Relevant bibliographies by topics / Figurini

Academic literature on the topic 'Figurini'

Author: Grafiati
Published: 10 March 2023

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Journal articles on the topic "Figurini"

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Sunčič, Maja. "Simulacrum ljubezni." Keria: Studia Latina et Graeca 5, no. 2 (December 6, 2003): 85. http://dx.doi.org/10.4312/keria.5.2.85-96.

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Žalovanje zaradi odsotnosti ljubljene osebe pri Admetu in Laodameji povzroči postopno razpadanje, zato si izmislita figurico izgubljene osebe. Nadomestek nudi hladno ugodje, hkrati pa Admeta in Laodamejo ogroža, saj sta soočena z dejstvom, da je figurica ljubljene(ga) zgolj utvara. Spol pomembno določa razplet, saj je Alkestidin simulacrum obenem talisman, medtem ko Laodamejo spoznanje utvare prisili v samomor, ker ji kot ženski nadomestek ne zadostuje. Spolna delitev vpliva tudi na funkcijo figurice kot fetiša oziroma kot dobrega objekta, saj družba moškemu nadomestku ne odreka, medtem ko ga ženski vzamejo in uničijo. Figurica predstavlja materializacijo nevidne ljubljene osebe, ki začasno omogoči, da se Laodameja in Admet z ljubeznijo ubranita pred smrtjo.
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Viana, Fausto, and Rosane Muniz. "Figurino: os figurinos em Bollywood." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 3, no. 7 (February 7, 2009): 23. http://dx.doi.org/10.26563/dobras.v3i7.251.

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Bollywood é o apelido da indústria mais forte do cinema indiano. Ainda que não seja a única nem esteja restrita a apenas um local, o nome Bollywood tem sua origem a partir da cidade onde se concentra a indústria de cinema de língua hindi – Bombaim (atualmente chamada de Mumbai) – e Hollywood, distrito da cidade de Los Angeles, notável pela concentração mundial de empresas da área cinematográfica. Apesar de parecer que Bollywood é uma indústria nova, seguidora da prima americana, que se iniciou no começo do século XX, não é bem assim: o termo foi cunhado na década de 1970, quando a produção de filmes em Bollywood atingiu o recorde de maior produção mundial de títulos por ano (...)
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Halperin, Christina T. "TEMPORALITIES OF LATE CLASSIC TO POSTCLASSIC (ca. AD 600–1521) MAYA FIGURINES FROM CENTRAL PETÉN, GUATEMALA." Latin American Antiquity 28, no. 4 (October 2, 2017): 515–40. http://dx.doi.org/10.1017/laq.2017.38.

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Maya figurine styles from the Late Classic to Postclassic periods (ca. AD 600–1521) from central Petén, Guatemala undergo an abrupt change at the Terminal Classic-Postclassic transition (ca. AD 830–1000). Despite the intimate association of figurines with households, such shifts parallel those on stone monuments and decorated vessels, underscoring the role of figurines in processes of political upheaval. Documenting figurine chronologies over broad periods of time, however, tells us little about how people in the past may have experienced temporal changes. Thus, in concert with a focus on figurine chronologies, this article explores the temporalities of figurines as manifested through their discard, the simultaneous experience of old and new figurine styles, and tensions between personal and monumental time.
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Porčić, Marko. "A tentative attempt to estimate the systemic number of the Late Neolithic Vinča culture figurines." Issues in Ethnology and Anthropology 6, no. 3 (September 5, 2011): 729–41. http://dx.doi.org/10.21301/eap.v6i3.11.

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In this paper an attempt is made to estimate the number of figurines which were in "use" in households of the Late Neolithic Vin!a culture. The number of accumulated figurines and houses is used as a starting point. Given the complexities of the settlement dynamic, figurine use and the formation processes of the archaeological record, the ratio of the number of accumulated of figurines to the number of accumulated houses is only an indirect reflection of the systemic number of figurines. Different figurine use scenarios are evaluated in order to see what the result would be. Keeping in mind that the entire analytical procedure is highly speculative and the range of tested models is far from exhaustive, the results suggest that scenarios resting on the assumption that there was a single figurine per household and that the average use-life of the figurine was equal to the average human generation length predict outcomes that are comparable to the actual archaeological situation.
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Ginsburg, Harvey J., Shirley M. Ogletree, Tammy D. Silakowski, Roger D. Bartels, Shannon L. Burk, and G. Marc Turner. "YOUNG CHILDREN'S THEORIES OF MIND ABOUT EMPATHIC AND SELFISH MOTIVES." Social Behavior and Personality: an international journal 31, no. 3 (January 1, 2003): 237–43. http://dx.doi.org/10.2224/sbp.2003.31.3.237.

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Young children's prosocial behaviors may be motivated by empathy. Forty-one 36–66 month-old children were actively involved with a pipe cleaner figurine play scenario. One figurine appeared distressed at an alarm sound. The other figurines simultaneously terminated the alarm, expressing either empathic or selfish motives. Twenty-four participants (58.5%) correctly pointed at the empathic and selfish figurines, and correctly restated their motives. Of these, 50% (12) consistently predicted empathic or selfish figurines' motives and actions in 3 other situations. Linear regression analyses indicated children’s theories of mind about others' selfish and empathic motives predicted preferences for snack sharing with the empathic figurine (R2 = .690, p < .001) and empathically helping a friend in distress (R2 = .702, p < .001).
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Cline, Eric H. "Monkey Business in the Bronze Age Aegean: The Amenhotep II Faience Figurines at Mycenae and Tiryns." Annual of the British School at Athens 86 (November 1991): 29–42. http://dx.doi.org/10.1017/s0068245400014878.

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Two small blue frit monkey figurines inscribed with the cartouche of Amenhotep II have been found in Late Bronze Age contexts at Mycenae and Tiryns in Mainland Greece. The questions of the findspot of the Mycenae figurine and of an Egyptian or a Syrian origin for the Tiryns figurine are addressed. The usefulness of the two figurines for chronological studies and possible explanations for their purpose and presence in Mainland Greece are also addressed. Other occurrences of monkey figurines, amulets, and representations in the Bronze Age Aegean are included for comparative purposes.
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Tetenkin, A. V., O. V. Zhmur, E. I. Demonterova, E. V. Kaneva, and N. V. Salnaya. "Ivory Figurines and the Symbolic Context of a Paleolithic Dwelling at Kovrizhka IV on the Lower Vitim River, Eastern Siberia." Archaeology, Ethnology & Anthropology of Eurasia 46, no. 4 (December 23, 2018): 3–12. http://dx.doi.org/10.17746/1563-0102.2018.46.4.003-012.

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One of the most important recent discoveries made on the Vitim River (Baikal-Patom plateau, Eastern Siberia) is that of a Paleolithic dwelling at Kovrizhka IV, layer 6. It reveals markers of symbolic activity, such as two anthropomorphic ivory figurines. They were associated with a likewise non-utilitarian context: reiterating boulder and slab pavements, ocher on lithics, on a figurine, and around, evidence of manipulations with the central hearth in the dwelling. One of the figurines shows a triangle pointing downward and possibly rendering the pubes, as in female figurines. Stylistically it resembles Neolithic and Bronze Age anthropomorphic figurines from the Baikal area. Its head, painted with ocher, was directed eastwards. The second ivory figurine has a contour barely reminiscent of the human body. There is no engraving on it. Near its head, a cluster of ocher pieces was found. The radiocarbon date of the dwelling is ca 15.7 ka BP. The two figurines and a fragment of a graphite pendant are the first objects of portable art to be found in the area north of Lake Baikal. The first figurine is thus far the only unambiguously anthropomorphic Upper Paleolithic representation from northeastern Siberia.
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Triadan, Daniela. "Warriors, Nobles, Commoners and Beasts: Figurines from Elite Buildings at Aguateca, Guatemala." Latin American Antiquity 18, no. 3 (September 2007): 269–93. http://dx.doi.org/10.2307/25478181.

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Figurines and figurine fragments excavated at Aguateca, Petén, Guatemala, have unprecedented contextual information. Because the site's epicenter was rapidly abandoned, we have recovered whole and reconstructible figurines from floor contexts in elite residences. In contrast to most Maya sites, these figurines are part of assemblages that were in use or storage when the structures were abandoned, providing a unique opportunity to investigate their function and use. In addition, numerous figurine fragments were recovered from middens associated with these structures. In conjunction with the figurines found on floors, these fragments point to a domestic use of the figurines. The distributions of the in situ figurines in the elite residences suggest that they were used and possibly made by the women of these households. The study of this data set contributes to our understanding of Late Classic elite household activities and social and gender roles. A preponderance of male figurines, many of them warriors, may be related to this center's frequent engagements in warfare.
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Blomster, Jeffrey P. "WHAT AND WHERE IS OLMEC STYLE? Regional perspectives on hollow figurines in Early Formative Mesoamerica." Ancient Mesoamerica 13, no. 2 (July 2002): 171–95. http://dx.doi.org/10.1017/s0956536102132196.

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To understand better the significance of the Olmec style and its implications for Early Formative interregional interaction within Mesoamerica, one particular type of artifact—the hollow figurine—is examined. A definition of the Olmec style is provided based on Gulf Coast monumental art. One of several contemporaneous hollow-figurine types—“hollow babies” (Group 1)—is consistent with a Gulf Coast–based definition of the Olmec style. Fragments of Group 1 hollow figurines from across Mesoamerica are examined, revealing concentrations at a Gulf Coast center and, to a lesser extent, sites in southern Mexico. Rather than the primarily funerary function previously suggested for these objects, contextual data suggest multivalent meanings and functions. Group 2 figurines are related but different; variation appears in both the distribution of Group 2 fragments across Mesoamerica and their use. Available evidence suggests limited access to hollow figurines of both groups compared with contemporaneous solid figurines. A previous assertion that “hollow babies” were primarily produced and consumed in Central Mexico is rejected, and the significance of the differences among these hollow-figurine types is considered.
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Begun, Erica. "THE MANY FACES OF FIGURINES." Ancient Mesoamerica 19, no. 2 (2008): 311–18. http://dx.doi.org/10.1017/s0956536108000412.

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AbstractFigurines offer archaeologists intriguing insights into many aspects of prehistoric culture. Beyond their utility as chronological markers, figurines offer information regarding the social and cultural structures of a society. This paper will demonstrate how the figurines of Michoacan can be used as markers of ethnic identity and ethnic continuity in the Lake Patzcauro Basin. The high degree of continuity in decorative and production styles throughout much of the sequence serves as evidence for ethnic continuity and the identity of the people who made the artifacts. A preliminary typology for the Michoacan figurines is presented to support the idea that a distinctly Michoacan style of figurine exists. The application of this figurine typology reveals a high degree of continuity in the figurine record. This supports the hypothesis that the ethnic origins of the Michoacan people may reach back as far as the Late Preclassic/Early Classic period.
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Dissertations / Theses on the topic "Figurini"

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Carrer, Beatrice <1992&gt. "I figurini per i costumi nelle opere di Gioachino Rossini. Le collezioni milanesi." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10508.

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La tesi ha come obiettivo quello di offrire uno studio iconografico sui figurini per i costumi nelle opere di Gioachino Rossini presenti nelle collezioni milanesi. Il periodo considerato è quello della prima metà dell'Ottocento. La ricerca inizia dando una panoramica alla cultura dell'epoca, per poi passare ai cenni biografici di Gioachino Rossini e alle sue opere liriche. Viene poi dato uno sguardo al mondo scenografico del periodo a Milano per concludere con lo studio dei figurini e delle stampe.
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Aragon, Leslie D. "Figuring Out Figurines: An Ontological Approach to Hohokam Anthropomorphic Figurines from the Phoenix Basin." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/293745.

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Anthropologists, and increasingly archaeologists, are using the word 'ontology' with escalating frequency. In Philosophy, where it originated, several subdivisions exist within the discipline, all of which deal with grouping things that exist into categories. What can archaeologists learn by taking this concept from philosophy and applying it to archaeology? Further, how do we recognize the ontologies of others, particularly those who did not leave a written record, in the archaeological record? The way that people categorize things plays a role in how they are disposed. Patterns in depositional practices emerge as visible traces in the archaeological record that allow us to recognize other people's ontologies. This is an important concept for archaeologists interested in addressing prehistoric value, since the value of a given object cannot be assessed without knowing how people in the past categorized things. In my work with anthropomorphic Hohokam figurines from the Phoenix Basin, I use an ontological approach to explore the life histories of figurines from their manufacture, through deposition in the archaeological record, and subsequent excavation in modern times. I then compare the figurine assemblage from recent excavations at La Villa (AZ T:12:148[ASM]) to see how it fits in the identified pattern.
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Conceição, Daniela Águas Campos da. "O figurino na ficção cinematográfica. Adrian e Colleen Atwood. Design de figurinos." Master's thesis, Faculdade de Arquitectura de Lisboa, 2010. http://hdl.handle.net/10400.5/2990.

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Tese de Mestrado em Design de Moda
O cinema e a moda sempre estiveram relacionados, são vários os criadores de moda que prestaram contributo para figurinos no cinema, assim como, os figurinistas que inspiraram tendências no mundo da moda. No entanto um designer de moda não é um figurinista, embora ambos lidem com vestuário operando de formas comparáveis, a finalidade é sempre para alcançar intenções e objectivos distintos e específicos. Interessa portanto apurar o papel do figurino nas suas condicionantes cinematográficas, para além daquelas que decorrem do design de moda e que condicionam o seu projecto. Os figurinos desempenham uma função muito importante na ficção cinematográfica, em conjunto com outros elementos que a compõem. Revela-se necessário entender como todos os elementos visuais e também psicológicos operam, para criar uma ligação entre o cinema e o figurino, de modo a analisar esse valor e contexto. Nos estudos de casos são analisados em particular o trabalho de dois importantes designers de figurinos para o cinema, Adrian e Colleen Atwood, numa análise pormenorizada de alguns dos filmes em que colaboraram. Ambos pertencem a períodos diferentes da história e possuem em comum, para além da profissão, terem sido os responsáveis por diversos filmes do género de fantasia. Adrian para The Wizard of Oz (1939) e Colleen Atwood na interpretação do imaginário, tão peculiar, do cineasta Tim Burton, nos figurinos de alguns filmes que projectou, todos do género fantástico. A escolha destes dois designers não foi arbitrária, pretendeu-se que fossem analisados figurinos pertencentes a relatos históricos diferentes no cinema, neste caso, o cinema clássico e o cinema contemporâneo, para que se possam analisar as componentes que o avanço histórico apresentou. Com esta investigação pretende-se, portanto, mostrar como o design de figurinos funciona no cinema, quais as suas ferramentas e metodologias e como se relaciona com as outras condicionantes e técnicas do universo cinematográfico. Procura-se o seu contributo para o resultado final na narrativa ficcional na construção de personagens, ambientes e emoções.
Cinema and fashion were always related so that several fashion designers provided contributions in the movies, as well as the costume designers who inspired trends in the fashion world. However, a fashion design is not the same as a costume designer, though both deals with clothing operating in comparable ways, the purpose is always to achieve distinct and specific aims and purpose. It is essential to determine the role of a costume in its film constraints other then those arising out of fashion design which condition their project. Costumes play a very important role in the cinematic fiction along with other elements that compose it. It is necessary to understand how all the visual elements and also psychological operate to create a connection between cinema and costume in order to analyze the value and context. In the case studies are analyzed in particular the work of two important designers of costumes for the film, Adrian and Colleen Atwood, in a detailed analysis of some of the films in which they collaborated. Both belong to different periods of history and have in common, beyond the profession, having been responsible for several films of the fantasy genre. Adrian for The Wizard of Oz (1939), directed by Victor Fleming, Colleen Atwood in the interpretation of the imagery, so peculiar, of the film director Tim Burton, in the costumes of some films she designed, all belonging to the fantasy genre. The choice of these two designers was not arbitrary, it was intended that would be analyzed costumes belonging to different historical accounts in the cinema, in this case, the classic and contemporary cinema, so we can examine the components that made the historic breakthrough. With this investigation is aimed, therefore, show how the design works in film costumes, what are their tools and methodologies and how they relate to other restrictions and techniques of film universe. It seeks to know its contribution to the final result in fictional narrative in the construction of characters, settings and emotions.
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Soares, Kárita Garcia. "Figurino fora de cena: um estudo sobre a constituição de acervos de figurinos teatrais." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/7493.

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Cette dissertation nous présente une investigation autour de la constitution de fonds de costumes de théâtre chez Goiânia, à partir de l'analyse de la manière comme des groupes et d'autres producteurs scéniques s'organisent et se positionnent actuellement face à la thématique. La recherche veut la compréhension des possibles motivations et implications qui ont de la relation avec la formulation d'espaces dédiés au stockage de costumes de théâtre portés aux spectacles scéniques, spécialement dans le contexte de la capitale de l'État de Goiás. On voit que de tels espaces peuvent acquérir des caractéristiques diverses d'accord aux nécessités, désirs, et conditions structuraux et financiers de ceux qui se prédisposent à les organiser. Dans ce sens, à partir de la recherche bibliographique et de terrain - la deuxième comprise dans la réalisation de sept entretiens semi-directifs avec des différents professionnels et représentants du théâtre à Goiânia -, on trace des compréhensions conceptuelles et historiques du costume de théâtre et du théâtre chez Goiânia, ce qui indique une réalité dans laquelle le costume de théâtre est, de plus en plus, réfléchi avant, durant et après la scène.
Esta dissertação apresenta uma investigação acerca da constituição de acervos de figurinos teatrais na cidade de Goiânia. Para tanto analisa o modo em que grupos e outros realizadores cênicos vêm atualmente se organizando e posicionando acerca da temática. Busca-se a compreensão das possíveis motivações e implicações que se vinculam à formulação de espaços dedicados à armazenagem de figurinos utilizados em espetáculos cênicos, especialmente no contexto vivenciado na capital goiana. Nota-se que tais espaços podem adquirir características diversas de acordo com as necessidades, os desejos e as condições estruturais e financeiras daqueles que se predispõem a organizá-los. Com base em pesquisa bibliográfica e de campo, sendo a segunda expressa na realização de sete entrevistas semiestruturadas com diferentes profissionais e representantes do teatro da capital goiana, traçam-se compreensões conceituais e históricas do figurino e do fazer teatral em Goiânia, assinalando uma realidade na qual o figurino é, cada vez mais, refletido antes, durante e após a cena.
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Dias, Denise Helena Rutkowski. "A arte da concepção do figurino : um estudo de caso dos diferentes figurinos utilizados nas adaptações do livro orgulho & preconceito." Master's thesis, Universidade da Beira Interior, 2012. http://hdl.handle.net/10400.6/1707.

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Este estudo pretende analisar a função do figurinista no desenvolvimento de um “guarda roupa” direcionadas ao cinema e televisão e sua relação com a moda da época. Com este objectivo foram pesquisados os fatos históricos para avaliar a relação entre a história e as tendências do design de moda da época e o figurino, como signo fundamental em uma comunicação não –verbal. Numa primeira fase o estudo baseou-se numa pesquisa teórica e na segunda parte, numa componente de análise de três obras cinematográficas baseados na obra literária “Pride and Prejudice”, identificando a amplitude pela qual a narrativa visual está inserida e suas inúmeras possibilidades. A realização desta análise baseou-se na investigação feita de experiência de profissionais figurinistas, através de livros, relatos e entrevistas já existentes. A vertente teórica fundamenta-se em historiadores de moda e autores direcionados ao estudo da comunicação visual, como Umberto Eco. A investigação possibilitou a compreensão aprofundada da complexidade do processo de concepção do figurino e a sua ligação com o telespetador, isto porque os meio de comunicação influenciam a vida do indivíduo, seja no modo de vestir ou se comportar. Permitiu também concluir a influência que das tendências de moda de uma determinada época exercem na realização do “guarda roupa” realizado pelo figurinista, bem como as influências que determinadas tendências de moda usadas em cinema e filmes podem transpor-se para a sociedade do consumidor pelo sucesso obtido perante o olhar do indivíduo.
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Rodrigues, Fernanda Junqueira. "Do figurino cenico ao figurino de moda : a modernização do figurino nas telenovelas brasileiras." [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284038.

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Orientador: Maria Lucia Bueno Ramos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A transformação do modo de produção na composição dos figurinos das telenovelas brasileiras guardou estreitas relações com o processo de modernização capitalista no Brasil dos anos 70 e também com a transformação das narrativas melodramáticas. A introdução de elementos da moda contemporânea, a partir do ano de 1973 - com a entrada da figurinista Marília Carneiro na TV Globo -, reflete uma modernização do gênero melodramático, com a aproximação às temáticas cotidianas assim como também a profissionalização e racionalização do fazer artístico. Esse trabalho propõe a investigação sobre esse processo de transição no modo de produção e caracterizações das personagens ficcionais - cuja composição passou das oficinas de costuras às lojas de rua - a reflexão sobre o poder das telenovelas brasileiras em lançarem novas modas e suas possíveis relações com as matrizes da cultura popular.
Abstract: The transformation of the mode of production in the costumes composition in Brazilian telenovelas has maintained close relationship with the process of capitalist modernization during the 70th years in Brazil. This is also true for the transformation of the melodramatic narratives. From 1973 elements of contemporary fashion were introduced - when costume designer Marília Carneiro joined TV GLOBO - which reflects modernization of the melodramatic genre. This genre approaches to the everyday thematic, with the professionalization and rationalization of artistic creation process. This paper proposes an investigation about this transition process in the mode of production and characterization of fictional characters - whose composition moved from the costume fashion workshops to street shops - and a reflection about the power of Brazilian telenovelas in launching new trends and their possible relationship with matrices of popular culture.
Mestrado
Mestre em Multimeios
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Morin, Molly C. "Figuring the digital." Connect to this title online, 2007. http://etd.lib.clemson.edu/documents/1202500343/.

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Hanly, Peter Charles. "Figuring the Between." Thesis, Boston College, 2013. http://hdl.handle.net/2345/3770.

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Thesis advisor: John Sallis
This dissertation is an attempt to describe parallels and convergences between the work of Martin Heidegger and that of the poet and philosopher of the Jena Romantic period Friedrich von Hardenberg, known also as Novalis. The fact that little attention has been given to the consideration of their relationship is undoubtedly owing to the fact that there is no sustained address to the work of the Jena Romantics in Heidegger's writing. However, the question of their relation merits reflection because of the insistence with which, albeit in a marginal way, Heidegger returns again and again in his work to fragments of Novalis. These fragments often seem to operate in Heidegger's lectures as something like stepping-stones, or guide-posts that mark a particular turn in the direction of the argument. Following one such quotation, Heidegger remarks that he "does not want to provoke and argument over the authority of this witness." However, it is indeed as "witness," and also in a certain sense as "authority" that Novalis is more often than not introduced. The question, then, is: what kind of authority? And to what is this authority called upon to bear witness? This question is rendered more substantial by the fact that these curious and marginal appearances of the Jena Romantic poet and philosopher take place in Heidegger's work over a period of forty years, from 1916 to 1959. More intriguing still, though, is that - when viewed together - these appearances attest to a strong ambivalence on Heidegger's part. On the one hand, a fragment of Novalis might be presented as an extraordinary "flash of insight" that presages unforeseen directions in philosophical thinking. On the other hand, these insights are also sometimes subject to summary judgment, dismissed by virtue of a broad and rather sweeping association with Hegel. Thus, it might be said that a kind of mystery hovers around this presence, a sense of both attraction and resistance. Following one such moment, indeed, and after having quoted Novalis' Monologue in its entirety, Heidegger writes: "Much remains dark and confusing in this monologue of λόγος, especially as he thinks in another direction and speaks in another language than the one attempted in these lectures." Still more than marking points of convergence, then, this project is dedicated to an attempt to shed light on this "dark and confusing" difference. To that end, the first part of the essay will engage Novalis' own extraordinary philosophical project; a project that involves an endeavor not merely to ponder the relations between philosophy and poetry, but to effect a complete elision of their distinction, and to offer to them thereby the thought of an entirely new meeting-ground. The essay will trace out the philosophical origins of this endeavor, and try to show how the thinking engendered in those origins flourishes to produce a unique conception of the relations between the natural world and the language we use to describe it. The second part of the essay will, by contrast, engage Heidegger, in an attempt to mark a terrain in which aspects of his work can be seen to come into close proximity with the thought of the Jena Romantics, often in quite unexpected and unpredictable ways. These considerations will operate along two axes. On the one hand, an address is made to question of pain in Heidegger's work, in order to show the continuity, but also to describe the philosophical orientation and historical genesis of this thematic. Secondly, the very distinctive manner of writing and thinking that belongs to Heidegger's work of the late 1930's is addressed in light of this thematic. It will be shown that it is in these texts, and most especially in the Beiträge zur Philosophie (Vom Ereignis), that Heidegger's processes of writing offer the most striking parallels to modes of thinking that unfold in the orbit of Jena Romanticism. Finally, though, what is hazarded in this essay is not by any means a "Romantic" reading of Heidegger, and still less a "Heideggerean" reading of Novalis, but rather an endeavor to show how, and to what extent, the thinking of both Heidegger and Novalis converge in taking their orientation, in very different ways, from the historical appropriation of a decisive moment in Greek thought, namely one particular thought that belongs to the fragments of Heraclitus
Thesis (PhD) — Boston College, 2013
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Philosophy
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9

Connors, Clare. "Figuring force from Nietzsche to Derrida." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527290.

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AlKhudairy, Enas A. "Destructive preservation : figuring the urban ground." Thesis, Massachusetts Institute of Technology, 2016. http://hdl.handle.net/1721.1/103424.

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Abstract:
Thesis: M. Arch., Massachusetts Institute of Technology, Department of Architecture, 2016.
This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections.
Cataloged from student-submitted PDF version of thesis.
Includes bibliographical references (pages 146-147).
What does it mean to invert the urban fabric? When figure becomes ground, and ground becomes figure, how does a neighborhood adapt to moving from extreme privacy to communal living? Despite the complete destruction of the existing fabric, the proposition immediately disallows a Utopian, Tabula-Rasla response. Although ghosted, the idiosyncratic identity becomes even more identifiable, and somewhat nostalgic; rather than the footprints being inhabitable buildings, they become holes in the built environment that one can walk out into (ground floor courtyard) or look down into (upper floor windows/terraces). As one of the largest and most populated cities in the Middle East, the city of Riyadh is a clear example of a metropolitan city that is continuously growing in a low-density sprawl. This thesis aims to explore how we can re-imagine the city in the already-built environment as a way of densifying the fabric. Despite its metropolitan nature, importance and large population, life in the city of Riyadh is more suburban than urban, with the majority of people living in stand-alone houses. The culture of habitat has, however, begun adapting in this generation; from completely segregated stand-alone houses, to duplex houses, to gated communities, and finally moving a little bit into high-rise living. The project aims to push the slow transition into a faster trajectory towards a super-block mega-structure. Different people would come together under one larger roof, where different programs come together and pull apart. A unified plinth acts as a mediator between different kinds of traffic, different kinds of users, and different kinds of spaces, blurring the lines between public spaces, religious spaces, housing, and working environments. The whole aboveground environment becomes a pedestrian space, while a lower level of the plinth pulls vehicular traffic below ground, and creates an expansive parking and road zone
by Enas A AlKhudairy.
M. Arch.
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Books on the topic "Figurini"

1

Sironi, Mario. Mario Sironi: I figurini ritrovati. Milano: Mazzotta, 1989.

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Biggi, Maria Ida. Bozzetti e figurini dall'archivio del Teatro La Fenice, 1938-1992. Venezia: Marsilio, 1992.

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Ferraro, Carla. Rossini sulla scena dell'ottocento: Bozzetti e figurini dalle collezioni italiane. Pesaro: Fondazione Rossini, 2000.

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Fabio, Battistini, and Pirina Caterina, eds. Gli Spazi dell'incanto: Bozzetti e figurini del Piccolo teatro, 1947-1987. [Italy]: Silvana, 1987.

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Isabella, Bigazzi, Todros Rossella, Università di Firenze, and Biblioteca marucelliana, eds. Via col valzer: L'abito da ballo nei figurini del Fondo Gamba, 1850-1870. Firenze: Aida, 2009.

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Bigazzi, Isabella. Via col valzer: L'abito da ballo nei figurini del Fondo Gamba, 1850-1870. Firenze: Aida, 2009.

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Rudolf, Leppien Helmut, Carrà Carlo 1881-1966, Sironi Mario 1885-1961, and Oppo Cipriano Efisio 1891-1962, eds. Carrà, Sironi, Oppo: Al Teatro alla Scala :boszetti e figurini 1935-1957 : moztra decima. Milan :4bEd. Amici della Scala: Mercedes-Benz Italia, 1992.

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Carlo, Argan Giulio, Buzzati Dino 1906-1972, and Maccari Mino 1898-1989, eds. Maccari e Buzzati: Al Teatro alla Scala : bozzetti e figurini, 1959-1973 : mostra sesta. Milano: Ed. Amici della Scala, 1990.

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Teresa, Binaghi Olivari Maria, Brignoli Marziano, Poli Gabriella, and Archivio di Stato di Milano., eds. L' Abito civico: I corpi dell'antica provincia di Milano nei figurini dell'Archivio di Stato. [Bergamo, Italy]: Edizioni Bolis, 1991.

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Maurizio, Calvesi, and Teatro alla Scala, eds. Fontana, Veronesi, Dorazio al Teatro alla Scala: Bozzetti e figurini 1967-1981 : mostra ottava. Milano: Edizione Amici della Scala, 1991.

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Book chapters on the topic "Figurini"

1

Gybels, Elke, and Rik Prenen. "Figuring Futures." In The Solution Focused Approach with Children and Young People, 140–48. Abingdon, Oxon ; New York, NY : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429198120-20.

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Rendell, Jane. "Figuring speech." In The Routledge Companion on Architecture, Literature and The City, 385–409. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315613154-22.

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Châtelet, Gilles. "Introduction." In Figuring Space, 1–15. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-1554-6_1.

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Châtelet, Gilles. "The Enchantment of the Virtual." In Figuring Space, 17–37. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-1554-6_2.

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Châtelet, Gilles. "The Screen, the Spectrum and the Pendulum." In Figuring Space, 38–72. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-1554-6_3.

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Châtelet, Gilles. "The Force of Ambiguity: Dialectical Balances." In Figuring Space, 73–100. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-1554-6_4.

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Châtelet, Gilles. "Grassmann’s Capture of the Extension." In Figuring Space, 101–49. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-1554-6_5.

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Châtelet, Gilles. "Electrogeometric Space." In Figuring Space, 150–88. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-1554-6_6.

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Cowie, Elizabeth. "Figuring the Fetish." In Representing the Woman, 261–81. London: Palgrave Macmillan UK, 1997. http://dx.doi.org/10.1007/978-1-349-25269-5_8.

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DeBoer, Warren. "Figuring Figurines:." In Recent advances in the Archaeology of the Northern Andes, 121–28. Cotsen Institute of Archaeology Press, 1998. http://dx.doi.org/10.2307/j.ctvvh85bx.15.

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Conference papers on the topic "Figurini"

1

Klefeker, Josephine, and Laura Devendorf. "String Figuring." In CHI '18: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3170427.3188570.

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Wilson, S. R., A. C. Barron, and J. R. McNeil. "Optical Fabrication Using Ion Beam Figuring." In Optics in Adverse Envirornments. Washington, D.C.: Optica Publishing Group, 1987. http://dx.doi.org/10.1364/oae.1987.wb3.

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The application of ion beams to the figuring of optical surfaces has been examined for a number of years by several groups of investigators. The technique is generally intended to perform the final figuring of surfaces which have several optical waves of error relative to the desired figure. Until recently, ion beam figuring has not offered promise to be an efficient, practical method for figuring optics.
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Geyl, Roland, Andre Rinchet, and Emmanuel Rolland. "Large optics ion figuring." In Optical Systems Design and Production, edited by Roland Geyl and Jonathan Maxwell. SPIE, 1999. http://dx.doi.org/10.1117/12.360141.

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Drueding, Thomas W., Thomas G. Bifano, and Steven C. Fawcett. "Deconvolution Algorithm Applied to Ion Figuring." In Optical Fabrication and Testing. Washington, D.C.: Optica Publishing Group, 1994. http://dx.doi.org/10.1364/oft.1994.othb2.

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An important step in the fabrication of an optical component involves the imparting of a precise contour on the optic, which can be expensive and time consuming. Ion beam figuring is the imparting of a contour on an optical component by removing material through the impingement of a broad beam of accelerated neutral particles, and provides a highly deterministic method for the final precision figuring (or correcting) of optical components with advantages over conventional methods. The high predictability allows the possibility of single step figuring, resulting in significant time and cost savings. And unlike grinding, polishing and lapping, ion figuring is non-contacting and so avoids several problems including: edge roll off effects, tool wear, and loading of the work piece. It has previously been demonstrated that ion figuring is effective for the correcting of large optical components [1][2]. The work discussed here is directed toward the development of the Precision Ion Milling System (PIMS) at NASA's Marshall Space Flight Center, designed for the processing of smaller (8 cm diameter) optical mirrors.
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Mueller, Ulrich, Jeff Stone, Bridget G. Peters, Titus Devine, and Thomas P. Greene. "Narrow ion-beam figuring: a figuring tool that enables new optical systems solutions." In SPIE Defense, Security, and Sensing, edited by Khanh D. Pham, Henry Zmuda, Joseph Lee Cox, and Greg J. Meyer. SPIE, 2011. http://dx.doi.org/10.1117/12.884470.

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Korhonen, Tapio K., and Timo Lappalainen. "Computer-controlled figuring and testing." In Astronomy '90, Tucson AZ, 11-16 Feb 90, edited by Lawrence D. Barr. SPIE, 1990. http://dx.doi.org/10.1117/12.19236.

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Arnold, Thomas, Jens Bauer, and Fred Pietag. "Advancements in Ion Beam Figuring." In Optical Fabrication and Testing. Washington, D.C.: OSA, 2019. http://dx.doi.org/10.1364/oft.2019.om4a.6.

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Cheng, A. Y. S., J. R. P. Angel, and D. S. Brown. "Figuring with Sub-diameter Laps." In Optical Fabrication and Testing. Washington, D.C.: Optica Publishing Group, 1986. http://dx.doi.org/10.1364/oft.1986.wb1.

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The method of stressed lap polishing promises to be very powerful for figuring steep aspherics. The shape of a sub-diameter lap is changed in motion under computer control to match the desired surface shape. If this is done perfectly, the problem is reduced to that of polishing a spherical surface with a sub-diameter lap. However, this simpler process still requires considerable care, to ensure uniformity of removal and control during figuring.
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Wilson, Scott R., and John R. McNeil. "An Update on Progress in Ion Beam Figuring." In Optical Fabrication and Testing. Washington, D.C.: Optica Publishing Group, 1992. http://dx.doi.org/10.1364/oft.1992.thc1.

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Results are presented from continuing research in Ion Beam Figuring (IBF). Theoretical aspects include a model of the ion beam figuring process for optics with a large amount of sag. Experimental aspects include results of aspherization of plane and f/1 spherical reflective optics. An update on the process characterization of various interesting materials (including silicon carbide) will also be presented.
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Wilson, S. R., and J. R. McNeil. "Neutral Ion Beam Figuring Of Large Optical Surfaces." In Optical Fabrication and Testing. Washington, D.C.: Optica Publishing Group, 1987. http://dx.doi.org/10.1364/oft.1987.faa4.

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In the quest for high speed optical fabrication techniques, ion beam sputtering has emerged as a viable means of removing material from an optical surface. Ion beam sputtering was first used as an optical figuring technique in the mid 1960’s[1,2]. Since that time, a number of investigators have applied ion beam sputtering as a figuring technique, with some degree of success.
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Reports on the topic "Figurini"

1

Britten, J. Wet-Etch Figuring Optical Figuring by Controlled Application of Liquid Etchant. Office of Scientific and Technical Information (OSTI), February 2001. http://dx.doi.org/10.2172/15013516.

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Rushford, M., S. Dixit, R. Hyde, J. Britten, J. Nissen, M. Aasen, J. Toeppen, et al. Development of Wet-Etching Tools for Precision Optical Figuring. Office of Scientific and Technical Information (OSTI), January 2004. http://dx.doi.org/10.2172/15007304.

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3

Williams, Thomas. Cell Biology Board Game: Cell Survival Drive. University of Dundee, 2023. http://dx.doi.org/10.20933/100001276.

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When dangers strike a cell, they are detected by sensors. Sensors tell messengers about the danger. Messengers tell the organiser. The organiser plans the cell defence, using responders and recyclers. Researchers in the MRC-PPU are figuring out how these different parts interact with each other.
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Deich, Lyman. Aboriginal clay figurines from the upper Rogue Valley in southwestern Oregon. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.3254.

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5

Rodríguez Burgos, Ojel L. La función del gobierno y el libre mercado. Instituto de Libertad Económica, 2023. http://dx.doi.org/10.53095/13582009.

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El sistema de libre mercado es uno que permite que el individuo interactúe libremente para la satisfacción de su concepción de la vida buena dentro de un estado de derecho. El individuo como agente es el principal actor dentro del mercado; sin embargo, los negocios privados o públicos y el propio Estado también figuran como actores en el libre mercado. En este artículo presentamos las tres formas en que el Estado actúa en el libre mercado.
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