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Ingrassia, Giovanni Filippo Ellert Christin. ""Quod veterinaria medicina formaliter una eademq" (Venedig 1568) Johannes Philippo Ingrassias' Renaissance-Konzept der Tierheilkunde ; deutsche Übersetzung und fachhistorische Erschliessung." Göttingen Sierke, 2009. http://d-nb.info/998310778/04.
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Karn, Georg Peter. "Die Projekte Filippo Juvarras für den Duomo Nuovo in Turin : Dombau im Zeitalter des Absolutismus /." Hildesheim ; Zürich ; New York : G. Olms, 1999. http://catalogue.bnf.fr/ark:/12148/cb39065416j.
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Marsico, Filippo [Verfasser]. "Functional poly(phosphoester)s : the olefin metathesis route / Filippo Marsico." Mainz : Universitätsbibliothek Mainz, 2015. http://d-nb.info/1065473842/34.
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Fischer, Donatella. "La rappresentazione della famiglia nel teatro di Eduardo de Filippo." Thesis, University of Strathclyde, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400329.
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Felder, Sabine. "Spätbarocke Altarreliefs : Die Bildwerke in Filippo Juvarras Superga bei Turin /." Emsdetten : Edition Imorde, 2002. http://catalogue.bnf.fr/ark:/12148/cb392202138.
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Rose, Anna. "Filippo Beroaldo der Ältere und sein Beitrag zur Properz-Überlieferung." München : K. G. Saur, 2001. http://catalogue.bnf.fr/ark:/12148/cb38964807v.
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Nicolin, Diego. "Dramaturgo - ator - diretor: a comédia trágica de Eduardo de Filippo." reponame:Repositório Institucional da UFBA, 2008. http://www.repositorio.ufba.br/ri/handle/ri/9447.
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A presente tese parte das origens milenares do teatro napolitano e passa através do anti-herói homérico e picaresco para abordar o modus operandi do Pulcinella, máscara que funde em si o eo ipso do povo napolitano. O trabalho se propõe a criar uma conexão, uma ponte imaginária e analógica entre Bahia e Nápoles em que o drama de Eduardo de Filippo emerge e forma um elo entre as duas culturas. O estudo da biografia de Eduardo De Filippo revela um autor integrado na mentalidade napolitana: a gênese da sua comédia surge como um espelho fiel do povo dessa cidade com que ele tanto se identifica. O curto período do neo–realismo italiano e as suas interseções com a tradição napolitana constituem o fio condutor, o lastro sobre o qual se fundamenta a segunda parte do trabalho que abrange, e não poderia ser de outro jeito, também alguns aspectos do cinema italiano pós Segunda Guerra. A experiência de De Filippo no cinema se estende ao longo de toda sua vida entrecruzando-se intimamente com a sua carreira no teatro e consolidando-o como ator cinematográfico e como roteirista. O terceiro capítulo é focalizado na peça Filumena Marturano (1946), indagando como a figura da mulher é vista e tratada no decorrer da obra de De Filippo. A tradução da peça para o português, as notas e os comentários sobre aspectos da sua dramaturgia e problemas inerentes à sua versão portuguesa, são incluídos neste trabalho para um maior entendimento da obra e sua ponte entre a cultura napolitana e a baiana.
Salvador
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Pastore, Margherita. "Fantômes et fantasmes dans le théâtre "réaliste" d'Eduardo De Filippo." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA016.
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Ce travail de recherche vise à mettre au jour un aspect particulier de l’œuvre d’Eduardo De Filippo (Naples, 1900 – Rome, 1984), à savoir l’intrusion du surnaturel dans la production théâtrale de l’auteur-acteur-metteur en scène. Nous avons structuré notre thèse en deux phases. Nous analysons d’abord l’adhésion de De Filippo au théâtre dit “réaliste”, sa conception de la fonction du théâtre, l’ancrage thématique dans l’Histoire du XXe siècle et dans le vécu personnel de l’auteur ; nous nous attachons à la manière dont De Filippo intègre la tradition littéraire et théâtrale du XXe siècle et propose une autre vision du réel faisant appel aux catégories du fantastique. Puis nous examinons l’espace scénique, lieu de l’ailleurs et du fantasme par excellence, dans les différentes composantes de la scène (scénographie, objets), du jeu actoriel (la parole, la corporéité, le personnage et le fantôme) et du contrat spectatoriel pour mettre en lumière la relation que tous les participants au spectacle entretiennent avec le surnaturel. Enfin, nous mettons à l’épreuve de l’analyse la traduction sur scène des problématiques liées au fantôme et au fantasme dans deux interprétations exemplaires et très différentes de La grande magia : celle de Giorgio Strehler au Piccolo Teatro de Milan en 1985 et celle de Dan Jemmett à la Comédie-Française en 2009This research work focuses on a specific point of Eduardo De Filippo’s work (Naples, 1900 – Rome, 1984), that is to say the irruption of the supernatural in the production of the author-actor-stage director. We have structured our thesis in two phases. We first analyse the authors’s compliance with the so called « realistic » theatre, his vision of the role of theatre, the thematic foothold in the 20th century history and in his personal experience ; we are concerned with how De Filippo integrates the literary and theatrical tradition of fantasy and offers a realistic vision appealing to the Fantastic categories. Then we investigate the stage space as an ideal place for fantasy and fantasies, we examine the stage varied components (stage design, objects), the acting of the actors (voice, corporeality, the character and the ghost) within the stage-audience conventions to bring to light the particular link that all those who participate to the performance maintain with the supernatural. Finally, we study the process of traduction on stage of problematics linked to ghost and fantasy in two remarkable and very different interpretations of La Grande magia : the one by Giorgio Strehler at the Piccolo Teatro of Milan in 1985 and one by Dan Jemmett at Comédie-Française in 2009
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Gargiulo, Jennifer. "Vivere sul serio Eduardo De Filippo and the art of life /." University of Sydney, 2006. http://hdl.handle.net/2123/2169.
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Doctor of PhilosophyThis thesis offers the first English translation of Eduardo De Filippo’s last play, Gli esami non finiscono mai (1973). It analyzes the play in the context of the dramatist’s career and describes the philosophical shift that took place in Eduardo’s dialectic as he progressed from a post-war, neorealist drama like Napoli milionaria! toward the existential reflections present in his last play. Unlike previous studies, this work concentrates on Eduardo’s philosophical journey from neorealism to existential query and identifies the factors that influenced his thinking process. To this end, I have evaluated the plays most relevant to the development of his philosophy and the socio-political context in which they were written. The influence of the Neapolitan traditional dialect theater, along with that of Luigi Pirandello, his American contemporaries, Arthur Miller and Eugene O’Neill, and William Shakespeare, is also examined. Important social issues that directly affected the author, such as the struggle in Italy for the legalization of divorce and the plight of children born out of wedlock, are highlighted to illustrate how they contributed to the disillusionment and pessimism present in Eduardo’s last play. From the rather hopeful ending of Napoli milionaria! Eduardo was reduced at the end of his life to sheer desperation in Gli esami non finiscono mai. Italy had changed but it had not moved on. By focusing on the playwright’s final play, this thesis offers a new perspective on a twentieth century dramatist who is much more complex than is commonly acknowledged. De Filippo is revealed as a dramatist who transcended the Neapolitan comic theatrical traditions he sprang from and created a theater of political and social engagement that endures today.
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Antonucci, Jean-Luc. "De la perspective expérimentale de Filippo Brunelleschi au décor des films." Toulouse 2, 2003. http://www.theses.fr/2003TOU20052.
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Au XVe siècle, Filippo Brunelleschi, futur architecte du dôme de la cathédrale de Florence, réalise deux panneaux peints dont une nouvelle lecture est proposée. Il n'est pas seulement le génial découvreur que consacre la tradition. Créateur et expérimentateur, il défriche de nouveaux espaces : ceux de l'image et ceux de l'architecture. Ses expériences signalent le moment de la séparation entre l'optique (la perspectiva naturalis) et la perspective (la perspectiva artificialis) en même temps qu'elles manifestent l'exigence d'un temps spécifique pour une réflexion préalable, étape indispensable de la création. Au delà d'un nouveau mode d'expression graphique, l'orfèvre-architecte forge de ses mains un nouvel outil d'aide à la conception qui lui permettra de pré-voir ses projets et d'affirmer la fonction de maître de l'œuvre. Notion de maîtrise de l'œuvre qui permet de revenir sur la question du décor des films dont il faut considérer, à la lumière de la réflexion sur la démarche de F. Brunelleschi, qu'il n'est pas du seul ressort du décorateur mais du réalisateur qui en est, avec le montage, le vrai concepteurIn the fifteenth century, Filippo Brunelleschi, who was to design the dome of Florence cathedral, painted the two panels whose a new reading is suggested. He was not only the exceptional discoverer celebrated by tradition. Creator and man of experiment, he broke new ground and explored the fields of image and architecture. His experiments signal a watershed, the moment when optics (perspectiva naturalis) and perspective (perspectiva artificialis) drifted apart. They also express the need for a specific time devoted to reflection and preparation, a stage that creation cannot do without. Beyond a new mode of graphic expression, the architect-jeweller, out of his own hands, makes a new tool that enable him to fore-see his plans and to assert the role of project-manager. The concept of project management sheds a new light on the issue of the film set : F. Brunelleschi's approach proves that the setting does not depend solely on the set designer, but also on the film director who is, together with the editor, the one who conceives it
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Gargiulo, Jennifer. "Vivere sul serio: Eduardo De Filippo and the Art of Life." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/2169.
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This thesis offers the first English translation of Eduardo De Filippo’s last play, Gli esami non finiscono mai (1973). It analyzes the play in the context of the dramatist’s career and describes the philosophical shift that took place in Eduardo’s dialectic as he progressed from a post-war, neorealist drama like Napoli milionaria! toward the existential reflections present in his last play. Unlike previous studies, this work concentrates on Eduardo’s philosophical journey from neorealism to existential query and identifies the factors that influenced his thinking process. To this end, I have evaluated the plays most relevant to the development of his philosophy and the socio-political context in which they were written. The influence of the Neapolitan traditional dialect theater, along with that of Luigi Pirandello, his American contemporaries, Arthur Miller and Eugene O’Neill, and William Shakespeare, is also examined. Important social issues that directly affected the author, such as the struggle in Italy for the legalization of divorce and the plight of children born out of wedlock, are highlighted to illustrate how they contributed to the disillusionment and pessimism present in Eduardo’s last play. From the rather hopeful ending of Napoli milionaria! Eduardo was reduced at the end of his life to sheer desperation in Gli esami non finiscono mai. Italy had changed but it had not moved on. By focusing on the playwright’s final play, this thesis offers a new perspective on a twentieth century dramatist who is much more complex than is commonly acknowledged. De Filippo is revealed as a dramatist who transcended the Neapolitan comic theatrical traditions he sprang from and created a theater of political and social engagement that endures today.
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Reitano, Antonino. "L' onore, la patria e la fede nell'ultimo Marinetti /." Carlentini (Siracusa) : Parisi, 2006. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015481102&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Schleißinger, Sebastian [Verfasser], Oliver [Gutachter] Roth, and Filippo [Gutachter] Bracci. "Embedding Problems in Loewner Theory / Sebastian Schleißinger. Gutachter: Oliver Roth ; Filippo Bracci." Würzburg : Universität Würzburg, 2013. http://d-nb.info/1102824917/34.
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D'AGOSTINI, MONICA. "Re Filippo V, i Macedoni e le leghe greche (229-217 a.C.)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2018. http://hdl.handle.net/10280/39108.
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Sebbene Filippo V sia uno dei monarchi antichi meglio attestati nella tradizione letteraria ed epigrafica, la complessità della sua regalità sfugge ancora alla ricerca storica moderna, che finora ha preferito concentrarsi sulla coeva espansione romana nel Mediterraneo. Dopo la vecchia monografia di Walbank (1940; 19602), la tesi costituisce dunque la prima analisi politica della basileia di Filippo V e della sua relazione con le leghe greche alla fine del III secolo a.C. La ricerca collega all'orizzonte politico e istituzionale ellenistico i primi 12 anni di governo di Filippo V (229-217 a.C.) ripercorrendo le fasi dell’azione politica del re: una prima fase riguarda principalmente il ruolo di Filippo durante la reggenza e il regno di Antigono Dosone; una seconda fase esplora tra il 222 e il 220 l'inizio della guerra con gli Etoli; una terza sezione è dedicata all'apertura di un fronte navale nel 219 e al successo della campagna etolica. La quarta parte indaga sull'impegno del 218 in Peloponneso di Filippo, mentre l'ultima sezione approfondisce l’azione diplomatica e militare di Filippo nel 217 e gli accordi di pace a Naupatto. Anche grazie alla buona documentazione epigrafica e letteraria, Filippo V è un paradigma unico per ridefinire il significato della regalità ellenistica. Considerando i suoi legami dinastici, la politica giudiziaria, le innovazioni militari, le relazioni diplomatiche e le riforme amministrative prima dell'intervento romano in Oriente, la ricerca tenta di fornire una prima descrizione e un'analisi della monarchia macedone matura e della sua relazione con il mondo greco; cerca inoltre di stabilire le caratteristiche della regalità ellenistica macedone nel momento dell’incontro con la potenza romana, nel tentativo di distinguere le sue peculiarità nel III secolo rispetto a quelle dell'età di Alessandro, a prescindere dalle deformazioni della propaganda di parte romana.Although Philip V is one of the best epigraphically and literarily attested ancient monarchs, the structure, performance, and the rationale of his kingship still elude modern scholarship, which has hitherto preferred to focus on the coeval Roman expansion in the Mediterranean. The following is the first political analysis of the ancient Macedonian basileia and its relation with the Greek Leagues at the end of the 3rd century BC. The research connects the first 12 years of rule of Philip V (229-217 BC.) to the Hellenistic political and institutional horizon, and distinguishes five chronological stages of Philip’s reign according to the political agency of the king: an early stage between Demetrios II’s death in 229 and 222, mainly concerned with Philip’s role during Antigonos Doson’s rule and the ascension to the throne; a second phase between 222 and 220 exploring the beginning of the war with the Aitolians; a third section devoted to the opening of a naval front in 219 and the successful Aitolian campaign. Part four investigates Philip’s 218 Peloponnesian engagement, while the last section expands on Philip’s 217 diplomatic and military agency and the peace agreements in Naupactos. Considering his dynastic ties, court politics, military innovations, diplomatic relations and administrative reforms before the Roman intervention in the East, the work attempts to provide a source-based first description and analysis of the mature Macedonian monarchy and its relation with the Greek world. It tries to establish the features of the Mediterranean kingship encountered by the Roman expansion, in the attempt to distinguish those attested in 3rd century Macedonia from those inferred from Alexander’s age evidence, and from the Roman biased propaganda.
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Fenzi, Lisa. "(Un)sichtbarkeit Giorgio de Chirico, Filippo de Pisis, Giorgio Morandi zur Kunstauffassung." Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2016. http://dx.doi.org/10.18452/17444.
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In dieser Dissertation werden 13 wichtige Werke Giorgio de Chiricos (1888 Volos, Griechenland – 1978 Rom), Filippo de Pisis’ (1896 Ferrara – 1956 Mailand) und Giorgio Morandis (1890 Bologna – 1964 ebenda) eingehend beschrieben und analysiert. Als Ergebnis ergibt sich die zum Teil unerwartete Entdeckung, dass die „noch“ figurative, teilweise als rückgewandt angesehene Kunst der drei untersuchten Künstler eine moderne, immer noch aktuelle Frage nach der besonderen Qualität des Bildes stellt. Ihre Skepsis gegenüber einer festgelegten Art der Wahrnehmung entfaltet sich in einer produktiven Auseinandersetzung mit den Bildern und mit einer Gattung – das Stillleben - einer tradierten Kunsttradition und zeigt Kunst in ihrer Fähigkeit ein besonderes, anderes Sehen anzuregen. Dabei zeigt sich in der Analyse der Bilder die unzertrennliche Beziehung von Sichtbarkeit und Unsichtbarkeit als einen zentralen Moment in der künstleri-schen Produktion. Diese Thematik wird unter anderem in der Verbindung de Chiricos, de Pisis’ und Morandis zu den Schriften Arthur Schopenhauers, Friedrich Nietzsches und Giacomo Leopardis erörtert und speziell mit der Auflösung des klassischen Realitätsbegriffs konfrontiert. Die aus dieser Auflösung resultierende „Krise der Repräsentation“ hat auch die Kunst der Moderne veranlasst, sich kritisch mit dem „Realen“ auseinanderzusetzen und nach neuen Formen der Darstellung, aber auch der Betrachtung zu suchen. Wesentlich ist dabei der Gesichtspunkt, dass die bewusste Reflexion des Sehens und des Wahrnehmens selbst zum Bild werden. Dieser Aspekt wird mithilfe einer phänomenologischen Perspektive und Fragestellung weiter ausgeführt und diskutiert. Der Fokus und die Struktur dieser Dissertation liegen in der konkreten und direkten Auseinandersetzung mit den Werken der drei bildenden Künstler aus denen auch der begriffliche Horizont der Arbeit immanent erschlossen wird.This study describes and analyses in detail a total of 13 important works by the Italian painters Giorgio de Chirico (1888 Volos, Greece – 1978 Rome), Filippo de Pisis (1896 Ferrara – 1956 Milan) and Giorgio Morandi (1890 Bologna – 1964 Bologna). Its findings include the partially unexpected discovery that the “yet-figurative” aesthetics of these works, which may be valued as backward and even reactionary raise a very modern and relevant question about the special quality of pictures. The works’ scepticism of a fixed kind of perception also emerges in their productive confrontation with canonical, more traditional pictures and in their affirmation of art’s ability to encourage a special, “other” way of seeing. The argument of this study is based on the investigation of the unavoidable relationship between visibility and invisibility as a central moment in de Chirico’s, de Pisis’ and Morandi’s artistic production, and proposes a dialogue with the theories of Arthur Schopenhauer, Friedrich Nietzsche and Giacomo Leopardi, whose influence on the tree painters was of great importance, especially in conjunction with the dissolution of classic concepts of reality. The crisis of representation resulting from this dissolution led in the visual arts to a critical confrontation with the concept of the “Real”. As a consequence of this confrontation news forms of representation and observation emerged. Essential to this transformation is that conscious reflexions about sight and perception became themselves the subjects and objects of pictures. This aspect is also considered from the perspective of phenomenology and its tools of enquiry. The dissertation’s focus and structure derive from the direct confrontation with the pictures, which also informs its conceptual horizon.
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Greenberg, M. "Futurism and science : refractions of scientific knowledge in the work of Filippo Tommaso Marinetti." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.599667.
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The thesis aims to analyse the relationship that F. T. Marinetti established between innovations in science at the fin-de-siècle and his Futurist movement. Chapter 1 examines the introduction and repercussions of Comtian Positivism in Italy. Chapter 2 provides a history of the relationship between science and literature in order to argue that Marinetti’s project was in certain respects related to the genre of ‘proto-science-fiction’. Following the more general theoretical and literary historical background of the first two chapters, Marinetti’s early French work as a Symbolist is read in Chapter 3 through representations of the neurological condition of synaesthesia in his and others poetry. The experience of simultaneity is investigated in Chapter 4 as a consequence of innovations in the study of electricity and in particular to the impact of the widespread use of Guglielmo Marconi’s wireless telegraph. In Chapter 5 Marinetti’s machine idolatry is contextualised as part of the late nineteenth century popular understanding of the first two laws of thermodynamics, the conservation of energy and entropy, which revolutionise the interpretation of the lifecycle. Finally, in Chapter 6, the discussion of thermodynamics in Marinetti’s Futurism is extended to an analysis of its links to debates on evolution and degeneration, and more specifically to the impact of a national ‘hygienic’ agenda for the purification of society.
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Baragli, Matteo. "Dal popolarismo al clerico-fascismo : Cattolicesimo e nazione nell'itinerario di Filippo Crispolti (1919-1929)." Paris, EPHE, 2013. http://www.theses.fr/2013EPHE5016.
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Cette étude analyse l'émergence en Italie du clérico-fascisme, en se référant plus particulièrement à la figure de Filippo Crispolti. Après la Marche sur Rome, Crispolti et les clérico-fascistes supportèrent le nouveau régime, car ils voyaient dans la consolidation du fascisme la possibilité de soutenir les intérêts du catholicisme, en opposition à la sécularisation de la société italienne et de ses institutions libérales. Le Centro Nazionale (CNI), fondé en 1924 par les catholiques pro-fascistes, fut le rassemblement le plus significatif du clérico-fascisme italien. Les membres du CNI, et Crispolti entre eux, garantirent tout leur soutien au fascisme. Leur vision politique demeurait centrée sur le lien indissoluble et providentiel entre catholicisme et nation italienne. Le fascisme, d’après eux, ne manquerait pas de redonner à la foi catholique toute l’importance qui lui revenait dans la sphère publique. La mentalité cléricale et conservatrice des membres du CNI leur permit ainsi de converger avec le nationalisme modéré et les secteurs conservateurs du fascisme; des difficultés surgirent au contraire avec le squadrismo et les nationalistes d'origine laïque. L’attitude du Vatican fut d'abord de soutenir les clérico-fascistes, mais au cours des années le Saint-Siège accentua ses perplexités envers le CNI, en raison de son pro-fascisme exacerbé. La méfiance augmenta à la suite de la condamnation de l'Action française et des frictions entre fascisme et Azione Cattolica. Enfin, en 1928, le pape Pie XI condamna le CNI, provoquant la fin du projet clérico-fasciste, tandis que l'accord entre le régime fasciste et les aspirations catholiques aurait abouti aux Pactes du LatranThis research analyses the issue of Clerico-Fascism, within the framework of Italian political life of the Twenties, with a particular focus on the figure of Filippo Crispolti. After the rise to power of Fascism, Crispolti and the Clerico- Fascists supported the new Regime, which they supposed would promote Catholic renewal in opposition to the secularisation of Italian society and of its liberal institutions. The Centro Nazionale Italiano (Cni), founded in 1924 by pro-Fascist Catholics, was the most representative form of Italian Clerico-Fascism. The Cni members, and Crispolti between them, guaranteed their complete political support of fascism. At the centre of their ideological project there was the indissoluble and god-given link between Catholicism and the Italian nation. Fascism, according to this view, would definitely have allowed the catholic faith to regain its position of importance which it was due to hold in the public sphere. The clerical and conservative background of Cni members, allowed them to converge with the moderate nationalism and the conservative sectors of fascism, as well as causing some friction with the squadrismo and the nationalists of lay origin. The Vatican cautiously approved of the foundation of the Cni, but began to view it with suspicion because of itsexaggerated pro-Fascism and its independence from the Holy See. The mistrust increased in consequence of frictions with Italian Azione Cattolica and the condemnation of Action Française. Finally in 1928 Pope Pius XI condemned the Cni,causing the end of any Clerico-Fascist project; the agreement between the fascist regime and Catholic aspirations was tocontinue in the Lateran Pacts of 1929
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Maffia, Enza. "La Tempesta: l\'addio di Eduardo al palcoscenico della vita." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-08082007-141621/.
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O foco da dissertação é a análise da reescrita em dialeto napolitano do século XVII da obra A tempestade de William Shakespeare realizada por Eduardo De Filippo. O que levou o dramaturgo napolitano a escolher esta e não outra peça do autor inglês foram essencialmente suas afinidades no tratamento de temas como a magia, o sonho, o amor, a família, o poder, o perdão. Eduardo não realizou uma tradução literal da peça inglesa, mas, utilizando uma língua que é uma mistura de dialeto napolitano do século XVII com dialeto napolitano contemporâneo e italiano criou uma Tempestade toda original e pessoal, aparentemente distante do texto shakespearianoThe thesis consists in analyzing the rewriting in XVII century Neapolitan language of William Shakespearian play, The tempest, by Eduardo De Filippo. What made the Neapolitan playwright choose this play, was essentially his affinities in dealing with certain themes, such us: magic, dream, love, family, power, forgiveness. Eduardo did not translate word by word of the English play, but, using a language which is a mixture of XVII century Neapolitan dialect, contemporary and Italian, has created an original and personal Tempest, apparently quite far from the Shakespearian one
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Roda, Filippo [Verfasser], and Emanueala [Akademischer Betreuer] Carbonara. "The Economic Analysis of the One-way fee-shifting Rule in Litigation / Filippo Roda ; Betreuer: Emanueala Carbonara." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2019. http://d-nb.info/1177241838/34.
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Bussi, Célia. "Eduardo de Filippo, de l'écriture interprétée et mise en scène par l'auteur aux libres interprétations de ses oeuvres." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030123.
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Eduardo De Filippo, homme de théâtre napolitain qui a traversé presque tout le vingtième siècle, possédait plusieurs compétences qui s’influençaient réciproquement : dramaturge, comédien et metteur en scène, il dirigeait également sa propre compagnie et son théâtre, le San Ferdinando. Dans ce contexte, les metteurs en scène se sont trouvés impressionnés, voire inhibés, par ce multiple investissement mais aussi par une oeuvre de portée universelle, toujours à la lisère entre le comique et le tragique. Notre recherche vise à comprendre les raisons de cette crainte et à explorer les différentes façons d’affronter les pièces du maître napolitain. Dans notre première partie consacrée à Eduardo De Filippo, nous avons fait ressortir la figure d’un artiste complet et nous avons essayé de mettre en évidence la distance que le metteur en scène prenait à l’égard de ses propres textes ainsi que le rôle joué par la scène dans l’écriture de ses comédies. Nous avons ensuite, dans les deuxième et troisième parties, orienté notre étude sur les choix effectués, à partir du milieu des années 80 – c’est-à-dire après la mort de l’auteur –, par les metteurs en scène et comédiens, lors du passage du texte à la scène. Notre deuxième partie porte sur une première approche intéressante des comédies du dramaturge : interpréter le texte – à savoir les didascalies et le dialogue –, en proposant un jeu personnel et en pensant différemment la psychologie des personnages et le décor. Notre troisième partie met en lumière les interprétations novatrices des metteurs en scène et comédiens qui osent remanier l’écriture et/ou la structure dramaturgiques de l’oeuvre d’Eduardo De FilippoEduardo De Filippo is a Neapolitan man of the theatre who went through the whole of the twentieth century, endowed with mutually enriching skills : he was a playwright, actor and director all rolled into one, he also managed his own company and his own theatre, the San Ferdinando. In that context, directors were impressed, even inhibited by so much involvement, but also by a work of universal impact, always on the borderline between comedy and tragedy. This dissertation aims to investigate the reasons of such fears and endeavours to explore the different ways of facing the Neapolitan master’s plays. The first part is devoted to Eduardo De Filippo, presented as a complete artistic figure : it explains how, as a director, he stood back from his own texts and shows how he used the stage when writing his comedies. Then, the second and the third parts focuse on the choices made by the directors and actors from the middle of the eighties – once the playwright had passed away – , when they started to adapt his texts for the stage. The second part consists in analysing a first interesting approach of Eduardo De Filippo’s comedies : how to interpret the text – that is to say the stage directions and the dialogue – by adopting a personal acting and by rethinking the psychology of the characters as well as stage setting. Our third part highlights the new interpretations of the directors and actors who dare to modify the writing and/or the dramatic art structure of Eduardo De Filippo’s work
Eduardo De Filippo, uomo di teatro napoletano che ha attraversato quasi tutto il Novecento, possedeva molte competenze che s'influenzavano reciprocamente: drammaturgo, attore e regista, dirigeva anche la sua compagnia ed il suo teatro, il San Ferdinando. In questo contesto, i registi si sono trovati impressionati, anzi inibiti, per questo investimento molteplice ma anche per un’opera di portata universale, sempre in bilico tra il comico ed il tragico. La nostra ricerca mira a capire le ragioni di questo timore ed esaminare i vari modi di affrontare i lavori teatrali del maestro napoletano. Nella nostra prima parte dedicata a Eduardo De Filippo, abbiamo fatto emergere la figura di un artista completo e abbiamo provato a mettere in rilievo la distanza che il regista prendeva di fronte ai suoi testi nonché il ruolo svolto dalla scena nella scrittura delle sue commedie. Nella seconda e la terza parte, abbiamo poi orientato il nostro studio sulle scelte effettuate, a partire dalla metà degli anni 80 – ossia dopo la morte dell'autore –, dai registi e attori, in occasione del passaggio del testo alla scena. La nostra seconda parte riguarda un primo approccio interessante delle commedie del drammaturgo: interpretare il testo – cioè le didascalie ed il dialogo –, proponendo una recitazione personale e pensando differentemente la psicologia dei personaggi e lo scenario. La nostra terza parte mette in luce le interpretazioni innovative dei registi ed attori che osano rimaneggiare la scrittura e/o la struttura drammaturgica dell'opera di Eduardo De Filippo
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Guarnieri, Filippo [Verfasser], Hermann Nicola Akademischer Betreuer] Nicolai, Martin [Akademischer Betreuer] [Reuter, and Roberto [Akademischer Betreuer] Percacci. "Renormalization group flow of scalar models in gravity / Filippo Guarnieri. Gutachter: Hermann Nicola Nicolai ; Martin Reuter ; Roberto Percacci." Berlin : Humboldt Universität zu Berlin, Mathematisch-Naturwissenschaftliche Fakultät I, 2014. http://d-nb.info/1052060641/34.
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Chrzanowska, Agata Anna. "Narrative fresco and ritual : Filippo Lippi, Domenico Ghirlandaio and performative properties of the religious art in Quattrocento Florence." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11835/.
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The present study analyses Filippo Lippi’s frescoes in the main chapel of the Prato cathedral and Domenico Ghirlandaio’s decoration of the Tornabuoni chapel in Santa Maria Novella in Florence. It focuses on the relationship between the frescoes and the ritual practices of the period, in particular, the religious spectacle. The aim of the research is to analyse the little-known and somewhat elusive relations between the two chapel decorations and other public expressions of devotional culture, such as the religious spectacles performed in the city during religious festivities. Chapter 1 provides a necessary theoretical and historiographical background to the work, while chapter 2 examines the performative production of Florence. It locates the tradition of religious plays within the context of the fifteenth-century devotion and analyses a sample of texts of sacre rappresentazioni. Chapter 3 provides archival evidence of the involvement of Florentine artists, including the two at the centre of this research, with the social and cultural world of the lay confraternities. Chapters 4 and 5 focus on the two fresco decorations. The iconographic analysis allows us to recognize the hagiographic and philosophical sources of the paintings. The study shows the influence of Renaissance culture on the sacred iconography, and the introduction of new themes to the sacred narratives, such as Ficino’s idea of prisca theologia. Finally, the study discusses the relationship between the frescoes and the drama and asks questions about the relationship between the decorations and the ritual. The argument of the thesis is that the visual elements coming from the religious spectacles penetrated to the Florentine narrative paintings thanks to the personal exchange between both environments. Moreover, the study suggests that these inserts were meaningful and allowed the frescoes to become part of the ritual of intercession. Finally, the research shows in which ways the ruling elite participated to the cultural life of the city and used its visual aspects in order to promote their values and to obtain political consent.
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De, Filippo Elisabetta [Verfasser]. "Structural and functional characterization of G protein-coupled adenosine receptors and the orphan receptor GPR143 / Elisabetta De Filippo." Bonn : Universitäts- und Landesbibliothek Bonn, 2016. http://d-nb.info/1107184800/34.
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Cosi, Filippo Giovanni [Verfasser], Ulrich [Akademischer Betreuer] Parlitz, Ulrich [Gutachter] Parlitz, and Stefan [Gutachter] Klumpp. "Impact of Structure Modification on Cardiomyocyte Functionality / Filippo Giovanni Cosi ; Gutachter: Ulrich Parlitz, Stefan Klumpp ; Betreuer: Ulrich Parlitz." Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2020. http://d-nb.info/1211173968/34.
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Borlenghi, Filippo Verfasser], Gerd [Akademischer Betreuer] [Ascheid, Heinrich [Akademischer Betreuer] Meyr, and Andreas [Akademischer Betreuer] Burg. "Silicon implementation of iterative detection and decoding for multi-antenna receivers / Filippo Borlenghi ; Gerd Ascheid, Heinrich Meyr, Andreas Burg." Aachen : Universitätsbibliothek der RWTH Aachen, 2015. http://d-nb.info/1128597942/34.
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Kadiköylü, Irfan [Verfasser], Gavril [Gutachter] Farkas, Alexis [Gutachter] Kouvidakis, and Filippo [Gutachter] Viviani. "Rank Stratification of Spaces of Quadrics and Moduli of Curves / Irfan Kadiköylü ; Gutachter: Gavril Farkas, Alexis Kouvidakis, Filippo Viviani." Berlin : Humboldt-Universitaet zu Berlin, 2018. http://d-nb.info/1175995126/34.
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Pina, Raisa Ramos de. "Natureza-morta sobre a praia : deslocamento do sujeito e o invisível da paisagem na metafísica de Filippo de Pisis." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/23582.
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O pintor italiano do início do século XX Filippo de Pisis criou, ao longo de aproximadamente quarenta anos, composições de natureza-morta sobre a praia, com a paisagem litorânea de plano de fundo: mar, horizonte, céu e, por vezes, uma figura humana solitária contempladora. A frequência dessa produção e o destaque dado à paisagem apesar de as telas serem batizadas como natureza-morta suscitam, em um primeiro momento, questionamentos a respeito da definição do conceito de natureza-morta, que se mostra complexo e flexível ao longo da história da arte, além de problematizar a tensão entre gêneros pictóricos. Mais do que uma simples sobreposição de gêneros – natureza-morta e paisagem –, a composição evidencia o interesse metafísico do pintor, que contribuiu na década de 1910 com a nascente proposta de Giorgio de Chirico. A Escola Metafísica não foi uma vanguarda e os artistas que participaram dela tiveram produções independentes, difíceis de serem aproximadas pela estética, mas similares para além do visível, por meio do deslocamento do sujeito da obra e da revelação do invisível. A partir disso, esta dissertação analisa a metafísica dos elementos praianos recorrentes da paisagem de Filippo de Pisis, em diálogo constante com o gênero de natureza-morta. A tensão entre os gêneros e a metafísica do italiano apontam para uma ressignificação da morte: não seria mais castigo aos humanos pecadores, mas a concretização da promessa divina de vida eterna.
The early 20th-century Italian painter Filippo de Pisis created, over approximately forty years, stilllife compositions on the beach, with coastal landscape backgrounds: the sea, the horizon, the sky and sometimes a lonely human being figure. The frequency of this production and the emphasis given to the landscape, despite the fact that the canvases are called still-life, rise questions about the definition of the concept of still-life, which is complex and flexible throughout the history of Art, in addition to problematizing the tension between pictorial genres. More than a simple overlapping of the genres - still life and landscape - the composition evidences the metaphysical interest of the painter, who contributed in the decade of 1910 with the nascent proposal of Giorgio de Chirico. The Metaphysical School was not a vanguard and the artists who participated in it had independent productions, difficult to approximate by aesthetics, but similar to the visible, through the displacement of the subject of the work and the revelation of the invisible. From this, this dissertation analyzes the metaphysics of the recurrent beach elements of the Filippo de Pisis' landscapes, in constant dialogue with the genre of still life. The tension between the genres and the metaphysics of the Italian point to a re-signification of death: it would be no more punishment for sinful humans, but the concretization of the divine promise of eternal life.
Le peintre italien du debut du XXeme siècle Filippo de Pisis a créé, pendant environ quarante ans, des compositions de nature morte sur la plage avec de paysage côtier au fond: la mer, l’horizon, le ciel et, parfois, une figure humaine solitaire contemplative. La fréquence de cette prodution et l’accentuation données au paysage malgré que les tableaux soient nommés comme nature morte évoquent, dans un premier moment, quelques doutes à propôs de la definition du concept nature morte, qui se montre complexe et flexible à travers l’histoire de l’art, un plus de problématiser la tension entre genres picturaux. Plus qu’un simple superposition de genres – la nature morte et le paysage – la composition evoque l’intérêt métaphysique du peintre, qui a contribué dans la décennie 1910 à la proposition de Giorgio de Chirico. L’École Métaphysique n’était pas un mouvement d’avant-garde et les artistes qui y ont participé ont eu des produtions indépendantes, dificiles à rapprochées par l’esthétique, mais similaires au-delà du visible, à travers le déplacement du sujet de l’ œuvre et de la révélation de l’invisible. A partir de celà, cette dissertation analyse la métaphysique des élements de la plage solvente présents dans le paysage de Filippo de Pisis, em dialogue constant avec le genre de nature morte. La tension entre genres et la métaphysique de l’italian pointent vers une resignification de la mort: ce n’est plus une punition aux humains pêcheurs, mais la concretization de la promesse divine de la vie éternelle.
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Borlenghi, Filippo [Verfasser], Gerd [Akademischer Betreuer] Ascheid, Heinrich [Akademischer Betreuer] Meyr, and Andreas [Akademischer Betreuer] Burg. "Silicon implementation of iterative detection and decoding for multi-antenna receivers / Filippo Borlenghi ; Gerd Ascheid, Heinrich Meyr, Andreas Burg." Aachen : Universitätsbibliothek der RWTH Aachen, 2015. http://d-nb.info/1128597942/34.
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Fratini, Filippo [Verfasser], and Andrey [Akademischer Betreuer] Surzhykov. "Polarization and correlation phenomena in the two-photon absorption and decay of heavy ions / Filippo Fratini ; Betreuer: Andrey Surzhykov." Heidelberg : Universitätsbibliothek Heidelberg, 2011. http://d-nb.info/1179783131/34.
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Marotta, Antonella. "Pirandello nel teatro di Eduardo." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79793.
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The subject of this thesis is an intertextual and psycho-analytic study of the relationship between two major dramatists of twentieth century Italian Theatre, Luigi Pirandello and Eduardo De Filippo. The analysis is in part conducted according to the concept of influence developed by Harold Bloom in The Anxiety Of Influence and expressed in "Freudian" terms, in which one poet, the later (Eduardo De Filippo), is presumed to "struggle" with or try to surpass his precursor (Luigi Pirandello).
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Cescutti, Tatiana. "Les origines mythiques du Futurisme : F.T. Marinetti poète symboliste français." Paris 4, 2007. http://www.theses.fr/2007PA040120.
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L’anti-passéisme radical est le mot d’ordre essentiel du Futurisme. Marinetti en prône le concept dans le Manifeste publié dans Le Figaro du 20 février 1909 et l’applique à la lettre lorsqu’il renie en 1911 ses « maîtres symbolistes » (Baudelaire, Verlaine, Mallarmé). Mais en est-il vraiment ainsi ? Une lecture de la poésie en langue française de Marinetti, composée avant 1909 (La Conquête des Étoiles, Destruction, La Ville Charnelle), montre que la doctrine futuriste s’édifie « par rapport » aux auteurs du passé, fût-il récent puisqu’il s’agit du Symbolisme et post-Symbolisme français et de la poésie italienne de l'époque (principalement D’Annunzio et Pascoli). La présente étude s’attache à retracer ce parcours qui se déploie comme une série de « réécritures » ou de métamorphoses successives, déterminées par la mort du modèle antérieur et sa conversion en une oeuvre personnelle inédite. La mise à jour de cette incessante dynamique de mort et de régénérescence permet d’appréhender le Futurisme dans sa dimension «mythique » fondamentale qui constitue à notre avis le véritable acte de naissance du mouvement dont le Manifeste aura pour fonction de théoriser les principesRadical anti-traditionalism es a key watchword of Futurism. Marinetti enhances this concept in the Manifesto published in Le Figaro on 20th February 1909 and applies it literally when in 1911 he denies his « Symbolist Masters » (Baudelaire, Verlaine, Mallarmé). Is that really so? A reading of the poetry that Marinetti composed in French before 1909 (La Conquête des Étoiles, Destruction, La Ville Charnelle) shows that Futurist doctrine sets itself up “in comparison with” the authors of the past – although it is a recent past, since it refers to French Symbolism and Post-Symbolism and to the Italian poetry of that time (above all D’Annunzio and Pascoli). Our study aims at drawing up a scheme that unfolds like a series of « rewritings » or successive metamorphoses brought about by the death of the previous model and its conversion to a new personal work. The updating of this unceasing mechanism of death and regeneration lets Futurism be comprehended in its essential « mythical » dimension which is, in our opinion, the real birth of a movement whose principles the Manifesto will theorize
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Della, Sala Elisa. "Se una notte bianca di mezza estate Vincenzo De Pretore." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8197/.
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Souza, Junior Jose Alves de. "Constituição ou revolução : os projetos politicos para a emancipação de Grão-Para e a atuação politica de Filippo Patroni (1820-1823)." [s.n.], 1997. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280636.
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Orientador: Isabel Andrade MarsonDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Wick-Alda, Ulrike. "Vom Weg zum reinen Herzen geistliche Unterscheidung in den Briefen und Maximen des Philipp Neri (1515 - 1595) in der Rezeption des Wüstenmönchtums und des Johannes Cassian ; ein spiritualitätstheologischer Beitrag zur theologischen Anthropologie." Frankfurt, M. Knecht, 2009. http://d-nb.info/1000332063/04.
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Tritto, Maria. "Il napoletano nel tempo." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8820/.
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Storia di Napoli e il Napoletano nel tempo.
Sono partita dalle origini della città, cercando di dare sempre un inquadramento storico-politico delle differenti realtà che hanno segnato la storia di Napoli, e successivamente mi sono soffermata soprattutto sulla formazione del suo dialetto, approfondendo in particolare alcune caratteristiche del napoletano legate alle dominazioni straniere; infine, ho provato a dare un piccolo assaggio della città e del suo dialetto attraverso un personaggio che ne mostra il cuore, Eduardo de Filippo.
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Fenzi, Lisa Verfasser], Michael [Akademischer Betreuer] [Diers, and Gottfried [Akademischer Betreuer] Boehm. "(Un)sichtbarkeit Giorgio de Chirico, Filippo de Pisis, Giorgio Morandi zur Kunstauffassung : Bildbeschreibungen und Bildanalysen / Lisa Fenzi. Gutachter: Michael Diers ; Gottfried Boehm." Berlin : Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2016. http://d-nb.info/108847974X/34.
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Fenzi, Lisa [Verfasser], Michael [Akademischer Betreuer] Diers, and Gottfried [Akademischer Betreuer] Boehm. "(Un)sichtbarkeit Giorgio de Chirico, Filippo de Pisis, Giorgio Morandi zur Kunstauffassung : Bildbeschreibungen und Bildanalysen / Lisa Fenzi. Gutachter: Michael Diers ; Gottfried Boehm." Berlin : Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2016. http://d-nb.info/108847974X/34.
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Camelo, Midori Hijioka. "O espelho e a janela: as investigações ópticas de Filippo Brunelleschi (1377-1446) e Leon Battista Alberti (1404-1472) para a "costruzione legittima"." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/13444.
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Previous issue date: 2009-10-16This work tried to identify the contributions of Filippo Brunelleschi and Leon Battista Alberti to the geometrical optics study. Tradicinally, seen by the history of arts and architecture study as inventors of the perspective, in this history of science study, the issue of genealogy was left behind, so they could find in the investigations about costruzione legittima , contributions for the geometrical optics. The period lived by Brunelleschi and Albert, the Renaissance one, shows many changing elements that made the transition from the Medieval and the Modern History. Specially about the perspective study, it s an incorporating moment, with a different meaning to the word. What used to be the synonym of optics throughout Middle Age, thanks largely to the investigations of architects and painters started then, has now the idea of the representation way , keeping it though the time, like we understand it today. Along with the complex movement of approaching of the heavenly thing to the ones here on Earth, witch in canvas mean the introduction of elements of the real world in representations, we can also see an approach of mathematics to the useful things of life, and geometry becomes equally important to the costruzione legittima of visual reality. In the arts and science knowledge and duties meetings, brought to you by the humanism, the spirit of modern science blends together, In the history of geometrical and experimental optics, the art of painting is show more present than it was traditionally thought to. At the time of seeing, the birth of modern science, the connections of Brunellesch and Alberti revealed how artificial the limit of art and science, the duties and the knowledge
Esta pesquisa buscou identificar as contribuições de Filippo Brunelleschi e Leon Battista Alberti para o estudo da óptica geométrica. Tradicionalmente, disputados pelos estudiosos da história da arte e arquitetura como inventores da perspectiva, neste estudo em história da ciência, deixaram-se de lado a questão de genealogia para encontrar, no interior das investigações para a costruzione legittima , contribuições para a óptica geométrica. O período vivido por Brunelleschi e Alberti, o Renascimento, apresenta muitos elementos de transformações que marcaram historicamente a transição entre o Medieval e o Moderno. Particularmente para o estudo da perspectiva, trata-se de um momento de formação de um novo significado para o termo. O que era sinônimo de óptica durante toda Idade Média, passa a incorporar, graças às investigações dos pintores e arquitetos iniciada ali, a idéia de modo de representação , ficando no decorrer do tempo somente com esta última, tal como entendemos hoje. Juntamente com o complexo movimento de aproximação de elementos do mundo real para a pintura, vemos ocorrer uma aproximação da geometria à forma de representação. No encontro de saberes e fazeres, de arte e ciência, plasma-se o espírito da ciência moderna. Na história da óptica geométrica e experimental, a arte da pintura mostra-se mais presente que tradicionalmente se pensa. Ao vislumbrar, no alvorecer da ciência moderna, as conexões entre Brunelleschi e Alberti revelou-se a artificialidade da fronteira entre a arte e a ciência, o fazer e o saber
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Unfug, Christian [Verfasser], Pedro [Akademischer Betreuer] Barceló, Pedro [Gutachter] Barceló, Filippo [Gutachter] Carlà-Uhink, and Manfred [Gutachter] Clauss. "Die Prätorianerpräfektur im dritten Jahrhundert : die Entstehung einer „Kaiserlichen Magistratur“ / Christian Unfug ; Gutachter: Pedro Barceló, Filippo Carlà-Uhink, Manfred Clauss ; Betreuer: Pedro Barceló." Potsdam : Universität Potsdam, 2021. http://d-nb.info/1237748208/34.
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Landi, Filippo [Verfasser], Hermann G. [Akademischer Betreuer] Matthies, and Pietro [Akademischer Betreuer] Croce. "A general methodology for the assessment of the impact of climate change – evaluation of snow loads / Filippo Landi ; Hermann G. Matthies, Pietro Croce." Braunschweig : Technische Universität Braunschweig, 2021. http://d-nb.info/1225038243/34.
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Chiusoli, Alberto. "Hi-wire membranes. Progetto di ambienti termali a Bagni San Filippo (Si). Tettonica basata sull'auto-organizzazione di micro-membrature integrate a sistemi di membrane." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2017.
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La ricerca proposta ha l’obiettivo di indagare le potenzialità espressive e tettoniche generate attraverso la simulazione digitale delle dinamiche processuali ricorrenti nei sistemi complessi. Sono state, in particolare, sviluppate strategie di design computazionale al fine di integrare all’interno dell’algoritmo multi-agent specifiche qualità spaziali e di intrinseca efficienza costruttiva per favorire la progettazione a scala architettonica. Attraverso la ridistribuzione del controllo in moltitudini di unità autonome operative è possibile, infatti, orientare la progettazione dello spazio verso gradi di complessità crescente e di elevata risoluzione formale. Il sistema generato compie dinamicamente una riorganizzazione topologica sulla base delle relazioni locali e degli stimoli ambientali sviluppando comportamenti emergenti di organizzazione macro-superficiale. L’incorporamento di un modello spaziale locale all’interno di ogni agente, contribuisce alla generazione di morfologie particolarmente rigorose e fortemente risolute a fronte di condizionamenti extra-sistemici. In termini di progettazione, tale approccio permette di sviluppare strutture complesse, fortemente eterogenee e ridondanti, in grado di garantire continuità superficiale e strutturalità attraverso reticoli di micro-membrature reciprocamente connesse. L’intrinseca flessibilità morfologica esprime le proprie potenzialità nell’ambito architettonico individuato (complesso termale inserito in contesto naturale) grazie alla generazione di superfici continue nello spazio in grado di integrare molteplici istanze funzionali attraverso l’emergenza di comportamenti spaziali adattivi. La modulazione differenziata degli effetti espressivi superficiali deriva, infatti, dalla gestione di parametri processuali che influenzano la formazione dei pattern organizzativi e, coerentemente con essa, l’adozione di specifiche strategie in ambito costruttivo.
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Ales, Filippo [Verfasser], Claus [Akademischer Betreuer] [Gutachter] Braxmaier, and Gerhard [Gutachter] Heinzel. "Laser Ranging Interferometry for Future Gravity Missions : Instrument Design, Link Acquisition and Data Calibration / Filippo Ales ; Gutachter: Claus Braxmaier, Gerhard Heinzel ; Betreuer: Claus Braxmaier." Bremen : Staats- und Universitätsbibliothek Bremen, 2017. http://d-nb.info/1138002186/34.
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Gekosky, Sandra J. "Luca Della Robbia and his Tin-Glazed Terracotta Sculptures." Ohio University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1126821886.
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Bertolini, Filippo [Verfasser], and Peter [Akademischer Betreuer] McLaughlin. "Der Wert der Natur im Selbstverständnis des Menschen. Untersuchungen zur rationalen Fundierung einer Umweltethik bei McDowell und der Philosophischen Anthropologie / Filippo Bertolini ; Betreuer: Peter McLaughlin." Heidelberg : Universitätsbibliothek Heidelberg, 2015. http://d-nb.info/1180502655/34.
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Pizzigatti, Cesare. "Degrado e restauro dei materiali dell'architettura del XX secolo: il caso dell'ex discoteca "Woodpecker" di Milano Marittima (RA)." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2018.
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La tesi in oggetto riguarda lo studio del degrado dei materiali della cupola dell’ex discoteca Woodpecker di Milano Marittima (RA), realizzata nel 1968 su progetto dall’arch. Filippo Monti; il locale versa in stato di abbandono da circa 40 anni e, a seguito dell’iter ultimamente intrapreso dal Comune di Cervia, sembra destinato a un prossimo recupero che prevede anche la riproposizione della destinazione d’uso originaria. La suddetta cupola, costruita a copertura dell’ambiente che era deputato a ospitare l’orchestra e la pista da ballo, ha una forma semisferica ed è costituita dall’assemblaggio di 23 vele in vetroresina nervate con profili in acciaio, in stato di avanzato degrado; sull’intradosso è presente un graffito dello street artist Blu, realizzato agli inizi degli anni 2000 e attualmente alquanto deteriorato. L’assenza di esaurienti elaborati progettuali originali (accentuata dal fatto che per la realizzazione delle vele ci si affidò a un’azienda che realizzava barche in vetroresina) ha reso necessaria una lunga e accurata fase di analisi per avanzare una verosimile ipotesi in merito alle tecniche di realizzazione; particolare attenzione è stata dedicata anche a una classificazione dei vari tipi di degrado che interessano la cupola. Sono quindi state condotte analisi di laboratorio (microscopio ottico, microscopio elettronico e FTIR) su campioni di tinta, di acciaio e di vetroresina, che hanno permesso la caratterizzazione materica e il confronto con le ipotesi avanzate in fase di anamnesi. Sono state infine proposte delle possibili linee guida per l'intervento di restauro. Il restauro delle architetture del XX secolo implica una serie di problematiche inerenti l’approccio di intervento, sia per la differente percezione di “bene culturale” relativo a tali opere rispetto a quelle dell’antichità, sia per il carattere innovativo, e talvolta sperimentale, dei materiali e delle tecniche costruttive usate, di cui il Woodpecker costituisce un esempio emblematico.
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Pisanello, George M. "The congregation of the Oratory of St. Philip Neri selected canonical issues /." Theological Research Exchange Network (TREN), 1994. http://www.tren.com.
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Milan, Serge. "L'antiphilosophie futuriste." Paris 4, 2001. http://www.theses.fr/2001PA040222.
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Le Futurisme, fondé par F. T. Marinetti en février 1909, est le premier mouvement artistique d'avant-garde, et un point de repère probable de la post-modernité occidentale. Nous proposons ici une étude conceptuelle de l'idéologie des manifestes italiens du mouvement, reconstituée en cosmologie, poétique et anthropologie. Cette approche souligne la cohérence de cette "antiphilosophie", comme l'appelaient les futuristes, ainsi que l'antinaturalisme radical de son éthique nationaliste héroi͏̈que et de sa conceptualisation originale de certaines de ses notions-clés ("passatismo", "velocità", "sensibilità", "guerra","macchina","novita")Futurism, founded by F. T. Marinetti in February 1909, is the first artistic avant-garde, as well as a likely milestone concerning post-modernism in Europe Russia, America or Japan. We offer here a conceptual study of the movement's italian manifests ideology, reorganised in a cosmology, a poetic and an anthropology. This approch emphasizes the coherence of this "antiphilosophy", as it was called by futurists themselves, along with the radical anti-naturalism of its heroic nationalist ethics, and the original conceptualisation of certain of its key-notions ("passatismo", "velocità", "sensibilità", "guerra", "macchina", "novità")
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Bassi, Valeria, and Elisabetta Pradella. "Conservare il contemporaneo: Progetto di restauro per la valorizzazione del Woodpecker di Milano Marittima." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/8124/.
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Il Woodpecker di Milano Marittima, discoteca degli anni sessanta realizzata dall'Architetto Filippo Monti sotto commissione di Aurelio De Maria, la discoteca è stata in funzione solo per due stagioni. Ora l'edificio si trova in uno stato di completo abbandono ricoperto da una fiorente vegetazione spontanea. La tesi parte dall'analisi del manufatto, del suo stato di conservazione e delle problematiche riscontate nel luogo, prima tra tutte la presenza d'acqua. Questa tesi ha lo scopo di ridare vita a questo luogo tenendo conto della presenza di vegetazione spontanea presente. Nella prima parte della tesi vengono affrontati i problemi e gli interventi legati alla conservazione, nella seconda viene fatta una proposta di progetto comprendente: un nuovo ingresso al parco, un ristorante, un percorso, e un nuovo accesso al Woodpecker, sfruttando un crollo presente al centro del vano servizi. In questo progetto le problematiche inizialmente riscontrate, quali la presenza di acqua e di vegetazione, diventano le potenzialità principali dell'area.
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Pellacani, Filippo [Verfasser], Rafael [Akademischer Betreuer] Macián-Juan, and Vicent Sergio [Akademischer Betreuer] Chiva. "Development and Validation of Bubble Breakup and Coalescence Constitutive Models for the One-Group Interfacial Area Transport Equation / Filippo Pellacani. Gutachter: Sergio Chiva Vicent ; Rafael Macián-Juan. Betreuer: Rafael Macián-Juan." München : Universitätsbibliothek der TU München, 2012. http://d-nb.info/104199480X/34.
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MAINARDI, MARIA. "Dall'Axios all'Hebrus: una periferia dimenticata." Doctoral thesis, Università Cattolica del Sacro Cuore, 2013. http://hdl.handle.net/10280/1854.
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La storia tracia occupa spesso una posizione marginale sia nelle fonti antiche sia negli studi moderni. La presente indagine intende ricostruire le vicende della regione attorno alla metà del IV secolo a.C., dalla morte del sovrano odrisio Kotys (intorno al 360 a.C.) all’insurrezione di Seuthes III (dopo il 326 a.C.). Le fonti letterarie antiche forniscono informazioni lacunose e frammentarie, perché si dedicarono agli avvenimenti traci soltanto quando questi interferirono con la coeva storia ateniese o macedone. Dati aggiuntivi si ricavano dalla documentazione epigrafica, numismatica e archeologica. La presente ricerca ripercorre le complesse dinamiche che portarono alla conquista della Tracia da parte di Filippo II, a costo di numerose e impegnative campagne, e analizza le difficoltà sorte nel mantenere il controllo macedone sulla regione: la pacificazione, tentata da Filippo II negli ultimi anni di regno, non resistette a lungo e l’età di Alessandro fu caratterizzata da una continua tensione tra le spinte autonomistiche delle popolazioni locali e i tentativi di sottomissione condotti dai Macedoni. Una serie di rivolte e il progressivo aumento dell’autonomia locale fecero sì che, alla fine del regno di Alessandro, le tribù tracie riuscissero a tornare "de facto" all’indipendenza originaria.Thracian history is very often left in a secondary place in ancient sources and in modern studies. This research wants to investigate the Thracian history around the half of IV century B.C., from the death of the Odrisian king Kotys (in about 360 B.C.) to the Seuthes III’s revolt (after 326 B.C.). The ancient literary sources are scanty and give fragmentary or incomplete data: they tell about Thrace only when this region is involved in Athenian or Macedonian history. Epigraphic, numismatic and archeological evidence can sometimes be added. This study demonstrates that the conquest of Thrace by Philip II wasn’t easy and it took a lot of time and many expeditions; the Macedonian control of the region was even harder, because the Thracian people always fought for their independence. The peace of the last years of Philip II’s reign couldn’t go on and, in Alexander’s time, many insurrections arose one after the other. Quintus Curtius Rufus tells that Thrace was almost lost in the end of Alexander’s reign: Seuthes III led the most important rising and local autonomy increased too. Thracian tribes returned "de facto" to their original independence.