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Journal articles on the topic 'Barbiana'

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Author: Grafiati

Published: 27 July 2024

Last updated: 29 July 2024

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1

Espigares, Tíscar. "Raíces cristianas de la escuela laica de Barbiana: experiencias pastorales de D. Lorenzo Milani y Evagelii Gaudium de Papa Francisco." Papeles Salmantinos de Educación, no. 22 (January 1, 2018): 47–60. http://dx.doi.org/10.36576/summa.49683.

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En su libro “Experiencias Pastorales”, Lorenzo Milani desvela el fundamento de las “raíces cristianas” de la futura “escuela laica” de Barbiana: la escuela popular es “laica”, en el sentido de que no se imparte catequesis, pero constituye una “respuesta cristiana” a la situación de injusticia social vivida en la Italia rural de la posguerra. Casi seis décadas después, la exhortación apostólica del Papa Francisco “Evangelii Gaudium”, en el mismo espíritu del Concilio Vaticano II, propone una nueva etapa evangelizadora para la Iglesia reconociendo “la íntima conexión que existe entre evangelización y promoción humana”. A lo largo del artículo se analizan los paralelismos entre ambos textos, que mantienen una profunda sintonía por su marcado espíritu misionero y porque invitan a contemplar, analizar y responder a la realidad desde la perspectiva de los pobres. Es uno de los secretos de la Escuela Popular de Barbiana, que la siguen haciendo actual y universal.

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2

Corzo Toral, José Luis. "La pedagogía de Milani en España e Iberoamérica." Historia de la Educación 39 (February 18, 2021): 337–56. http://dx.doi.org/10.14201/hedu202039337356.

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El autor se fija más en la pedagogía que en los métodos didácticos de la Escuela de Barbiana, cuya Lettera a una professoressa (1967) se tradujo a más de 60 lenguas y nunca ha faltado de las librerías italianas y españolas, traducida como Carta a una maestra por sugerencia de Marta Mata. Ya en 1969 Meri Franco Lao la tradujo para Argentina y Uruguay, de donde pasó a otros lugares de Iberoaméricacomo Carta a una profesora. La principal aportación de esta Carta es doble: la escuela obligatoria ha de ser compensatoria de los últimos, carentes de la palabra que nos hace iguales. La escuela actual daña más a quienes triunfan en ella sin ver la parte mejor de la humanidad. Esta crítica radical espanta a los partidarios de una escuela competitiva y liberal. Son muchos los pedagogos que la ignoran para rechazarla, o que solo leen en ella un reclamo contra el fracaso y el abandono escolar prematuro. Por eso repasa el autor la lista de profesores, editoriales y revistas que –en España sobre todo– asumen Barbiana y otorgan a Lorenzo Milani un puesto en la pedagogía contemporánea.

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3

Betti, Carmen. "La scuola di Barbiana. La felice esperienza scolastica di un prete, “obbedientissimo ribelle”." Historia y Memoria de la Educación, no. 7 (January 28, 2018): 235. http://dx.doi.org/10.5944/hme.7.2018.18730.

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El análisis pretende poner de manifiesto la singularidad de la escuela realizada por don Milani, en un espacio perdido de la campiña toscana, en Barbiana, entre el 1958 y el 1967; una escuela configurada como un laboratorio pedagógico-didáctico de gran interés a escala nacional como internacional, que, sin embargo, ha suscitado múltiples críticas que aún hoy continúan. Tal experimento se benefició de una precedente experiencia de educación popular en San Donato de Calenzano, próximo a Prato, entre 1947 y 1954

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4

Duy Khang, Nguyễn. "From “Letter to a Teacher”: seeking the implied portraits of a good teacher. A Vietnamese father’s perspective." Problemy Wczesnej Edukacji 28, no. 1 (March 31, 2015): 128–39. http://dx.doi.org/10.5604/01.3001.0008.5677.

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This article aims at portraying the characteristics of a good teacher through “Letter to a Teacher” – the work of Lorenzo Milani and eight boys of “Barbiana” – from an Asian perspective. Beyond this discourse, the analysis has implied that a good teacher (1) gives constructive feedback, (2) has knowledge, (3) uses marks properly, (4) balances and satisfi es learners’ needs, (5) looks into the roots of problems, (6) cares for the learners, (7) limits inequality, (8) thinks critically and is responsible, and (9) communicates well in most cases.

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5

De Giorgio, Fulvio. "Don Milani en la tradición italiana de la educación emancipadora." Papeles Salmantinos de Educación, no. 22 (January 1, 2018): 113–27. http://dx.doi.org/10.36576/summa.49686.

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Don Milani invitaba a analizar los métodos y los resultados. Don Milani rechazaba mostrar su método en la escuela, porque la escuela entera, la escuela en cuanto tal, era el método. La palabra, en San Donato, para abrir a los educandos a intereses culturales, sociales, sindicales y políticos y, en Barbiana, para hacerlos dueños de la lengua y así protagonistas de su propia emancipación. La pedagogía católica del Resurgimiento la podríamos llamar “educación emancipadora”, emancipación de cualquier estado de inferioridad. Emancipación como “ascenso” y como elevación, ya sea en sentido personal, en sentido comunitario, de pueblo, a nivel cultural y civil, más aún que laboral.

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6

Besalú Costa, Xavier. "Teoría y práctica de la escuela de Barbiana: la aportación de Milani a la escuela actual." Papeles Salmantinos de Educación, no. 22 (January 1, 2018): 147–70. http://dx.doi.org/10.36576/summa.49688.

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El artículo se ha propuesto traducir y trasladar a la escuela española de hoy las principales aportaciones de Don Milani y de la escuela de Barbiana (Italia), que regentó entre 1954 y 1967. En primer lugar se citan las tres grandes reformas que se defienden en la Carta a una maestra –no suspender, escuela a tiempo pleno y una finalidad– y se argumenta su vigencia y como implementarlas hoy. Después se citan otras tres aportaciones capitales: la primacía del lenguaje, la actualidad como base del currículum y el lugar de la espiritualidad, poniendo de relieve que las tres deberían ser consideradas auténticas prioridades del sistema educativo español

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7

García Madrid, Antonio. "Por qué cre que Milani es el gran pedagogo del siglo XX." Papeles Salmantinos de Educación, no. 22 (January 1, 2018): 129–45. http://dx.doi.org/10.36576/summa.49687.

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“El bien no hace ruido”. “La verdad no se presenta nunca de faralaes”. Este parece ser el caso de Barbiana y de Lorenzo Milani, una escuela en una alquería perdida –más que perdida, una hormiga en medio del Sahara podría ser el mejor símil– y un “priore” bien vaqueteado y macerado por la jerarquía católica y por sus hermanos(sic) en el sacerdocio, que ejerció de maestro sin haber tomado la alternativa escolar previa (un funambulista sin red). Una y otro, escuela y maestro, aun perdidos en la nada de la cotidianidad más cruda y adversa, y por ello mismo condenados al olvido y a la ignorancia de todos, se han convertido en modelo excelso de la educación del siglo XX por las razones que expongo: por la simplicidad de la teoría, por la pregunta por el misterio en el corazón de la educación, por ser ejemplo de la vacuna contra la utopía tóxica y por el potencial de ejemplaridad que contienen

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8

Soler Mata, Joan. "Formar maestros y maestras para una nueva escuela de Barbiana: una carta al pasado desde el futuro." Papeles Salmantinos de Educación, no. 22 (January 1, 2018): 189–207. http://dx.doi.org/10.36576/summa.49690.

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Este artículo está centrado en las reflexiones suscitadas a partir de una relectura de la Carta a una maestra escrita por los alumnos de la escuela de Barbiana y su maestro Lorenzo Milani. Como toda nueva lectura de un mismo texto, ello significa mirar y escuchar con el objetivo y el deseo de desaprender todo lo andado para aprender de nuevo. Las aportaciones son deudoras de una convicción y una traición. La convicción se sostiene en la necesidad de pensar y repensar constantemente acerca de las necesidades y orientaciones de la formación de maestros y maestras. La traición se hace evidente desde el momento que se intenta dar respuesta de forma individual a una carta que es fruto del trabajo, esfuerzo e ideario colectivo y, por supuesto, compartido. En el texto se presentan algunas experiencias realizadas en asignaturas del Grado de Maestro alrededor de la lectura de Carta a una maestra, pero sobretodo se analiza el contenido de esta obra clásica de la pedagogía contemporánea desde la perspectiva de la re

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9

Vilanou Torrano, Conrad. "Milani y el doposcuola en tiempos de postguerra: formación versus recreación." Papeles Salmantinos de Educación, no. 22 (January 1, 2018): 61–106. http://dx.doi.org/10.36576/summa.49684.

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En este artículo se ensaya una aproximación a las relaciones que se establecen en la pedagogía de Lorenzo Milani entre formación y recreación, a la vista de su larga práctica educativa, iniciada en Calenzano (1947-1954) y continuada en Barbiana (1955-1967), y sus reflexiones pastorales publicadas en 1958. Después de situar la vida de Milani en la circunstancia histórica que gira en torno a la ciudad de Florencia, se pasa revista a su ideal formativo que entronca con la Bildung alemana, gracias a su tradición familiar y a la amistad con el pintor Hans-Joachim Staude. Por ello, en el caso de Milani la recreación no contempla las instancias (deporte, cine, televisión, etc.) que fomentaba el movimiento de la Acción Católica, sino que reclama una dedicación completa a la formación, con lo que la escuela (skolé) deviene la única condición de posibilidad para la honesta recreación, esto es, un ocio digno (otium cum dignitate), de modo que su pedagogía se inscribe en la mejor de las tradiciones humanistas

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10

Di Giusto, Anna. "Educazione emotiva e linguaggio interculturale." EXCELLENCE AND INNOVATION IN LEARNING AND TEACHING, no. 1 (June 2020): 92–104. http://dx.doi.org/10.3280/exioa1-2020oa10079.

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La presente ricerca nasce dal tentativo di rispondere all'urgenza, sempre più avvertita nella scuola italiana a forte impronta multiculturale, di individuare una modalità di risposta a uno dei principi cardine dell'educazione, ovvero quello dell'accoglienza. Sulla linea di pensiero della Scuola di Barbiana, ripresa e approfondita anche dal convegno SIPED tenutosi a Catania nel 2014, il progetto si è proposto di dare corpo a una nuova forma di pedagogia militante. Con questo termine si intende la messa in atto di una sperimentazione volta a realizzare il principio della "rimozione degli ostacoli" di cui parla l'articolo 3 della Carta Costituzionale, a prescindere dal quale non si può attuare una concreta uguaglianza tra futuri cittadini. L'accoglienza degli studenti non italofoni è la sfida più importante della scuola di oggi e del futuro. Il presente laboratorio sulle emozioni è stato pensato per aiutare questi alunni, ma anche i loro compagni italiani, a comprendere il proprio disagio. In questo modo, si è cercato di favorire il clima di collaborazione della classe. Il risultato è stato un miglioramento del rendimento scolastico di tutti gli studenti, ma in particolare si è modificata la percezione di sé e dell'altro, favorendo la collaborazione e attenuando il livello di competitività degli studenti.

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11

Lecea Sáiz, Jesús María. "XXXVII Cátedra extraordinaria S. José de Calasanz: "50 aniversario de Carta a una maestra" y de Lorenzo Milani (Escuela de Barbiana) en el IV Centenario de las Escuelas Pías." Papeles Salmantinos de Educación, no. 22 (January 1, 2018): 9–19. http://dx.doi.org/10.36576/summa.49681.

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The XXXVIIth Extraordinary Chair Calasanz’s S. Jose: “50 anniversary of Letter to a teacher and of Lorenzo Milani (Barbiana’s school)”. Words of inauguration: “In the Centenary IV of the Pious Schools”

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12

Li, He Qun, Xiang Yu, and Yang Yu. "Construction of the Kaifeng Outer City Wall and the Form of the City Gate of Northern Song Dynasty." Applied Mechanics and Materials 209-211 (October 2012): 165–68. http://dx.doi.org/10.4028/www.scientific.net/amm.209-211.165.

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On the base of the city wall of the Wudai period, the outer city wall of Kaifeng of Northern Song Dynasty formed internal and external structure with maintenance of many times. On the wall are some defending facilities such as Mamian, barbican, dilou,zhanpeng,etc. The city gate consists of double ones, treble barbicans and water gates. The outer city make Kaifeng city of Northern Song Dynasty looks like a military castle.

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13

Córdoba Jiménez, Txema, Laura Carbonero Sánchez, David Sánchez Aguayo, Siscu Inglada Moreno, Marien Serra Figueroa, Mariví Blasco, Sergi Sáez Miota, and Pia Ivanco Casals. "Educación Física Cooperativa, formación permanente y desarrollo profesional. De la escritura colectiva a un relato de vida compartido (Cooperative Physical Education, In-service Teacher Education and professional development. From the collective writing t." Retos, no. 29 (December 21, 2015): 264–69. http://dx.doi.org/10.47197/retos.v0i29.40965.

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El objetivo principal de este artículo es describir la influencia que ha tenido el grupo de trabajo de Educación Física del Instituto de Ciencias de la Educación de la Universidad Autónoma de Barcelona, que basa su trabajo en el aprendizaje cooperativo, en el desarrollo de la identidad personal y docente de sus miembros. Se refleja como las experiencias, las convicciones y las tareas compartidas contribuyen a ello, analizando la importancia de la formación permanente y el apoyo mutuo entre docentes como procesos colectivos de aprendizaje. La metodología utilizada para ello es el relato autobiográfico mediante la historia de vida colectiva. Está narrada en primera persona del singular, pero responde a un proceso de escritura colectiva, utilizando el método de los alumnos de Barbiana en “Carta a una maestra” (1970), donde se ponen en común las experiencias y reflexiones de cada uno de los miembros de dicho grupo de trabajo. Como resultado de este proceso se extrae que la pertenencia a un grupo puede ser fundamental para el crecimiento profesional y personal de un docente. Para ello, los recursos de formación permanente colaborativa, como los grupos de trabajo, son una excelente respuesta a esa necesidad ya que facilitan el compartir y contrastar experiencias, pensamientos e ideas, exponerlas en colectividad y promover la creación de sinergias entre sus miembros.Abstract. The aim of this paper is to describe the influence that the Physical Education working group from the Education Sciences Institute of Autonomous University of Barcelona has had in the personal and teaching identity development of its members. This group bases its work on cooperative learning in Physical Education. The paper reflects how shared experiences, beliefs and tasks contribute to the development of the working group members, through the analysis of the importance of the in-service teacher education and the mutual support between teachers as collective learning processes. The methodology employed is the autobiographical story using the collective life story. Despite being told in first person, it responds to a collective writing process based on “Letters to a teacher” written by Barbiana’s pupils (1970), where the experiences and the reflections of the working group members are shared. As a result of this process, we can conclude that belonging to a group can be of primary importance for the professional and personal development of a teacher. With this in mind, collaborative in-service teacher education resources like working groups are an excellent answer to this need because they make it easier to share and compare experiences, thoughts and ideas, presenting them collectively, and to promote synergies between its members.

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14

Crescenza, Giorgio. "Don Lorenzo Milani and his school. The problems and perspectives of education in the “Lettera a una professoressa”." Rivista di Storia dell’Educazione 7, no. 2 (December 3, 2020): 99–108. http://dx.doi.org/10.36253/rse-9879.

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The article deals with a historical-pedagogical analysis concerning the previous and following years the publication of Lettera a una professoressa, by observing the context and some phenomena with essential elements. Specifically, detailed references are reminded in order to clarify the thought and the work of the prior of Barbiana. The social, economic and political contradictions of the post-war period that reflect in the Italian school education emerge: the class-oriented structure of society, the marks used for selective and justicialist purposes, early school dispersal. Only from the 70s, after the teaching of Latin was removed from secondary school, 1968 and free access to University, education becomes a common good, by bringing about the principles of the Constitution. The close analysis of Don Milani still catches the motivation to give due considerations for education in general, for integration processes and of “I Care” of which the current social context is greatly necessary with its various “emergences”: the importance of language, the dedication to foster self-esteem processes, the choice for the tutoring technique and of cooperative-learning. Based on a visionary ideal of cooperative and tolerant society, the Don Milani method proposes a new humanism by turning into a leading school model. The article includes significant conclusions from the Lettera for educational topicality, for the issues it calls and for the solutions it requires, first of all the pedagogical-social demand of a school for all and everyone which avoids “to make equal parts among unequal”.

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15

Mayo, Peter. "Italian signposts for a sociologically and critically engaged pedagogy. Don Lorenzo Milani (1923–1967) and the schools of San Donato and Barbiana revisited." British Journal of Sociology of Education 36, no. 6 (December 16, 2013): 853–70. http://dx.doi.org/10.1080/01425692.2013.848781.

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16

YANG, LEI, M. VINCENT HIRT, TETSUYA SADO, M. ARUNACHALAM, RAJA MANICKAM, KEVIN L. TANG, ANDREW M. SIMONS, HSIN-HUI WU, RICHARD L. MAYDEN, and MASAKI MIYA. "Phylogenetic placements of the barbin genera Discherodontus, Chagunius, and Hypselobarbus in the subfamily Cyprininae (Teleostei: Cypriniformes) and their relationships with other barbins." Zootaxa 3586, no. 1 (December 14, 2012): 26. http://dx.doi.org/10.11646/zootaxa.3586.1.5.

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The barbin genera Discherodontus Rainboth 1989, Chagunius Smith 1938 and Hypselobarbus Bleeker 1860 are distrib-uted in Southeast and South Asia and are among the least studied taxa of the order Cypriniformes. Few morphologicalstudies have been conducted on these genera and only a very limited number of morphological characters were employedto hypothesize or infer their monophyly, inter-relationships, and relationships with other barbins. The main aim of thisstudy is to examine the monophyly of these three genera and propose hypothesis of relationship among these taxa andother barbins based on a molecular phylogeny of the subfamily Cyprininae. A total of 106 cypriniform species were sam-pled, including 64 species and 31 genera of barbins collected from Eurasia and Africa. Partitioned maximum likelihoodanalysis was performed using DNA sequences derived from five mitochondrial genes (5601 bp): cytochrome c oxidasesubunit I (COI), cytochrome b (Cyt b), 16S ribosomal RNA (16S), NADH dehydrogenase subunits 4 (ND4) and subunits5 (ND5). The resulting phylogeny demonstrates that, under current taxon sampling, Discherodontus, Chagunius, andHypselobarbus are all monophyletic genera. Together they do not form a monophyletic group, as hypothesized in previousstudies, but are instead part of three distinct and unrelated clades. Discherodontus constitutes the basal lineage of a cladeformed by Southeast Asian barbins (e.g. Poropuntius, Hypsibarbus, Balantiocheilos); Chagunius is basal to a cladeformed mainly by Puntius and allies (although this relationship was only weakly supported); Hypselobarbus and Barbuscarnaticus formed a clade sister to a clade including Tor, Neolissochilus, Labeobarbus, and Varicorhinus. Homoplasy andshared plesiomorphy of some hypothesized important morphological characters employed in previous studies that led researchers to hypothesize earlier relationships are discussed.

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17

Calligaris, Franco, Stefano Colonnello, Adriano del Fabbro, and Serena Perrone. "Udine Radiocarbon Laboratory Date List III." Radiocarbon 33, no. 1 (1991): 141–49. http://dx.doi.org/10.1017/s0033822200013266.

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This list includes some significant measurements carried out by CRAD Radiocarbon Laboratory from 1979 to 1985. The dates were obtained by liquid scintillation counting of benzene using the laboratory procedures described in previous lists (Barbina et al 1982: 214-216; Barbina, Calligaris & Ciuti 1979). Samples were pretreated according to generally applied methods, depending on type of material and particular archaeologic and geologic features.

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18

Stein, Robert. "London, Barbican." Tempo 60, no. 238 (October 2006): 62. http://dx.doi.org/10.1017/s0040298206210337.

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19

Anderson, Martin. "London, Barbican." Tempo 60, no. 238 (October 2006): 63. http://dx.doi.org/10.1017/s0040298206220333.

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20

Mshelia, Alfred D. "Assessment Of Hair Barbing Salon Waste Management Practices In Bama Township Of Borno State, Nigeria." International Journal for Innovation Education and Research 3, no. 5 (May 31, 2015): 109–14. http://dx.doi.org/10.31686/ijier.vol3.iss5.367.

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The study assessed hair barbing salon Waste Management Practices in Bama. A set of questionnaire was administered to barbing salon proprietors to obtain their current barbing salon waste management styles, viz a viz the types of waste generated and methods of waste disposal. Data obtained were analyzed descriptively and reveals hair as the dominant waste generated in barbing salon operations. The hair wastes are swept and packed using coconut brooms and plastic hand shovel and stored in paper cartons. They are hence disposed on weekly or monthly basis or whenever cartons are filled up at refuse disposal points along streets within the neigbourhood, outskirt of the town, a large trench left behind by Cubits Civil Engineering Construction Company and the Yedseram river valley or at best burnt or buried. The adoption of these disposal techniques is more or less the same technique used in the disposal of all forms of refuse in the study area where wastes are disposed with impunity. In the same vein, there is a significant level of awareness of the impact of salon waste management practices on the environment/society by perpetrators. The study recommended steps for better barbing salon waste management to include salon waste reuse and recycling by researching into how barbing salon wastes can be a resource.

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21

Weissmann, Gerald. "Wordsworth at the Barbican." Hospital Practice 22, no. 12 (December 15, 1987): 84–92. http://dx.doi.org/10.1080/21548331.1987.11703379.

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22

Shevtsova, Maria. "BITE at the Barbican." New Theatre Quarterly 26, no. 3 (August 2010): 293–96. http://dx.doi.org/10.1017/s0266464x10000497.

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23

Anderson, Martin. "London, Barbican: Masterprize Final." Tempo 58, no. 228 (April 2004): 63–64. http://dx.doi.org/10.1017/s0040298204260156.

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There's no doubt that Masterprize, the international composition competition with a mission ‘to bring music lovers and composers closer together’, is a slick and professional operation, with a tremendous outreach. The CD with the six pieces which made it to the final (of some 1,000 entries) was stuck on the front of both Gramophone and Classic FM magazines, with a joint print-run of around 100,000. The ‘gala final’ in the Barbican on 30 October, when the London Symphony Orchestra was conducted by Daniel Harding, was broadcast live on Classic FM (which reaches 6.5 million listeners a week), NPR in the States (16 million) and Radio Latvia (you tell me); and NPR also packaged it for their deferred ‘Symphony Cast’. These are scarcely believable figures for contemporary classical music: Masterprize is plainly doing an enormous amount of good. Another statistic worth celebrating is that 1,300 children were involved in the associated education project, playing the six works up and down the UK. It's just a pity that most of the music that made it through to the final was so dull, a post-Hollywood syrup of feel-good consonance and glittering over-orchestration – slickly wrapped empty boxes.

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24

CROPPER, BARRY. "Booking at the Barbican." New Library World 88, no. 3 (March 1987): 47–48. http://dx.doi.org/10.1108/eb038720.

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25

Kamińska-Jatczak, Izabela, and Ewa Marynowicz-Hetka. "Myśląc transformacje: przestrzenie uwspólniania podejścia epistemologicznego." Nauki o Wychowaniu. Studia Interdyscyplinarne 13, no. 2 (October 29, 2021): 340–52. http://dx.doi.org/10.18778/2450-4491.13.20.

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Tekst, poprzez przedstawienie głównych linii wieloletniej współpracy profesora Jeana-Marie Barbiera z Uniwersytetem Łódzkim, Katedrą Pedagogiki Społecznej, a w wymiarze osobowym z profesor Ewą Marynowicz-Hetką, ukazuje proces dochodzenia do uwspólniania podejścia epistemologicznego, na przykładzie kategorii: „Myśląc transformacje”. Kolejno omawiane są znaczące zdarzenia sprzyjające: rozpoznaniu wspólnych obszarów myślenia; poznawaniu koncepcji działania Jean-Marie Barbiera i jej interpretacji społeczno-pedagogicznej; wniknięciu w koncept transwersalnej analizy aktywności i jego zintegrowaniu z dyskursem społeczno-pedagogicznym oraz konstruowaniu projektu badawczego: „myśląc transformacje”.

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Shevtsova, Maria. "A Bite of BITE at the Barbican." New Theatre Quarterly 27, no. 3 (August 2011): 283–85. http://dx.doi.org/10.1017/s0266464x11000479.

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27

Doran, Mark. "London, Barbican: Vaughan Williams rarities." Tempo 58, no. 228 (April 2004): 70–73. http://dx.doi.org/10.1017/s0040298204320152.

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Film music, often considered a ‘Cinderella’ art-form, is really more of a ‘Sleeping Beauty’: to a ‘first approximation’, its entire history exists on films which we are never shown. Prefatory to the 2003 Musicians Benevolent Fund Royal Concert on 4 November, however, the Barbican cinema presented an early-evening resuscitation of no fewer than four long-dormant items connected in some way with Vaughan Williams, two of whose orchestral works were programmed to follow.

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Foreman, Lewis. "London, Barbican: Taneyev Mini-Fest." Tempo 59, no. 234 (September 21, 2005): 46–47. http://dx.doi.org/10.1017/s0040298205300301.

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The Russian National Orchestra and Moscow State Chamber Choir conducted by Mikhail Pletnev presented two unusually distinctive concerts at London's Barbican Hall at the end of March,3 starting with John of Damascus of 1884 – Taneyev called it Cantata No 1 – and ending the following evening with his tumultuous Cantata No 2, On the Reading of a Psalm (Po prochtenii psalma), from 30 years later. Although not claimed as such, the latter was surely a British première: not even that champion of the choral festival, Sir Henry Wood, seems to have done it.

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Kamińska-Jatczak, Izabela, and Elżbieta Skoczylas-Namielska. "Pedagogika społeczna w Uniwersytecie Łódzkim: przeszłość – teraźniejszość – przyszłość: kulminacja obchodów 70-lecia Katedry Pedagogiki Społecznej UŁ." Nauki o Wychowaniu. Studia Interdyscyplinarne 3, no. 2 (December 30, 2016): 215–32. http://dx.doi.org/10.18778/2450-4491.03.13.

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Tekst stanowi relację z wydarzenia kończącego rok jubileuszowy Uniwersytetu Łódzkiego jak i Katedry Pedagogiki Społecznej, zatytułowanego Pedagogika społeczna w Uniwersytecie Łódzkim: przeszłość – teraźniejszość – przyszłość, które objęło dwie części: dyskusję panelową wokół problematyki zawartej w książce J.-M. Barbiera Leksykon analizy aktywności. Konceptualizacje zwyczajowych pojęć oraz wystawę poświęconą dziejom pedagogiki społecznej w UŁ. Wydarzenie było również uczczeniem setnej rocznicy urodzin profesor Ireny Lepalczyk przypadającej 1 października 2016 r. Dyskusja dotyczyła pojęć kluczowych dla autorskiej koncepcji analizy aktywności, zaprezentowanej w Leksykonie. Podkreślano przy tym zarówno propozycję znaczeń nieoczywistych zaproponowanych przez J.-M. Barbiera, jak i oryginalną strukturę książki. Zastanawiano się również m.in. nad uniwersalnością koncepcji i samego Leksykonu.

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Boldyreva, Irina S. "Contemporary Trends of Library Services at Duisburg City Library." Bibliotekovedenie [Russian Journal of Library Science], no. 4 (July 27, 2011): 95–99. http://dx.doi.org/10.25281/0869-608x-2011-0-4-95-99.

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The author gives overview on different forms of the library services of the Duisburg City Library and highlights the importance of promotion reader and media competence during the work with children and teenagers. The paper is based on the lecture Cultural Education given by Dr. Jan-Pieter Barbian, Director of the Duisburg City Library, on 20th June, 2011, in the Russian State Library for Youth.

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Regitano, Aline, Axel Kroeger, and Françoise Barbira-Freedman. "What is missing? Reflections on Indigenous Health - Interview with Axel Kroeger and Francoise Barbira-Freedman." Cadernos de Campo (São Paulo - 1991) 29, no. 2 (December 31, 2020): e180514. http://dx.doi.org/10.11606/issn.2316-9133.v29i2pe180514.

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32

Brown, Mark. "The Aesthetics of Song of the Goat Theatre." New Theatre Quarterly 28, no. 1 (January 31, 2012): 94–97. http://dx.doi.org/10.1017/s0266464x12000085.

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33

Minton, Gretchen. "Henry the Fourth at the Barbican." Scene: Reviews of Early Modern Drama, no. 1 (October 13, 2018): 42. http://dx.doi.org/10.18357/scene01201718442.

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Payne, E. A., and Leonard J. Maguire. "THE BAPTIST CHURCH NEAR THE BARBICAN." Baptist Quarterly 39, no. 3 (July 2001): 132–45. http://dx.doi.org/10.1179/bqu.2001.39.3.004.

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35

Giegold, Carl. "Barbican Centre, Royal Shakespeare Company Theatre." Journal of the Acoustical Society of America 115, no. 5 (May 2004): 2479. http://dx.doi.org/10.1121/1.4782618.

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Anderson, Martin. "London, Barbican: Saariaho's ‘L'amour de loin’." Tempo 57, no. 224 (April 2003): 42–43. http://dx.doi.org/10.1017/s0040298203220155.

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Kaija Saariaho's opera L'amour de loin – her first – was completed in 2000 and given its first production at the Salzburg Festival that year; it toured to Paris in late 2001 and to Santa Fe in 2002; it has also been staged in Darmstadt. Its concert presentation at the Barbican on 21 November was thus the first performance without the support of stage business – and, not having seen those earlier productions, one wonders how it can have been staged at all: the work is a drama-less, interiorized dreamscape-cum-ritual which proceeds in the imaginations of its symbolic characters. Those are the troubadour Jaufré Rudel, Prince de Blaye (baritone – on this occasion Gerald Finley), whose idealized love Clémence, Princess of Tripoli (soprano – Dawn Upshaw) lives at a (literally) respectable distance, at the other end of the Mediterranean; the go-between is a pilgrim (mezzo soprano – Beth Clayton); male and female choruses, deployed separately and only intermittently, represent the outside world, their matter-of-factness contrasting with the high-flown unrealism of the principals.

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Anderson, Martin. "Lindberg, Concerto for Orchestra, Barbican, London." Tempo 58, no. 227 (January 2004): 60–61. http://dx.doi.org/10.1017/s0040298204260053.

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There would hardly seem to be a composer better placed to write a concerto for orchestra than Magnus Lindberg: his complete mastery of orchestral texture – demonstrated in a string of modern classics, Joy (1989–90), Arena (1994–95), Feria (1997) and Cantigas (1998–99) among them – makes it a wonder he hasn't tackled the genre before now. Indeed, he quietly billed the magnificent Aura (1994–95) as a concerto for orchestra, although in reality it's as good a symphony as anyone has written this past half-century – my suspicion is that the label allowed him to dodge the issue.

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Barlow, Jill. "London, Barbican: Michael Zev Gordon's ‘Bohortha’." Tempo 67, no. 264 (April 2013): 77–78. http://dx.doi.org/10.1017/s0040298213000168.

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Michael Zev Gordon had an intriguing idea in choosing to centre his new piece – Bohortha – on a visit he made to the small hamlet of this name that lies in a remote Cornwall peninsula, close to the sea: he sought to explore the concept of ‘the passing of time’. So it was that the world première of Bohortha was performed by the BBC Symphony Orchestra at the Barbican on 3 October 2012, opening a programme to also include Mahler's highly emotive Rückert Lieder and was then completely outflanked after the interval by a rare performance of Shostakovich's starkly political Symphony No. 4.

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Conway, Paul. "London, Barbican: Dieter Schnebel, David Sawer." Tempo 67, no. 265 (July 2013): 83–85. http://dx.doi.org/10.1017/s0040298213000569.

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In a substantial concert at the Barbican Centre on 15 February 2013 the BBC Symphony Orchestra, conducted by Ilan Volkov, presented the British debut of Schubert Fantasia (1978, revised 1989) – senior German composer Dieter Schnebel's subtle reconstruction of one of Schubert's most original piano sonata movements – and the first performance of David Sawer's dramatic scena for mezzo-soprano and baritone soloists and orchestra, Flesh and Blood (2012). Both premières lasted around 25 minutes. Sawer's new work made a satisfying contrast with its Schubertian surroundings. But an even more rewarding, and certainly more congruent, companion to the Schnebel might have been Luciano Berio's Rendering for Orchestra (1990), which reworks the fragments of Schubert's unfinished Tenth Symphony in D major, D936a into a three-movement symphonic work that would have complemented Schnebel's postmodern re-imaginings. It would also have made some fascinating associations with the Viennese master's last completed work in symphonic form: the ‘Great’ C major Symphony, which was heard after the interval. Enough speculating on what might have been; what of the fare that was actually on offer?

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Boutinet, Fanny. "Éditer le recueil Barbin." Pratiques et formes littéraires, no. 16 (November 26, 2019): 61–76. http://dx.doi.org/10.35562/pfl.82.

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41

Hausner, Jerry. "Silvio Barbin [In Memorium]." IEEE Microwave Magazine 20, no. 7 (July 2019): 67. http://dx.doi.org/10.1109/mmm.2019.2909619.

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42

Borthwick, Ben. "AI: More than human: A Barbican Exhibition." Biochemist 41, no. 4 (August 1, 2019): 65–67. http://dx.doi.org/10.1042/bio04104065.

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Artificial intelligence (AI) is on the brink of breaching our collective consciousness. While already deeply interwoven into our way of life, many of us remain relatively unaware of its degree of influence, with even less of an idea of where its influence is likely to take us. The AI exhibition at the Barbican Centre, therefore, arrives at a pivotal moment to distil an immensely complex subject into a series of creative and engaging exhibits which will undoubtedly stimulate us to consider further its place in our own lives.

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WHITAKER, J. H. McD, and KEVIN T. PICKERING. "Meditating on petroleum geology at the Barbican." Geology Today 3, no. 2 (March 1987): 52–53. http://dx.doi.org/10.1111/j.1365-2451.1987.tb00841.x.

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44

Service, Tom. "London, Barbican: Knussen's Symphony in One Movement." Tempo 57, no. 223 (January 2003): 85. http://dx.doi.org/10.1017/s0040298203250087.

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Oliver Knussen's Symphony in One Movement is his latest symphony. It is also his earliest – originally composed as the Concerto for Orchestra in 1969, and premièred by the 17-year old Knussen and the London Symphony Orchestra, with André Previn playing the flamboyant piano part. 33 years later, the piece has finally reached its definitive form, and Knussen conducted the BBC Symphony Orchestra in its world première as part of an all-Knussen programme in celebration of his 50th birthday, at the Barbican Hall on 1 November.

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Miller, Malcolm. "Tansy Davies Between Worlds, Barbican Theatre, London." Tempo 69, no. 274 (September 7, 2015): 67–69. http://dx.doi.org/10.1017/s0040298215000418.

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As suggested by its title, Tansy Davies's new opera Between Worlds is more fantasy than a representational depiction of historic events. Co-commissioned by ENO and the Barbican, where it was premiered on 11 April 2015 with a superb cast conducted by Gerry Cornelius (I attended on 21 April), it raises a central aesthetic and political question about the extent to which public figures of our time can be drawn and re-drawn in art. Recent docu-operas, such as Nixon in China, the more recent Anna Nicole and, of course, the highly controversial The Death of Klinghoffer suggest the issue is a live one.

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Putt, Alastair. "Louis Andriessen La Commedia, Barbican Hall, London." Tempo 70, no. 277 (June 10, 2016): 87–88. http://dx.doi.org/10.1017/s0040298216000048.

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In what would become known as the Notenkrakersactie, a group of composers, Louis Andriessen amongst them, famously disrupted a Concertgebouw Orchestra concert in 1969, protesting its Establishment politics and unwillingness to engage with the younger generation of Dutch firebrands. Nearly half a century later, Andriessen is a recipient not only of commissions from said orchestra but also of what is arguably the most prestigious (and certainly the most lucrative) composition prize in the world, the Grawemeyer Award. There is no great irony here, of course – music history is littered with examples of iconoclasts whose originality disoriented contemporary opinion, not to mention angry young men whose radicalism mellowed with age – but the case of Andriessen is certainly striking.

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47

Ai, Weiming, Xiao Chen, Dan Xiang, Shaobo Chen, and Yunyun Chen. "Complete mitochondrial genome ofAcrossocheilus wenchowensis(Cyprinidae, Barbinae)." Mitochondrial DNA 24, no. 3 (January 11, 2013): 249–51. http://dx.doi.org/10.3109/19401736.2012.752483.

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48

Wierzbicka, Nadia. "Gospodarka hormonalna i jej hakerzy. Autonarracje Herculine Barbin oraz Paula B. Preciada jako glitch w płciowym matriksie." Praktyka Teoretyczna, no. 1(47) (June 9, 2023): 75–98. http://dx.doi.org/10.19195/prt.2023.1.4.

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Niniejszy artykuł stanowi analizę pamiętnika interpłciowej Herculine Barbin oraz autofikcyjnego dziennika Paula B. Preciada, opisującego proces zażywania testosteronu w charakterze narkotyku. Celem tekstu jest zbadanie relacji między jednostką a instytucjami władzy, z którymi się konfrontuje: w przypadku Barbin jest to dziewiętnastowieczna władza prawno-medyczna, w sytuacji Preciada – współczesne oblicze kapitalizmu. Instytucje władzy narzucają obu tym postaciom konkretne formy tożsamości, umieszczając je w płciowej matrycy, zilustrowanej w tekście poprzez odwołania do filmu Matrix (1999). Herculine Barbin zostaje w artykule opisana jako glitch – niepasujący element, który zniekształca całość płciowej matrycy. Paul B. Preciado jest przedstawiony jako haker, który dekonstruuje binarne kody matrycy z pomocą technologii siebie – autofikcji oraz syntetycznych hormonów. Ramę teoretyczną tekstu stanowi myśl Michela Foucault, wedle którego opór jest zawsze czymś wewnętrznym wobec władzy. Ucieleśnieniem tak rozumianego oporu jest w tekście podmiot rozmyty, który nie internalizuje prawd narzucanych przez instytucje władzy, lecz podejmuje z nimi tożsamościową grę, podważając płciową matrycę od wewnątrz.

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d'Avoine, Pierre, and Clare Melhuish. "ONE:MORE." Architectural Research Quarterly 11, no. 2 (June 2007): 118–31. http://dx.doi.org/10.1017/s1359135507000590.

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‘When you go into a room and see a box of cigars, a computer and a horse you look for similarities, but if the room contains only one object you look for differences.’ (Luciano Berio, introducing a BBC Symphony Orchestra weekend of his music at The Barbican in 1990)

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Marnas, Catherine, and Diogo Sardinha. "« Herculine Barbin : Archéologie d’une révolution »." Cités N° 97, no. 1 (March 19, 2024): 107–17. http://dx.doi.org/10.3917/cite.097.0107.

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