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Journal articles on the topic 'Diderme'

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Author: Grafiati

Published: 25 May 2024

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1

ZHAO, HUI-NAN, GU RAO, XIN-YA YANG, XIAO LI, HAI-LONG YU, BO ZHANG, and YU LI. "Two new species of Diderma (Physarales, Didymiaceae) from northern China." Phytotaxa 572, no. 1 (November 8, 2022): 61–73. http://dx.doi.org/10.11646/phytotaxa.572.1.4.

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Diderma is one of the most abundant species in Myxomycetes. Based on the study of morphology and phylogeny, two new species—Diderma liaoningensis (is characterized by grouped sporocarps, the sporocyst with dehiscence lines, capillitium with large brown swelling, spore encircled by a pale line) and Diderma verrucocapillitia (is characterized by depressed plasmodiocarps, verrucose capillitium, red-brown spores)—collected from Liaoning province and Jilin province were introduced. Detailed descriptions and illustrations are presented as well as comparisons to similar species. Phylogenetic analyses were carried out using Maximum Likelihood and Bayesian inference based on small subunit ribosomal RNA sequences (SSU rRNA) of Diderma and related genera. These analyses confirmed the placement of two new species in the genus Diderma. A key to 19 species of Diderma from China is also provided. Holotype specimens have been housed in the Herbarium of the Mycological Institute of Jilin Agricultural University (HMJAU), Changchun, China.

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2

Bezerra, Andrea Carla Caldas, and Laise de Holanda Cavalcanti. "Diderma albo-columella (Myxomycetes), a new species in the Brazilian Atlantic Forest." Rodriguésia 61, no. 1 (March 2010): 105–8. http://dx.doi.org/10.1590/2175-7860201061111.

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Abstract A new species of Diderma (Physarales, Didymiaceae) was recorded in the Mata Estrela Private Nature Reserve, Rio Grande do Norte state. It is characterized by sessile sporangia, white globose columella, capillitium irradiating from the peridium, forming three layers, the middle part strongly calcareous, the outer layer cartilaginous and the inner layer membranous. A key to species of sessile sporangia Diderma with triple peridium is presented.

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3

Gmoshinskiy, V. I., Yu K. Novozhilov, I. S. Prikhodko, F. M. Bortnikov, O. N. Shchepin, and M. Schnittler. "Morphology and phylogeny of Diderma aurantiacum (Myxomycetes) — a new species for Russia from the Far East." Novosti sistematiki nizshikh rastenii 57, no. 1 (2023): 27–42. http://dx.doi.org/10.31111/nsnr/2023.57.1.27.

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Two specimens of a rare species Diderma aurantiacum collected in the Sikhote-Alin Nature Reserve and the territory of the Land of the Leopard National Park (Primorye Territory, Russian Federation) were found during revision of the myxomycete collection of the Mycological herbarium of the Komarov Botanical Institute (LE). These specimens are the first records of this species outside the Japanese islands. Diderma aurantiacum is characterized by a thick cartilaginous peridium of dull orange color that breaks into petal-like fragments during dehiscence, a small hemispherical columella, weakly branched dark capillitial threads with pale tips, and warted spores with darker warts arranged in small groups. The color photographs of sporocarp structures and SEM images of spores and capillitium are published for the first time. The partial nucleotide sequences of nrSSU (18S rDNA) and EF1α genes of specimens from the Russian Far East differed clearly from these of other Diderma species.

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4

Stephenson, Steven L., Yuri K. Novozhilov, Clive Shirley, and David W. Mitchell. "Additions to the myxomycetes known from New Zealand, including a new species of Diderma." Australian Systematic Botany 22, no. 6 (2009): 466. http://dx.doi.org/10.1071/sb09020.

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Specimens of myxomycetes obtained as field collections or from moist-chamber cultures during surveys for these organisms carried out at several localities in New Zealand have yielded eight species not included in the monograph of the group published in 2003. One other species, listed provisionally as Diderma cf. miniatum on the basis of a single, rather limited collection, but now known from several additional collections, is described herein as Diderma novae-zelandiae. These new records bring the number of myxomycetes reported from New Zealand to 196 species.

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5

Novozhilov, Yuri K., Oleg N. Shchepin, Ilya Prikhodko, and Martin Schnittler. "A new nivicolous species of Diderma (Myxomycetes) from Kamchatka, Russia." Nova Hedwigia 114, no. 1-2 (February 18, 2022): 181–96. http://dx.doi.org/10.1127/nova_hedwigia/2022/0670.

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6

de Croismare, Marquis, Dan Valahu, and Heather Lloyd. "Three Croismare Documents: Weighing the Authenticity of Letters to Diderot's “Religieuse” and Mme Madin." PMLA/Publications of the Modern Language Association of America 121, no. 2 (March 2006): 532–45. http://dx.doi.org/10.1632/003081206x129701.

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Thus does Denis Diderot express his skepticism about whether it was actually the Marquis de Croismare, an Ostensibly Innocent player in the machinations leading to the composition of La religieuse, who replied to letters to him by Diderot and company or whether Frédéric Grimm and friends tricked Diderot into believing it was Croismare. Counterbalancing the philosophe's questioning volley is Grimm's assertion in the “Préface”:Vous voudrez bien vous souvenir que toutes ses [Madin's] lettres, ainsi que celles de sa recluse, ont été fabriquées par nous autres enfants de Bélial, et que toutes les lettres de son généreux protecteur sont véritables et ont été écrites de bonne foi, ce qu'on eut toutes les peines du monde à persuader à M. Diderot qui se croyait persiflé par le marquis et par ses amis.(Diderot, Religieuse 33)

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7

Connon, Derek F., and Otis Fellows. "Diderot." Modern Language Review 86, no. 3 (July 1991): 724. http://dx.doi.org/10.2307/3731070.

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8

André, Valérie. "Diderot." Féeries, no. 3 (February 1, 2006): 137–57. http://dx.doi.org/10.4000/feeries.149.

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9

Starobinski, Jean. "Diderot." Littérature 161, no. 1 (2011): 5. http://dx.doi.org/10.3917/litt.161.0005.

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10

Chiw, Charisee, Gordon Kindlmann, John Reppy, Lamont Samuels, and Nick Seltzer. "Diderot." ACM SIGPLAN Notices 47, no. 6 (August 6, 2012): 111–20. http://dx.doi.org/10.1145/2345156.2254079.

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11

Fowler, J. "Diderot." French Studies 67, no. 3 (April 23, 2013): 386–93. http://dx.doi.org/10.1093/fs/knt077.

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12

Le Ru, Véronique. "Diderot." Sciences Humaines Les Essentiels, HS15 (August 24, 2023): 55–57. http://dx.doi.org/10.3917/sh.hs15.0055.

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13

Vučelj, Nermin. "Le philosophe Diderot contre l’abbé Diderot." Црквене студије 19, no. 19 (2022): 597–607. http://dx.doi.org/10.18485/ccs_cs.2022.19.19.38.

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14

Pujol, Stéphane. "Auctoritas: Auteur et Autorité Chez Diderot." Studia Litterarum 2, no. 1 (2017): 62–75. http://dx.doi.org/10.22455/2500-4247-2017-2-1-62-75.

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15

STEPHENSON, STEVEN L., and BARBARA C. STEPHENSON. "Distribution and ecology of myxomycetes on Christmas Island, Indian Ocean." Phytotaxa 416, no. 2 (September 10, 2019): 138–48. http://dx.doi.org/10.11646/phytotaxa.416.2.2.

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A survey for myxomycetes was carried out on Christmas Island in May 2017. Specimens included those that had fruited in the field under natural conditions and those appearing in moist chamber cultures prepared with samples of dead plant material collected on the island. Fifty-nine species in 18 genera were recorded. Hemitrichia serpula was the most common species represented among field collections, whereas Arcyria cinerea, Diderma effusum, Lamproderma scintillans, Didymium squamulosum, Diderma hemisphericum and Diachea leucopodia were recorded the most often in moist chamber cultures. These new records bring the total number of species of myxomycetes known from Christmas Island to 68 species in 22 genera. The distribution and ecology of these species in relation to the various substrates available to them are discussed.

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16

Gorbatov, Inna. "Le voyage de Diderot en Russie." Analyses 38, no. 2-3 (September 5, 2007): 215–29. http://dx.doi.org/10.7202/016355ar.

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Résumé Le 6 juillet 1762, neuf jours exactement après le coup d’état du 28 juin qui l’a mise sur le trône, Catherine II invite Denis Diderot à venir en Russie pour y publier L’encyclopédie, qui a été interdite à Paris. Diderot arrive à Saint-Pétersbourg en octobre 1773, où il demeure cinq mois. Catherine II traite son invité en personne « distinguée » et passe beaucoup de temps avec lui. Dans ses discussions quotidiennes avec l’impératrice, Diderot aborde les questions politiques, économiques, sociales, juridiques et artistiques. Malheureusement, il se trouve en Russie pendant la période où Catherine est le moins disposée à accepter ses idéaux démocratiques, puisqu’elle est préoccupée par la révolte paysanne de Pougatchev et par la guerre contre la Turquie. Rien ne suggère que le séjour de Diderot à Saint-Pétersbourg ait particulièrement réjouissant ou satisfaisant. Mais une fois rentré en France, Diderot a voulu que ses correspondants et la plupart de ses amis croient exactement le contraire. Il a décrit son séjour en Russie sous le meilleur jour et a toujours été généreux en compliments pour Catherine II.

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17

Silva, Arlenice Almeida da. "A ideia de composição nos Salões de Diderot." Trans/Form/Ação 44, no. 2 (June 2021): 33–58. http://dx.doi.org/10.1590/0101-3173.2021.v44n2.03.p33.

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Resumo: O artigo examina a noção de “unidade na variedade”, na filosofia e crítica de arte de Diderot. Em diálogo com os ensaios publicados na coletânea intitulada Estéticas de Diderot, de 2015, na qual vários especialistas examinam a atualidade da estética materialista do filósofo, este artigo aproxima as noções de unidade apresentadas na Enciclopédia dos usos e sentidos do termo nos Salões. Pretende-se mostrar como Diderot rompe gradativamente com a epistemologia clássica, ao pensar a obra com uma unidade instável, ligada ao tempo e que se constitui apenas no fazer da obra; especificamente, pretende-se ressaltar o tratamento dado à variedade nas obras de Greuze e Vernet, procedimento que aproxima a crítica de arte de Diderot de elementos modernos, tais como os conceitos de sublime e de autonomia da arte, os quais indiciam a relevância da sua filosofia da arte.

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18

Tamizari, Fabiana. "Diderot e a educação como projeto de Estado." EDUCAÇÃO E FILOSOFIA 33, no. 69 (January 5, 2021): 1401–32. http://dx.doi.org/10.14393/revedfil.v33n69a2019-46926.

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* Doutora em Educação, Arte e História da Cultura pela Universidade Presbiteriana Mackenzie (MACKENZIE). Servidora na Secretaria da Educação do Estado de São Paulo. Colaboradora da Universidade de Coimbra, Portugal. Diderot e a educação como projeto de Estado Resumo: O Iluminismo, além de movimento intelectual, também se traduziu em intensa atividade política, sendo uma das faces desta ação o despotismo esclarecido: fruto da aliança entre filósofos, que buscavam divulgar seus ideais, e monarcas absolutistas, empenhados em melhorar a sua imagem pública. A aproximação do filósofo Diderot com a imperatriz russa Catarina II, produziu reflexões sobre vários temas, um deles aqui explorado: o papel do Estado na educação pública, apresentado na obra Plano de Uma Universidade (1783). Em nosso artigo, partimos da apresentação do despotismo esclarecido, com foco na relação de Diderot com a imperatriz russa. Em seguida, discorremos sobre as bases da educação pública no século XVIII, e finalizamos com a proposta diderotiana sobre o papel do Estado no fomento da educação pública, enfatizando três propostas elementares, que, segundo o autor, promoveriam essa aliança: o acesso irrestrito à educação, a presença do Estado na estrutura administrativa e organizacional, e a atualização curricular.Palavras-Chave: Iluminismo; Diderot; Educação. Diderot and education as State project Abstract: The Enlightenment was not only an intellectual movement, but was also expressed in politics, such as in enlightened despotism. This was the result of an alliance between philosophers in search to spread their ideas and absolutist monarchs trying to enhance their public figures. Here we explore one among many fruits of the association between Diderot and Catherine the II, Empress of Russia: the role of the State in public education, as presented in The Plan of a University (1783). We start from a general presentation of enlightened despotism, focusing on Diderot and Catherine the Great’s relation; next, we explore the basis of public education on the XVIII century, and finally we present Diderot’s plan itself, in which the State has the role of fostering education, relying on three key aspects: unrestricted access to education, the presence of the State in the organizational and administrative structure, and the update of the curriculum.Keywords: Enlightenment; Diderot; Education. Diderot y la educación como proyecto de Estado Resumen: El Iluminismo, además de movimiento intelectual, también se tradujo en intensa actividad política, siendo una de las caras de esta acción el despotismo ilustrado: fruto de la alianza entre filósofos, que buscaban divulgar sus ideales, y monarcas absolutistas, empeñados en mejorar su imagen pública. La aproximación del filósofo Diderot con la emperatriz rusa Catalina II, produjo reflexiones sobre varios temas, uno de ellos aquí explotado: el rol del Estado en la educación pública, presentado en la obra Plan de una Universidad (1783). En nuestro artículo, partimos de la presentación del despotismo ilustrado, teniendo em cuenta la relación de Diderot con la emperatriz rusa. A continuación, discordamos sobre las bases de la educación pública en el siglo XVIII, y finalizamos con la propuesta diderotiana sobre el rol del Estado en el fomento de la educación pública, enfatizando tres propuestas elementales que, según el autor, promoverían esa alianza: el acceso irrestricto a la educación, la presencia del Estado en la estructura administrativa y organizativa, y la actualización curricular.Palabras Clave: Iluminismo; Diderot; Educación. Data de registro: 08/02/2019 Data de aceite: 30/10/2019

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19

Laforge, Fr. "Diderot et le "journal intime"." Revue d'histoire littéraire de la France o 87, no. 6 (June 1, 1987): 1015–22. http://dx.doi.org/10.3917/rhlf.g1987.87n6.1015.

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Résumé Dans les lettres à Sophie Volland de l'été 1762, Diderot entreprend la rédaction d'un journal « intime », où seront enregistrées les diverses fluctuations de sa vie intérieure. Il inaugure ainsi une forme d'écriture de soi, destinée à s'affirmer plus tard avec Benjamin Constant et Maine de Biran. Mais, contrairement à eux, Diderot n'écrit pas pour lui-même. Il écrit d'abord pour la femme aimée et le petit cercle de ses intimes. Cette ouverture à l'Autre confère au journal de Diderot un certain nombre de traits spécifiques qui ne se retrouveront pas ultérieurement.

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20

Matos, Franklin de. "A Dramaturgia do Quadro (Ensaio sobre O Filho Natural de Diderot)." Discurso, no. 26 (June 9, 1996): 93–112. http://dx.doi.org/10.11606/issn.2318-8863.discurso.1996.38007.

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Análise do conceito de quadro na estética teatral de Diderot. A finalidade do ensaio é mostrar que, ao pensar o teatro sob o modelo da pintura, Diderot procura examinar a especificidadedo gênero dramático sobretudo em relação ao épico.

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21

Eroğlu, Gönül. "Cribraria lepida, Physarum dictyosporum, P. diderma, and P. spectabile newly recorded from Turkey." Mycotaxon 136, no. 4 (February 8, 2022): 853–63. http://dx.doi.org/10.5248/136.853.

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The moist chamber technique was used to obtain Cribraria lepida, Physarum dictyosporum, and P. diderma from wood or bark at different outdoor localities in Karaman Province and P. spectabile in Konya Province. These taxa are reported for the first time from Turkey.

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22

Jimack, Peter, and Georges Dulac. "Editer Diderot." Modern Language Review 86, no. 3 (July 1991): 723. http://dx.doi.org/10.2307/3731069.

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23

Saada, Anne. "Diderot revisité." Actes de la recherche en sciences sociales 123, no. 3 (June 1, 1998): 95–100. http://dx.doi.org/10.3917/arss.p1998.123n1.0095.

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24

Fowler, J. E., and Diana Guiragossian Carr. "Diderot Studies." Modern Language Review 93, no. 1 (January 1998): 226. http://dx.doi.org/10.2307/3733695.

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25

Delon, Michel. "Diderot hoje." Rapsódia, no. 15 (December 1, 2021): 05–13. http://dx.doi.org/10.11606/issn.2447-9772.i15p05-13.

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Para Diderot, foi mais difícil entrar no cânone literário e filosófico do que para Voltaire e Rousseau, pois ele sempre se expressou em reação à fala de um outro, respondendo, replicando, prolongando, transformando, sem pretensão à originalidade absoluta. Ele foi um tradutor, um plagiário inventivo, um enciclopedista que fez a cartografia de um saber sem limites, à imagem de um universo sem começo, nem fim; um pensador da relação e da transposição. Companheiro de nossas dúvidas e de nosso trabalho, ele nos oferece uma obra aberta que pede nossas próprias intervenções e transposições. O cinema, por exemplo, apoderou-se de suas ficções e se interroga sobre a passagem das palavras às imagens, do quadro ao movimento.

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26

Saada, Anne. "Diderot revisité." Actes de la recherche en sciences sociales 123, no. 1 (1998): 95–100. http://dx.doi.org/10.3406/arss.1998.3257.

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27

Vissière, Jean-Louis. "Diderot caricaturiste." Recherches sur Diderot et sur l'Encyclopédie 18, no. 1 (1995): 249–50. http://dx.doi.org/10.3406/rde.1995.1305.

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28

Bourdin, Jean-Claude, and Colas Duflo. "Diderot philosophe." Archives de Philosophie 71, no. 1 (2008): 5. http://dx.doi.org/10.3917/aphi.711.0005.

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29

Bourdin, Jean-Claude. "Diderot métaphysicien." Archives de Philosophie 71, no. 1 (2008): 13. http://dx.doi.org/10.3917/aphi.711.0013.

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30

Mota, Vladimir De Oliva. "Diderot salonnier." Discurso 45, no. 1 (August 19, 2015): 217–44. http://dx.doi.org/10.11606/issn.2318-8863.discurso.2015.102555.

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31

Guinsburg, Jacó. "Denis Diderot." Revista USP, no. 4 (February 28, 1990): 123. http://dx.doi.org/10.11606/issn.2316-9036.v0i4p123-146.

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32

Strugnell, Anthony. "Diderot Studies." French Studies 59, no. 4 (October 1, 2005): 548–49. http://dx.doi.org/10.1093/fs/kni241.

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33

Renwick, John, Roland Mortier, and Michele Mat. "Diderot et son temps: Catalogue de l'Exposition Diderot." Modern Language Review 82, no. 1 (January 1987): 203. http://dx.doi.org/10.2307/3729954.

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34

Strugnell, Anthony. "L’édition du dernier Diderot. Pour un Diderot électronique." Recherches sur Diderot et sur l'Encyclopédie, no. 43 (October 29, 2008): 176–78. http://dx.doi.org/10.4000/rde.3722.

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35

Gigandet, Alain. "La leçon des atomes. L'influence lucrétienne chez diderot." RIVISTA DI STORIA DELLA FILOSOFIA, no. 2 (May 2012): 253–66. http://dx.doi.org/10.3280/sf2012-002004.

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The lesson of atoms. Lucretius' influence in Diderot. Diderot appreciated Lucretius' poem, which was for him an early introduction to the philosophy of the ancient atomists. He probably intended the Ręve de d'Alembert, which posits the most daring hypotheses of his own philosophy of nature, to be a modern De rerum natura. However, the influence of Lucretius on the Encyclopedist appears to be complex. If Diderot clearly contradicts certain atomist theses, notably as they concern the origin of living beings, this is doubtless due to his fidelity to a profound Epicurean principle - that of the complete autonomy of natural forces - which, in his opinion, needs to be defended on new grounds. Beyond its literal statements, one can thus follow in the Ręve the principal intelligible frameworks characteristic of the De rerum natura, as well as a poetic mode of writing inspired by Lucretius and intended to arouse the speculative imagination. Mots-clé: Diderot, Lucrčce, épicurisme, atomisme, matičre, philosophie naturelle, sensibilité, transformisme

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36

Gasse-Houle, Magali. "Les natures mortes de Chardin : l’échec de l’écriture dans les Salons de Diderot." Études françaises 40, no. 3 (December 20, 2004): 151–65. http://dx.doi.org/10.7202/009741ar.

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Résumé Dans les Salons de Diderot, il y a quelques tableaux où se bute l’écriture, où la parole est mise en échec. Il y a un peintre, un peintre très admiré, devant les oeuvres duquel la verve de Diderot se tarit. Et ce peintre est Chardin. Certes on peut affirmer que Diderot a développé tout un savoir pictural grâce à Chardin, le tapissier, savoir qui aura enrichi les Salons. Mais qu’a dit, en vérité, Diderot sur les natures mortes de Chardin, presque rien. En fait, ses commentaires, partant de la simple énumération des choses représentées sur la toile, puis de l’étude de la singulière manière du peintre, de son « faire », se révèlent impuissants à expliquer la véritable beauté des oeuvres. C’est donc ce mouvement de l’écriture vers un inévitable silence de la peinture qu’il s’agissait de tracer, mouvement qui passe des objets au « technique », et qui se perd, enfin, dans l’homme, l’homme Chardin…

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37

Vitez, Primož. "La prise de la parole dans Les Contes philosophiques de Diderot." Acta Neophilologica 53, no. 1-2 (November 27, 2020): 231–43. http://dx.doi.org/10.4312/an.53.1-2.231-243.

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Tous les contes de Diderot, et la plupart de ses romans, fonctionnent comme du théâtre latent. En outre, Diderot se lit comme un auteur qui a réussi à unir en sa personne le don de dire de la philosophie et celui de raconter des histoires. Il y a plus d'une voie pour un humaniste de parvenir à une interprétation du monde social. Certains textes de Diderot sont explicitement le fruit d'une réflexion philosophique, d'autres excellent en un artisme authentique – ce qui a valu à Diderot la réputation de l'un des écrivains les plus dialogiques du dix-huitième siècle européen. Les deux énergies créatrices se trouvent réunies dans ses courtes histoires, écrites entre 1768 et 1774. Ces textes s'entendent comme philosophiques parce qu'ils s'ouvrent sur des dilemmes éthiques fondamentaux: ils se destinent à donner la parole à l'individu quand celui-ci se trouve confronté à l'arbitraire de la loi ou à celui de l'opinion publique.

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38

Stephenson, Steven L., Rodney D. Seppelt, and Gary A. Laursen. "The first record of a myxomycete from subantarctic Macquarie Island." Antarctic Science 4, no. 4 (December 1992): 431–32. http://dx.doi.org/10.1017/s0954102092000634.

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Myxomycetes (plasmodial slime moulds) are best known from temperate and boreal forests, where they are commonly found in association with decaying coarse woody debris and leaf litter on the forest floor (Martin & Alexopoulos 1969). There have been only a few reports of myxomycetes from either the continent of Antarctica or the subantarctic islands. In what apparently represents the first record of a myxomycete from the south polar region, Horak (1966) described a new species, Diderma antarcticolum Horak, from material collected on the Antarctic Peninsula (64°53′S, 62°53′W). Later, Ing & Smith (1980,1983) reported Didymium dubium Rost., Lamproderma arcyrioides (Sommerf.) Rost., Stemonitopsis (Comatricha) subcaespitosa (Peck) Nann.- Brem. and Diderma niveum (Rost.) Macbr. from South Georgia (54–55°S, 36–38°W). They also indicated that the latter species was known from Signy Island, South Orkney Islands (60°43′S, 45°36′W) and the Antarctic Peninsula (65°16′S, 64°08′W) as well as South Georgia.

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Stephenson, Steven L., and John D. L. Shadwick. "Nivicolous myxomycetes from alpine areas of south-eastern Australia." Australian Journal of Botany 57, no. 2 (2009): 116. http://dx.doi.org/10.1071/bt09022.

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Nivicolous myxomycetes were collected from alpine areas of south-eastern Australia during the period of middle to late October 2004. Most collections came from the high-elevation area around Mount Kosciuszko, the highest peak on the continent at 2228 m, in the Snowy Mountains of New South Wales, and additional collections were obtained from two areas, Mount Buller and Mount Hotham, in the Victorian Alps of northern Victoria. Approximately 300 collections were obtained during a period of 2 weeks, including species such as Diderma alpinum, Didymium dubium, Lamproderma ovoideum, Physarum albescens and P. alpinum, not previously known to occur in mainland Australia. Lamproderma maculatum and L. zonatum were collected for the first time in the southern hemisphere, and another species of Lamproderma was described as new to science in a previous paper. In contrast to most other areas of the world where nivicolous myxomycetes have been studied, species of Diderma have been represented poorly among the collections from Australia.

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Buyck, B. "The Diderma spumarioides-globosum Complex (Myxomycetes)." Bulletin du Jardin botanique national de Belgique / Bulletin van de National Plantentuin van België 58, no. 1/2 (June 30, 1988): 169. http://dx.doi.org/10.2307/3668407.

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Ukkola, Tarja, and Marja Härkönen. "A noteworthy Diderma species from Tanzania." Karstenia 41, no. 1 (2001): 25–29. http://dx.doi.org/10.29203/ka.2001.375.

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Novozhilov, YK. "New species of Diderma from Vietnam." Mycosphere 5, no. 4 (2014): 554–64. http://dx.doi.org/10.5943/mycosphere/5/4/8.

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Pimenta, Pedro Paulo. "Metafísicas da natureza na época das luzes (Diderot, D’Alembert, Buffon)." Literatura e Sociedade 22, no. 25 (June 5, 2018): 140–52. http://dx.doi.org/10.11606/issn.2237-1184.v0i25p140-152.

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Trata-se de examinar a concepção de Natureza em Diderot de modo a mostrar a redefinição desse conceito em algumas passagens de sua obra, culminando com o Sonho de d'Alembert. Para tanto, são mobilizados, além de textos do próprio Diderot, também escritos de seus contemporâneos, Buffon e d’Alembert.

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Miśkiewicz, Anna, and Anna Drozdowicz. "The new site of Diderma deplanatum and Diderma chondrioderma in the Pogórze Wiśnickie Region (S Poland)." Acta Mycologica 34, no. 2 (August 20, 2014): 299–304. http://dx.doi.org/10.5586/am.1999.019.

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The new site of two myxomycetes rare in Poland: <i>Diderma deplanatum</i> Fr. and <i>D. chondrioderma</i> (de Bary et Rostaf.) G. Lister is reported. They were found in the Bukowiec reserve, the Pogórze Wiśnickie Region.

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Bocquillon, Michèle. "La métamorphose (ou la vision) de Denis Diderot." Hors dossier, no. 73 (September 28, 2004): 117–35. http://dx.doi.org/10.7202/009121ar.

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Résumé Diderot se pose en rival de Greuze dans le commentaire du tableau Jeune fille envoyant un baiser […] (Salon de 1765). En effet, Diderot repeint le tableau sur la toile de ses affects et de cette création fantasmatique surgit son désir pour la jeune fille à laquelle il s’identifie. Il voudrait l’ « absorber », mais se laisse lui-même « absorber » par la scène et s’insinue ainsi de l’autre côté du cadre. Fidèle au principe de la ligne ondoyante qui est, selon lui, signe de vie, Diderot, tel « le serpent qui vit », se coule par l’entremise de la caresse de son regard sur le corps féminin. La jeune fille, quant à elle, manipule de façon suggestive une lettre qu’elle vient de recevoir, lettre dont Diderot néglige toute la portée. En effet, cette lettre est le substitut du rival réel et invisible de Diderot : celui qui, au-delà de la position du spectateur dans l’espace, se trouve suspendu au bout du regard de la jeune femme, qui est le seul être qu’elle daigne regarder. Cette lettre palpée de manière significative en dit long sur son désir à elle (elle-même objet de désir) qui est « hors d’oeuvre » : la lettre devient à la fois métonymie du corps absent de l’aimé et métaphore de son corps à elle, présent dans toute la force de son désir.

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Moscovici, Claudia. "Diderot' Salons: Lucidity and Passion in Art and Criticism." Hiperboreea A1, no. 11 (January 1, 2012): 21–26. http://dx.doi.org/10.5325/hiperboreea.1.11.0021.

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Abstract Dacă opera lui Diderot „Les Salons” reprezintă încă o lectură plăcută, acest lucru se datorează în mare parte tonului conversațional, inflexiunilor umoristice și teatrale — toate calități retorice și personale care, în general, condimentează scrisul lui Diderot. Autorul ilustrează argumentele sale despre frumusețe cu descrieri vii de tablouri, descrieri ce în sine sunt condimentate cu anecdote personale neașteptate, dar relevante. În „Salonul” din 1767, de exemplu, Diderot explică atitudinea sa de critic comparând-o cu atitudinea sa ca iubit. Criticând două dintre tablourile din posesia sa, el dorește să convingă cititorii că le poate evalua cu onestitate în ciuda faptului că îi aparțin și că ține la ele. După ce descrie tablourile, el se axează pe micile imperfecțiuni. Nu pentru că el consideră aceste tablouri importante sau imperfecțiunile majore, dar pentru că el dorește să demonstreze atitudinea propice esteticii. Chiar și atunci când un critic iubește o lucrare de artă, Diderot sugerează, el trebuie să o vadă din perspective multiple, pe cât de complet și clar poate el.

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Da Silva Façanha, Luciano, and Mário Bertony Ribeiro Costa. "Uma apreciação dos Ensaios sobre a Pintura de Diderot." Revista DIAPHONÍA 4, no. 1 (June 29, 2018): 29–36. http://dx.doi.org/10.48075/rd.v4i1.19797.

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Apresentar o filósofo Denis Diderot como o criador da disciplina Crítica de Arte em pleno século XVIII. As apreciações de Diderot se encontram em pleno desenvolvimento, mesmo que apenas de forma incipiente se verifique as características de uma crítica mais formal. A forma literária é um dos grandes achados do filósofo. Se as obras artísticas sempre foram objeto de juízos de valor, a justificação dessa nova função, a do crítico, corresponde a uma necessidade de reconhecer seu caráter, dentre outros, de mediador entre artistas e fruidores. Destarte, não há em Diderot, em seus Ensaios sobre a pintura, qualquer constrangimento acerca da possibilidade ou não de dissertar acerca das obras de seus contemporâneos ou suas credenciais para tal empreitada.

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Alonso, Bruno. "Arte e virtude em Montaigne e Diderot." Griot : Revista de Filosofia 19, no. 3 (October 15, 2019): 156–65. http://dx.doi.org/10.31977/grirfi.v19i3.1226.

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Montaigne e Diderot foram filósofos, humanistas e defensores de um ceticismo crítico. Seus escritos se caracterizam por um estilo de escrita fluído, privado e cômico. Em Diderot vemos um filósofo dramaturgo, autor e crítico de peças teatrais. Em Montaigne um filósofo não acadêmico, um magistrado avesso ao perfeccionismo da filosofia escolástica, que instaurou um novo estilo de escrita. Há um traço em comum na forma como ambos compreendem a filosofia. Para Montaigne e Diderot, ética e estética são dois domínios da filosofia que possuem uma estreita relação. A obra de arte é um elemento essencial que possui o poder de despertar o espírito humano e conduzi-lo à vivência da verdadeira virtude.

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Zavyalova, Anna E. "Alexandre Benois and Denis Diderot." Vestnik of Saint Petersburg University. Arts 13, no. 2 (2023): 273–87. http://dx.doi.org/10.21638/spbu15.2023.204.

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The article is the first to consider the influence of the views of Denis Diderot (“Salons”) on the works of Alexandre Benois — as an art historian, first of all — on his “The History of painting of all times and peoples”. As a result of a comparative analysis of the texts by two authors, it was established that both Benois and Diderot paid the greatest attention to the works of J. B. S. Chardin, F. Boucher, C. (Sh. A.) Vanloo, J.-B. Greuze, J.Robert. It has also been established that Benois described the art of Chardin and Boucher practically in the words of Diderot. The source study analysis of Benois’s article “The Collection of Drawings by Stepan Yaremich”, as well as Benois’s “Art letters” of different years, made it possible to find out his own attitude to Busher. The source study analysis of Benois’s memoirs “My Memories” and the work of R. Muther “The History of Painting in the 19th Century” made it possible to find out the source of Benois’s negative assessment of narrative and edifying in the art of Dreams — precisely those qualities that Diderot especially appreciated in the works of this artist. Comparative analysis of the text of Benois’s article “On Narrative in Painting”, his work “History of Russian Painting in the 19th Century” with the text of “Salons” by Diderot made it possible to find out that Benois used at the beginning of his activity the Diderot’s method of an expanded description.

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López-Villalba, Á., G. Moreno, and M. Tapia. "Nivicolous myxomycetes from the Navarran and French Pyrenees." Mycotaxon 137, no. 2 (July 15, 2022): 359–69. http://dx.doi.org/10.5248/137.359.

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Twenty-six collections of myxomycetes are reported from localities in northern Spain and southern France, representing nine species: Diderma alpinum, D. europaeum, D. fallax, D. meyerae, Lamproderma ovoideum, L. sauteri, Lepidoderma peyerimhoffii, Meriderma echinulatum, and Physarum vernum. The LM and SEM micrographs included illustrate the most representative characters of each species.

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