texts by Walter Benjamin and Paul Celan, the first translations ever made into Catalan, as well as his versions of XXth century Catalan poetry into German, in collaboration with Johannes Hösle.
Besides being the first exhaustive study on this figure, up till now practically unknown in our literature, Antoni Pous, poet and translator also provides first-hand, scarcely studied data on different aspects of Catalan literature and culture in the third quarter of the XXth century, as the formation of the so called "Vic Group" and the relationship this group had, through Joan Triadú, with Carles Riba, or the friendship between Antoni Pous, Miquel Martí i Pol and Jordi Sarsanedas, which was one of fruitful and mutual influence.
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Silva, Telma Maciel da [UNESP]. "Posta-restante: um estudo sobre a correspondência do escritor João Antonio." Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/94028.

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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
On présentera dans ce travail des analyses d’une partie de la correspondance de l’écrivain João Antônio. Il s’agit d’un ensemble de lettres échangées entre l’auteur et l’ami et colaborateur Jácomo Mandatto entre les années 1962 et 1995. Il est possible d’y rechercher le rapport des auteurs avec le marché editorial, bien comme les stratégies employées par eux pour élargir les ventes des livres. En outre, ces lettres démontrent encore l’importance conférée par les correspondants au travail des critiques en Littérature. Parmi ces questions plus pratiques, il surgit la discussion à propos le langage employé par João Antônio dans cette correspondance. La thèse principale de cette recherche est que les lettres de l’auteur mantient un dialogue constant avec son oeuvre, soit du point de vue de la thématique, soit du point de vue formal, puisqu’il y a des coïncidences dans ce qui concerne le travail avec le langage.
Serão apresentadas neste trabalho algumas análises de parte da correspondência do escritor João Antônio. Trata-se de um conjunto de cartas trocadas entre o autor paulistano e o amigo e colaborador Jácomo Mandatto entre os anos de 1962 e 1995. Nelas é possível investigar a relação dos autores com o mercado editorial, bem como as estratégias utilizadas por eles para ampliar a venda dos livros. Além disso, essas missivas demonstram, ainda, a importância dada pelos correspondentes ao trabalho dos críticos de Literatura. Em meio a estas questões de cunho mais prático, surge a discussão sobre a linguagem empregada por João Antônio nesta correspondência. A tese principal desta pesquisa é, portanto, de que as cartas do contista paulistano mantêm um diálogo constante com sua obra, seja do ponto de vista do tema, seja do ponto de vista formal, uma vez que há coincidências no que concerne ao trato com a linguagem.
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Silva, Telma Maciel da. "Posta-restante : um estudo sobre a correspondência do escritor João Antonio /." Assis : [s.n.], 2009. http://hdl.handle.net/11449/94028.

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Orientador: Ana Maria Domingues de Oliveira
Banca: Sandra Aparecida Ferreira
Banca: Vima Lia Rossi Martin
Banca: Marcos Antonio de Moraes
Banca: Antonio Carlos Hohlfeldt
Resumo: Serão apresentadas neste trabalho algumas análises de parte da correspondência do escritor João Antônio. Trata-se de um conjunto de cartas trocadas entre o autor paulistano e o amigo e colaborador Jácomo Mandatto entre os anos de 1962 e 1995. Nelas é possível investigar a relação dos autores com o mercado editorial, bem como as estratégias utilizadas por eles para ampliar a venda dos livros. Além disso, essas missivas demonstram, ainda, a importância dada pelos correspondentes ao trabalho dos críticos de Literatura. Em meio a estas questões de cunho mais prático, surge a discussão sobre a linguagem empregada por João Antônio nesta correspondência. A tese principal desta pesquisa é, portanto, de que as cartas do contista paulistano mantêm um diálogo constante com sua obra, seja do ponto de vista do tema, seja do ponto de vista formal, uma vez que há coincidências no que concerne ao trato com a linguagem.
Résumé: On présentera dans ce travail des analyses d'une partie de la correspondance de l'écrivain João Antônio. Il s'agit d'un ensemble de lettres échangées entre l'auteur et l'ami et colaborateur Jácomo Mandatto entre les années 1962 et 1995. Il est possible d'y rechercher le rapport des auteurs avec le marché editorial, bien comme les stratégies employées par eux pour élargir les ventes des livres. En outre, ces lettres démontrent encore l'importance conférée par les correspondants au travail des critiques en Littérature. Parmi ces questions plus pratiques, il surgit la discussion à propos le langage employé par João Antônio dans cette correspondance. La thèse principale de cette recherche est que les lettres de l'auteur mantient un dialogue constant avec son oeuvre, soit du point de vue de la thématique, soit du point de vue formal, puisqu'il y a des coïncidences dans ce qui concerne le travail avec le langage.
Doutor
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Silva, Rosana Bento da. "A personagem Antonio José na peça Antonio José ou O Poeta e a Inquisição : um estudo de caráter do protagonista." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2284.

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Fundo Mackenzie de Pesquisa
The drama character is created by the way it reveals itself and its relationship with the other characters, in order to represent the author s point of view. Domingos José Gonçalves de Magalhães, based on the comedy author Antonio José da Silva, the Jewish s life and work, wrote the tragedy Antonio José ou O Poeta e a Inquisição, where the main character is built up in the context of a strict conflict with reality, converging to Bakhtin s concept of the dialogic subject. This research aims to investigate how the main character is built up in the play and also how the author s worldview can be seen in its relation with the character s ethos.
A personagem do texto dramático constitui-se por meio do que revela de si e da sua relação com o(s) outro(s) dentro da obra, para representar a visão de mundo do autor. Domingos José Gonçalves de Magalhães, baseando-se na vida e obra do comediógrafo Antonio José da Silva, o Judeu, escreveu a tragédia Antonio José ou O Poeta e a Inquisição, cujo protagonista constrói-se num confronto rígido com a realidade, convergindo para a concepção dialógica de sujeito engendrada por Mikhail Bakhtin. Este trabalho tem como objetivo o estudo da construção do caráter da personagem Antonio José, com vistas ao exame da cosmovisão do tragediógrafo.
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Oliveira, Rogério Pinto Dias de. "Saul Macchiavello & Antonio Rubio: modernidade arquitetônica em Porto Alegre (1928-1938)." Pontifícia Universidade Católica do Rio Grande do Sul, 2010. http://hdl.handle.net/10923/3840.

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The present thesis examines the works carried out by the architects Saul Macchiavello and Antonio Maria Rubio, between the years 1928 and 1938, in the city of Porto Alegre. The buildings produced by these professionals belong to the beginning of modern architecture, a period in which the gradual abandonment of the running of historicism occurs, prevalent since the late nineteenth century. The renewal process began in the early years of the twentieth century, period in which the aesthetics of the machine in the Western world emerged. This aesthetic has adopted a standard of formal as well as decorative simplification, directed to the rationalization of built space, suitable to the industrial society. The complex system resulting from this process led to the reformulation of architectural spaces and a new formal concept whose image was identified with the avantgarde aesthetic and Art Deco architecture, contributing to the emergence of a new way of living as well as a new lifestyle in Porto Alegre in the 1930’s.
A presente dissertação analisa as obras realizadas pelos arquitetos Saul Macchiavello e Antonio Maria Rubio, entre os anos de 1928 e 1938, na cidade de Porto Alegre. As edificações produzidas por esses profissionais pertencem ao início da modernidade arquitetônica, período em que ocorre o abandono gradativo da corrente historicista, predominante desde o final do século XIX. O processo de renovação teve início nos primeiros anos do século XX, momento em que emergiu a estética da máquina no mundo ocidental. Esta estética adotou um padrão de simplificação formal e decorativo, direcionado à racionalização do espaço edificado, próprio à sociedade industrial. O complexo sistema resultante desse processo originou a reformulação dos espaços arquitetônicos e uma nova concepção formal cuja imagem era identificada com as vanguardas estéticas e a arquitetura Art Déco, contribuindo para o surgimento de um novo modo de morar e viver na cidade de Porto Alegre na década de 1930.
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Oliveira, Rog?rio Pinto Dias de. "Saul Macchiavello & Antonio Rubio : modernidade arquitet?nica em Porto Alegre (1928-1938)." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2010. http://tede2.pucrs.br/tede2/handle/tede/2349.

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A presente disserta??o analisa as obras realizadas pelos arquitetos Saul Macchiavello e Antonio Maria Rubio, entre os anos de 1928 e 1938, na cidade de Porto Alegre. As edifica??es produzidas por esses profissionais pertencem ao in?cio da modernidade arquitet?nica, per?odo em que ocorre o abandono gradativo da corrente historicista, predominante desde o final do s?culo XIX. O processo de renova??o teve in?cio nos primeiros anos do s?culo XX, momento em que emergiu a est?tica da m?quina no mundo ocidental. Esta est?tica adotou um padr?o de simplifica??o formal e decorativo, direcionado ? racionaliza??o do espa?o edificado, pr?prio ? sociedade industrial. O complexo sistema resultante desse processo originou a reformula??o dos espa?os arquitet?nicos e uma nova concep??o formal cuja imagem era identificada com as vanguardas est?ticas e a arquitetura Art D?co, contribuindo para o surgimento de um novo modo de morar e viver na cidade de Porto Alegre na d?cada de 1930.
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Costa, Patrícia Anzini [UNESP]. "Marginália tropical: Cacaso, um poeta antropófago." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/96271.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
O objetivo desta dissertação é ressaltar de que forma o poeta mineiro Antônio Carlos de Brito, o Cacaso (1944-1987), pertencente à geração da década de setenta que ficou conhecida como marginal do mimeógrafo, explora os recursos estéticos proporcionados pela movimentação cultural anterior, intitulada Tropicalismo. Assim, o choque ocasionado pelos tropicalistas que proporcionou uma ruptura aos valores estabelecidos de uma sociedade mascarada pela repressão político-ideológica - fruto do golpe militar ocorrido em 1964 - é reavivado pelo escritor marginal de modo notável. A desconfiança frente ao discurso mítico-nacionalista advindo dos militares, a urgência de se criar uma identidade cultural nacional através da instauração antropofágica que visa o rompimento de hierarquias nas mais diferentes manifestações artísticas e a necessidade de dar prosseguimento à crítica de um país em cacos, propondo sua atualização, ecoa nos versos do poeta. A poesia do autor mineiro também reflete temática e esteticamente uma sociedade incapaz de compreender as mudanças do seu próprio sistema; sociedade esta que necessitava urgentemente abrir diálogos mundiais, admitir sua condição de diversidade cultural e questionar a técnica e o progresso como valores fundamentais para o desenvolvimento de uma nação. Dessa maneira, propõe-se, através da apresentação crítica da poética cacaseana, sobretudo de alguns poemas do seu segundo livro intitulado Grupo Escolar (1974), revelar os ingredientes de reconstrução e desmistificação da realidade brasileira de que Cacaso se apropria, bem como destacar a reviravolta em parâmetros até então hegemônicos de avaliação cultural. Intimamente conectados com as propostas dos tropicalistas, esses parâmetros vão, a partir dos poetas marginais, exigir um novo posicionamento frente aos conceitos de modernidade, inovação e ruptura...
The aim of this dissertation is to highlight the way the Mineiro poet Antônio Carlos de Brito, known as Cacaso (1944-1987), who belongs to the generation from the seventies which came to be known as marginal mimeograph, explores the aesthetic tools provided by the Tropicalism, the previous cultural movement. The shock caused by the tropicalists which provided a rupture in the established values of a society masqueraded by a political-ideological repression – a 1964 consequence of the military overthrow – is notably renewed by the marginal writer. The suspicion facing the mythic-nationalist discourse of the military, the necessity of having a national cultural identity through the anthropophagic establishment which aims the hierarchic bursting of diverse artistic manifestations and the urgency of continuing the critique of a country shattered into pieces aiming its actualization at the same time, echoes in the poet´s verses. The Mineiro writer´s poetry also mirrors thematically and aesthetically a society unable to understand its own system changes. A society that immediately needed to have world-wide dialogues, admit its own condition of being culturally diversified and question the technique and the progress as crucial values to develop a nation. Thus, through a critical introduction of some of his poems, especially from his second book - Grupo Escolar (1974) - we intend to disclose some ingredients that were suitable for Cacaso to reconstruct and demystify the Brazilian reality, as well as emphasize the upheaval in the cultural evaluation parameters that were hegemonic at that time. By being closely-related to the tropicalists´ attempts, those parameters demanded a new position concerning the concepts about modernity, innovation and rupture for the fringe poets. The new effort required the election of plurality, median quality and tolerance... (Complete abstract click electronic access below)
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Books on the topic "Antonio Porta"

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Moroni, Mario. Essere e fare: L'itinerario poetico di Antonio Porta. Rimini: Luisè, 1991.

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Turchetta, Gianni, and Alessandro Terreni. Mettersi a bottega: Antonio Porta e i mestieri della letteratura. Roma: Edizioni di storia e letteratura, 2012.

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Tuñón, de Lara Manuel. Antonio Machado, poeta del pueblo. Madrid: Taurus, 1997.

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Antonio Machado, un poeta exiliado. San Vicente (Alicante): Editorial Club Universitario, 2016.

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Cucca, Antoni. Antoni Cucca poeta durgalesu. Cagliari: Edizioni della torre, 1998.

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Huggins, Argenis Pérez. Juan Antonio Pérez Bonalde, poeta romántico. Caracas: Academia Venezolana de la Lengua, 1988.

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Ponzo, Alberto Luis. Antonio Porchia, el poeta del sobresalto. [Buenos Aires?]: Epsilon Editora, 1986.

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1945-, Tello Antonio, and Machado Antonio 1875-1939, eds. Antonio Machado: Poeta en el exilio. Barcelona: Anthropos, 1985.

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1875-1939, Machado Antonio, ed. Il poeta nella tempesta, Antonio Machado. Roma: G. Volpe, 1985.

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1929-, Sambrano Urdaneta Oscar, and Escalona Eunice, eds. José Antonio Escalona-Escalona, poeta y antologista. Caracas: [s.n.], 1987.

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Book chapters on the topic "Antonio Porta"

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Armocida, G., and A. Calligaro. "Antonio Scarpa, Luigi Porta, Camillo Golgi: The Development of Medical Thought at Pavia University." In Natural Sciences and Human Thought, 203–15. Berlin, Heidelberg: Springer Berlin Heidelberg, 1995. http://dx.doi.org/10.1007/978-3-642-78685-3_19.

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Alcina Rovira, Juan Francisco. "La fama como poeta de Antonio Agustín (1517-1586) con un estudio de los dísticos Iurisconsultos non esse alienos a Musis ad Ioannem fratrem." In Dulces ante omnia Musae, 393–405. Turnhout, Belgium: Brepols Publishers, 2021. http://dx.doi.org/10.1484/m.stlll-eb.5.124072.

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"ANTONIO PORTA." In Twentieth-Century Italian Poetry, edited by John Picchione, 412–24. Toronto: University of Toronto Press, 1993. http://dx.doi.org/10.3138/9781442682801-030.

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"ANTONIO PORTA." In Those Who from Afar Look Like Flies, edited by Luigi Ballerini and Giuseppe Cavatorta, 398–413. Toronto: University of Toronto Press, 2017. http://dx.doi.org/10.3138/9781442625143-014.

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"6. The Poetic Nomadism of Antonio Porta." In The New Avant-Garde in Italy. Toronto: University of Toronto Press, 2004. http://dx.doi.org/10.3138/9781442681835-008.

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Valentini, Jordi. "LA POESIA DELLE DONNE LETTA DA ANTONIO PORTA." In Encrucijadas en la cultura italiana., 261–68. Dykinson, 2022. http://dx.doi.org/10.2307/j.ctv2s0j64s.28.

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"3 A Few Theoretical Notes on Breath and Text: Antonio Porta and Giuliano Scabia." In Poetry on Stage, 161–218. University of Toronto Press, 2020. http://dx.doi.org/10.3138/9781487534615-006.

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Ferguson, Gary. "Marriage and Community." In Same-Sex Marriage in Renaissance Rome, 122–40. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501755262.003.0010.

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This chapter discusses the first mention of a wedding ceremony celebrated at San Giovanni a Porta Latina during the trial of the young men involved in same-sex marriage and sodomy in Rome. It highlights marriage in the testimony of Geronimo de Pacis, one of the youths associated with Marco Pinto that lived under the guise of a hermit. It also details the planned wedding between two adult members of the group, one of whom was Gasparo Vittorio, that was supposed to be held on the Sunday that the men were arrested. The chapter highlights the court's questions on the marriage of Brother Gioseffe and Gasparo Vittorio, wherein the priest continued to maintain that he did not know what it was all about. It scrutinizes Antonio Valez's relationship with Cristopharo Ribera, noting that Vittorio is one of those known to the group as a commare.
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Pigou-Dennis, Elizabeth. "Port Antonio (Jamaica)." In Encyclopedia of Caribbean Archaeology, 280–82. University Press of Florida, 2014. http://dx.doi.org/10.2307/j.ctvx1hst1.144.

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Chillington Rutter, Carol. "Trying Portia." In Studi e ricerche. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-503-2/009.

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Extraordinary in itself, the 2016 performance of The Merchant in the Venetian Ghetto produced an equally extraordinary collateral performance. Staged in the Scuola Grande di San Rocco, a ‘Mock Appeal in the Matter of Shylock vs Antonio’ was heard by a bench presided over by Ruth Bader Ginsberg. A curious aspect of the Appeal was that Portia made an appellee. This essay investigates the decision to try Portia. What cultural, political, religious needs were served by bringing Portia into court? Thinking about Justice and Mercy, law, bonds, and love, this essay asks: when the verdict was pronounced, was antisemitism recuperated by misogyny?
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Conference papers on the topic "Antonio Porta"

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Doerr, Octavio, Alan Harding, John Hayman-Joyce, and Miguel Valenzuela Gavilan. "EVOLUTION OF THE SHORELINE AT SAN ANTONIO, CHILE AND ITS INFLUENCE ON THE DEVELOPMENT OF THE PORT." In Proceedings of the 28th International Conference. World Scientific Publishing Company, 2003. http://dx.doi.org/10.1142/9789812791306_0266.

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Siso Monter, Montserrat. "Marga Clark la última Roësset. Arte a través del tiempo y de las fronteras." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.5677.

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La fotógrafa Marga Clark, última descendiente de la saga familiar Roësset, donde destacan las artistas femeninas, es una poeta y fotógrafa que combina ambas disciplinas en su obra, la misma, destaca por un lirismo único, que traspasa fronteras y unifica sentimientos en un mundo globalizado. Resultando ser un claro exponente de la plástica artística actual. En la comunicación que propongo, pretendo realizar un recorrido por sus cuarenta años de trayectoria profesional y sus tres etapas más destacadas, analizando la evolución de su realización artística.Marga Clark ha publicado varios libros de sus obras, el primero de ellos, Static Movement/Movimiento Estático, fue adquirido por el MOMA de Nueva York con el fin de ser vendido en su librería. En 1991 publica Impresiones Fotográficas, un libro ensayo sobre el lenguaje fotográfico. Esta artista colabora con diversos medios de comunicación desde la década de los 80 como reportera gráfica, entre ellos La Vanguardia o El País.A lo largo de su carrera ha expuesto su obra fotográfica en numerosas exposiciones, tanto individuales como colectivas en América y Europa. En estos momentos se puede apreciar su exposición retrospectiva Marga Clark, Cosmología (1976-2016) en la Fundación Antonio Pérez, y en el Museo de la Fotografía de Huete, Cuenca. Por otro lado, cabe destacar que su obra se puede encontrar de modo permanente en colecciones como la del Museo de Brooklyn de Nueva York, la Biblioteca Nacional de Paris, el Museo Español de Arte Contemporáneo de Madrid, la Col.lecció Testimoni de la Caixa de Barcelona, la Sociedad Estatal para Exposiciones Internacionales, la Fundación Telefónica o la Colección Helga de Alvear, entre otras.Se puede decir que esta fotógrafa-poeta destaca por su obra, que une países y los interrelaciona, a la vez que unifica de manera magistral fotografía y poesía.http://dx.doi.org/10.4995/ANIAV.2017.5677
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Caleffi, M., C. Amaral, J. Zignani, M. Graudenz, and Filho D. Duarte. "P5-09-01: Breast Cancer Annual Screening Program Núcleo Mama Porto Alegre (NMPOA): Imaging Results after Seven Years." In Abstracts: Thirty-Fourth Annual CTRC‐AACR San Antonio Breast Cancer Symposium‐‐ Dec 6‐10, 2011; San Antonio, TX. American Association for Cancer Research, 2011. http://dx.doi.org/10.1158/0008-5472.sabcs11-p5-09-01.

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Petruse, Antonio, Alyssa Rocha, Liliana Johansen, Neil Wenger, Mandy Che, Steele Fors, Hannah L. Park, et al. "Abstract OT-22-01: Opportunities and lessons learned in using electronic health record patient portal (MyChart) for recruitment to the population-based WISDOM study." In Abstracts: 2020 San Antonio Breast Cancer Virtual Symposium; December 8-11, 2020; San Antonio, Texas. American Association for Cancer Research, 2021. http://dx.doi.org/10.1158/1538-7445.sabcs20-ot-22-01.

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Ahmed, Shahid, Brent Burbridge, Lynn Dwernychuk, Ha Le, Tehmina Asif, and Hyun Lim. "Abstract PS9-49: Comparison of the quality of life (QOL) of patients with an arm vein port (TIVAD) versus a peripherally inserted central catheter (PICC)." In Abstracts: 2020 San Antonio Breast Cancer Virtual Symposium; December 8-11, 2020; San Antonio, Texas. American Association for Cancer Research, 2021. http://dx.doi.org/10.1158/1538-7445.sabcs20-ps9-49.

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Caleffi, Maira, Yulieth Acevedo Perez, Tabata Machado, Luis Sussela, Ana Paula Gomes, and Osvaldo Artigalás. "Abstract P6-08-29: Genetic counseling in patients with risk for hereditary breast cancer based on the NCCN guidelines forBRCA1/2testing criteria in a private hospital center in Porto Alegre - Brazil." In Abstracts: 2019 San Antonio Breast Cancer Symposium; December 10-14, 2019; San Antonio, Texas. American Association for Cancer Research, 2020. http://dx.doi.org/10.1158/1538-7445.sabcs19-p6-08-29.

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Rosenberg, Shoshana M., Laura H. Hendrix, Kristin L. Schreiber, Alastair M. Thompson, Isabelle Bedrosian, Kevin S. Hughes, Thomas Lynch, et al. "Abstract P1-21-07: The Patient-reported Outcomes after Routine Treatment of Atypical Lesions (PORTAL) study: Pain, psychosocial wellbeing, and quality of life among women undergoing guideline concordant care for DCIS vs. active surveillance for in situ and atypical lesions." In Abstracts: 2019 San Antonio Breast Cancer Symposium; December 10-14, 2019; San Antonio, Texas. American Association for Cancer Research, 2020. http://dx.doi.org/10.1158/1538-7445.sabcs19-p1-21-07.

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Due, Jakob, Helle Gert Christensen, and Peter Michael Vestlev. "Abstract P2-10-02: Treatment adverse effect registration. A PC based electronic patient - hospital communication portal that allows registration of adverse effects of chemotherapy and returns advice and recommandations for action." In Thirty-Seventh Annual CTRC-AACR San Antonio Breast Cancer Symposium; December 9-13, 2014; San Antonio, TX. American Association for Cancer Research, 2015. http://dx.doi.org/10.1158/1538-7445.sabcs14-p2-10-02.

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Rinaldi, Simona. "L’architettura militare italiana della Cittadella di Ancona: tecniche costruttive e sistemi difensivi del XVI secolo." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11481.

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The Italian military architecture of Ancona’s Citadel: construction techniques and defensive systems in the sixteenth centuryThe objective of this research is regarding the construction techniques used in the military architecture of Cittadella-Fortezza (Ancona, Marche, Italy). In this case, attention will focus primarily on historical, bibliographic and archive research, then through a comprehensive analysis of building methods used in the sixteenth century and on the strategic function that this fortification covered in the coastal strip of the Middle Adriatic. Together with Rocca Paolina (Perugia) and Fortezza da Basso (Florence), it has in fact a remarkable importance in the military architecture’s history, as it was one of the first experiments of fronte bastionato all’italiana. Built from 1532 by Antonio da Sangallo il Giovane, it rises on the top of Astagno hill in a panoramic and defensive position, overlooking the city and the port. It clearly distinguishes itself from the surrounding building fabric as it is characterized by five mighty bastions in bricks and by the central bulwark with the vaulted ground floor. The study aims to investigate the structural details of Ancona’s fortress such as the modeling of walls, the suppression of protruding volumes, the extension and rounding of the corner towers and the introduction of the central type plan. A great understanding of this research will be analyzed in the drawings and the volumes’ reliefs, which highlighted the general geometric data, the materials used for the realization of the work, the angle of the curtain walls and the technical/constructive strategies. Therefore, the methodical-metric knowledge of the parts will be made more accessible also in relation to the three-dimensional modeling of the fortress, in addition to the critical comparison based on other historical examples of military architecture in the Renaissance period.
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Yamashita, K. "Abstract P4-10-08: Trans-Axillary Retro-Mammary Approach of Video-Assisted Breast Surgery Uses Single Port in the Axilla and Treats Any Tumors Even in the Medial or Lower Side of the Breast." In Abstracts: Thirty-Third Annual CTRC‐AACR San Antonio Breast Cancer Symposium‐‐ Dec 8‐12, 2010; San Antonio, TX. American Association for Cancer Research, 2010. http://dx.doi.org/10.1158/0008-5472.sabcs10-p4-10-08.

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