Academic literature on the topic 'Maria Petroni'

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Journal articles on the topic "Maria Petroni"

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Finocchiaro, Maurice A. "I modelli, l'invenzione e la conferma: Saggio su Keplero, la rivoluzione copernicana e la "New philosophy of science.". Angelo Maria Petroni." Isis 83, no. 2 (June 1992): 368–69. http://dx.doi.org/10.1086/356191.

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Moura, Esmeralda Blanco B. de. "A lavoura canavieira em São Paulo. Expansão e declínio (1765-1851): um clássico da historiografia brasileira da década de 1960?" Revista Tempo e Argumento 11, no. 28 (October 22, 2019): 503–27. http://dx.doi.org/10.5965/2175180311282019503.

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Não faz muito tempo que Maria Thereza Schorer Petrone nos deixou. O mais importante legado da historiadora pode ser aferido em uma obra consistente, competente quanto à investigação documental, verdadeira análise pioneira, datada dos idos da década de 1960, sobre a história de São Paulo. O lugar relevante que Petrone merece ocupar na historiografia brasileira advém, principalmente, da publicação de A lavoura canavieira em São Paulo. Expansão e declínio (1765-1851). Editado em 1968, o estudo tangencia discussões que guiariam o interesse dos historiadores quanto a renovadas possibilidades de análise durante as décadas seguintes. Por seu intermédio, desvenda-se a importância da lavoura açucareira nos cenários da economia e da sociedade paulistas da segunda metade do século XVIII e da primeira metade do século seguinte. É inegável que a análise, mediante sua riqueza de conteúdo, contempla, ainda nestes anos 2000, os interessados na história do açúcar paulista. Por demais interessante é a conclusão de Petrone no sentido de que o aumento significativo da produção de açúcar transformou, com suas fazendas e engenhos, parte do litoral paulista, assim como parte das terras ditas de serra acima. Ao mostrar como essas regiões acabaram por se tornar território dos canaviais, a autora revela, que a exportação de açúcar foi responsável por inserir São Paulo no mercado internacional e por criar importante infraestrutura para o desenvolvimento da economia cafeeira, em torno da qual se organizou, de fato, a aristocracia agrária paulista. Estudo inédito digno, ainda hoje, de ser apreciado e/ou reapreciado, argumento central das reflexões que se seguem.Palavras-chave: Brasil - Historiografia - Séc. XX. Petrone, Maria Thereza Schorer. Cana-de-açúcar - São Paulo (Estado) - História
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Lippi, Donatella. "Maria Petrocini Ferretti, the First Female Surgeon in Florence, Italy." Archives of Surgery 146, no. 11 (November 1, 2011): 1231. http://dx.doi.org/10.1001/archsurg.2011.276.

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Souza, Marcelo De Barros. "Por uma Igreja conciliar. Agenda de trabalho para as Igrejas e a Teologia." Revista Eclesiástica Brasileira 66, no. 263 (April 11, 2019): 607. http://dx.doi.org/10.29386/reb.v66i263.1569.

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O artigo sugere uma agenda para que se realize o sonho de uma nova Igreja – segundo o desejo do Vaticano II (1962-65) – “ensaio e profecia” de um mundo novo, justo e irmanado. Propõe critérios para enfrentar criativamente os desafios levantados pelas rápidas transformações culturais que a história está contemplando. Recomenda: imprimir um novo modelo de exercício do primado petrino; dar o primado à Palavra de Deus; edificar uma Igreja ministerial, participativa, com espaço para que a mulher tome parte em todas as instâncias de serviço e decisão; fortalecer as características de uma Igreja sinodal e conciliar. Pede também que se rompa o rígido cristocentrismo que marca “o triunfalismo das hierarquias, que escrevem documentos sobre o Cristo para falar de si mesmas e do seu poder”.Abstract: The article proposes an agenda for the realization of the dream of a new Church – according to the Vatican II’s wishes (1962-65) – the “trial and prophecy” of a just and fraternal new world. It suggests some criteria to enable us to face, in a creative manner, the challenges raised by the rapid cultural changes that history has been witnessing. It recommends that we should: divulge a new model for the exercise of the Petrine primacy; give priority to the Word of God; build a ministerial, participative Church, in which women may participate in all instances of service and decision making; and strengthen the characteristics of a synodical and conciliar Church. It also requires that the rigid Christ-centrism that marks “the triumphalism of the hierarchies that write documents about Christ in order to speak about themselves and their own power” should be broken.
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Dobrev-Halachev, Lord Prof PhD PhD Momtchil. "The MAGNITSKY Law and the RICO Law - The Solution and the Answer against the Order of the Mafia Made by Judge VESSELA EVSTATIEVA and Through the Prosecutors Yaneva, Dimitrova, Stankova, Petrov in Order to Steal Private Property Worth Billions of USD and Caused Losses for US Companies for 8 Billion USD." Journal of Economics, Finance And Management Studies 04, no. 07 (July 24, 2021). http://dx.doi.org/10.47191/jefms/v4-i7-25.

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Lord prof PhD PhD Momtchil Dobrev-Halachev and Prof. Mariola Garibova-DObreva developed 2006 “Theory of degree of democracy” and “Theory of degree of justice / injustice /” based on their practice in court, prosecutor's office, state. Prof. Momchil Dobrev has been creating Theory of Corruption, "Theory of the Mafia," Theory of Mafia "," Financial Banking Resource Technological Mafia Materialism "since 2003"
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Pennacino, Valentina. "Hein-Th. Schulze Altcappenberg (Hrsg.), Sandro Botticelli. Der Bilderzyklus zu Dantes Göttlicher Komödie, mit einer repräsentativen Auswahl von Zeichnungen Botticellis und illuminierten Commedia-Handschriften der Renaissance (Ausst.-Katalog Staatliche Museen zu Berlin Preussischer Kulturbesitz. Kupferstichkabinett), London/Ostfildern- Ruit, Hatje Cantz 2000, 391 S. - Sandro Botticelli pittore della Divina Commedia, vol. I a cura di Giovanni Morello e Anna Maria Petrioli, pp. 277/vol. II a cura di Hein-Th. Schulze Altcappenberg, pp. 289, Milano, Skira 2000." Deutsches Dante-Jahrbuch 77, no. 1 (January 1, 2002). http://dx.doi.org/10.1515/dante-2002-0120.

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Dissertations / Theses on the topic "Maria Petroni"

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Petrova, Marina [Verfasser]. "Cognitive resource manager framework for optimal resource allocation / Marina Petrova." Aachen : Hochschulbibliothek der Rheinisch-Westfälischen Technischen Hochschule Aachen, 2011. http://d-nb.info/1014458196/34.

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Tinari, Maria. "PETRONIO MARIA CALDANI Della proporzione bernoulliana fra il diametro, e la circonferenza del circolo e dei logaritmi." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23868/.

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Lo scopo di questo elaborato è quello di analizzare "Della proporzione bernoulliana fra il diametro, e la circonferenza del circolo e dei logaritmi", opera del 1782 del matematico bolognese Petronio Maria Caldani. E' ricostruita la biografia dell'autore, docente di geometria analitica dell'Università di Bologna e segretario dell'ambasciata bolognese a Roma. Diversi sono i riferimenti alle corrispondenze epistolari tra il matematico e illustri studiosi dell'epoca, tra cui ricordiamo Giambattista Guglielmini, Lodovico Preti, Sebastiano Canterzani e Giordano Riccati. E' poi presentata la disputa sui logaritmi dei numeri negativi, nella quale si inserisce l'opera di Caldani. Tale disputa ebbe origine nel 1712 con una lettera di Leibniz a J. Bernoulli e caratterizzò tutto il Settecento. Dopo aver descritto il procedimento per ricavare la proporzione bernoulliana, è analizzata l'opera di Caldani ed è presentata la questione sulle relazioni tra lo zero reale e quello immaginario. In particolare, sono analizzate le opinioni di Giordano Riccati e Gregorio Fontana. Infine, è dedicata una sezione alla memoria "Al signor N.N. dubbj di P.M.C. sopra le riflessioni analitiche del signor abate Gioacchino Pessuti", pubblicata in forma anonima da Caldani, nelle quale sono presenti alcune idee alla base di "Della proporzione bernoulliana".
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Wang, Peng [Verfasser], Marina [Akademischer Betreuer] Petrova, and Ilenia [Akademischer Betreuer] Tinnirello. "Designing and implementing cognitive medium access control protocols : a hierarchical approach / Peng Wang ; Marina Petrova, Ilenia Tinnirello." Aachen : Universitätsbibliothek der RWTH Aachen, 2018. http://d-nb.info/1187346624/34.

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Voicu, Andra Mihaela [Verfasser], Marina [Akademischer Betreuer] Petrova, and Danijela [Akademischer Betreuer] Čabrić. "Spectrum sharing for broadband technology coexistence in the unlicensed bands / Andra Mihaela Voicu ; Marina Petrova, Danijela Čabrić." Aachen : Universitätsbibliothek der RWTH Aachen, 2020. http://d-nb.info/1217661220/34.

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Liu, Fei [Verfasser], Marina [Akademischer Betreuer] Petrova, and Eduard A. [Akademischer Betreuer] Jorswieck. "Design and performance analysis of dynamic resource allocation in OMA and NOMA networks / Fei Liu ; Marina Petrova, Eduard A. Jorswieck." Aachen : Universitätsbibliothek der RWTH Aachen, 2019. http://d-nb.info/1211963748/34.

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Petrovic, Dusan [Verfasser], Birgit [Akademischer Betreuer] Strodel, Christel M. [Gutachter] Marian, and Johannes [Gutachter] Kästner. "Computational Enzyme Evolution and Design: Studies of Protein Dynamics and Substrate Binding / Dusan Petrovic ; Gutachter: Christel M. Marian, Johannes Kästner ; Betreuer: Birgit Strodel." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2018. http://d-nb.info/1163108065/34.

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Merli, Vanessa. "L'esperimento di Grimaldi e la storia della diffrazione." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2018. http://amslaurea.unibo.it/16771/.

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Questa tesi ricostruisce il contributo di Francesco Maria Grimaldi alla comprensione del fenomeno di diffrazione, da lui sperimentalmente studiato per la prima volta nella seconda metà del Seicento. Il primo capitolo di questo elaborato vuole mostrare i contributi offerti da Grimaldi all’astronomia e alla geodesia in collaborazione con Ricciòli, gesuita e astronomo bolognese, ed anche il rapporto tra scienza e fede, in particolare tra i Gesuiti e l’Università di Bologna. Il secondo capitolo è focalizzato sul De lumine, opera postuma di Grimaldi, e sui due esperimenti riguardanti la diffrazione ivi contenuti. Il terzo capitolo viene dedicato alla storia della diffrazione analizzando la trattazione che ne fecero gli scienziati dopo Grimaldi: si parte da Newton e dalla sua visione corpuscolare della luce per arrivare ad Huygens, Young e Fresnel e all’elaborazione della teoria ondulatoria, che permette di spiegare correttamente il fenomeno della diffrazione.
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Carsin, Jean-Louis. "Contribution aux etudes de pollution marine. Eutrophisation des eaux de clipperton et de la rade de brest. Marees noires apres les naufrages de l'amoco cadiz, du tanio et du gino. Discussions generales, aspects juridiques et reglementaires pour la protection du milieu marin." Paris 6, 1987. http://www.theses.fr/1987PA066298.

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CANELLA, LEONARDO. "L'informale di Giuseppe Ferrari, Maria Petroni e Andrea Raccagni." Doctoral thesis, 2009. http://hdl.handle.net/11562/337409.

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Questa tesi è divisa in due parti, una a carattere metodologico e una a carattere applicativo. La metodologia a cui faccio riferimento è quella che ho ricevuto da Renato Barilli (1935) a partire dall’anno accademico 1990-1991, quando mi iscrissi a un corso dedicato al pittore inglese William Turner presso l’Università di Bologna. E allora: cosa sono la fenomenologia degli stili e la culturologia o scienza della cultura, i due cavalli di battaglia di Barilli nell’approccio allo studio della Storia dell’arte e della cultura in generale? O diciamo meglio: come esse nascono? Qui infatti sta uno dei tratti peculiari della mia ricerca, la convinzione che l’Informale, il movimento artistico internazionale degli anni Quaranta e Cinquanta, ‘partorisca’ la metodologia a cui Barilli, che è stato anche pittore informale, si ispira. Cosa significa questo? Prima di tutto il rifiuto del nesso causa-effetto tipico dell’arte e della critica moderna (per modernità intendo il plesso storico 1450-1789), la prima simboleggiata dalla prospettiva albertiana e dal naturalismo (inteso come rappresentazione mimetico speculare), la seconda dalla filologia di matrice positivista. Ecco così entrare in campo Francesco Arcangeli (1915-1974), uno dei maestri di Barilli, per quanto non per discendenza diretta. Arcangeli intuisce progressivamente, grazie all’opera di alcuni artisti a cui si lega tra cui spicca Pompilio Mandelli, che è ora di passare da una Storia dell’arte quantitativa a una storia dell’arte qualitativa: dalla filologia di Longhi all’individuazione di ’tramandi’, nuclei di una tradizione artistica non codificata. A livello stilistico, questo comporta l’abbandono all’interno dell’opera di uno spazio misurabile, spezzettabile quale quello del naturalismo occidentale, a favore di uno spazio fluido, aperto, prodotto in buona parte dal caso. Insomma, Arcangeli comincia a bombardare - grazie anche a una predisposizione personale, un disturbo psichiatrico bipolare su cui mi soffermo - il nesso causa/effetto cardine della lettura positivista/illuminista dell’opera d’arte del suo maestro Roberto Longhi. Barilli ha la fortuna di assistere a questo esperimento. Bologna, in quel momento storico, è veramente ‘l’ombelico’ della storiografica artistica italiana. Nel capoluogo emiliano si crea infatti una situazione per molti aspetti analoga a quella avutasi pochi anni prima nel deserto texano di Los Alamos con l’esplosione della prima bomba atomica: un’enorme energia viene sprigionata dalla fissione dell’atomo di uranio. Arcangeli, analogamente, bombarda i legami statici che il suo maestro incarna (anche sul piano morale, politico e di pensiero in generale; vengono cioè superati i confini della Storia dell‘arte in senso stretto). Il giovane Barilli assiste entusiasta a quell’evento e ne capisce tutte le potenzialità, con l’abbandono dell’estetica neoidealista/crociana imperante allora in Italia. La mia tesi è così anche il tentativo di storicizzare, per la prima volta, la figura di Renato Barilli, sentita come ancora scomoda all’interno della cultura italiana, accademica e no; lo dimostra indirettamente la reazione chiusa e ostile ricevuta dal mio lavoro in sede di discussione al termine del dottorato. Da qui la necessità da parte mia di andare a rivedere un’opera capitale di questo studioso, La barriera del naturalismo pubblicata da Mursia nel 1964 (ho di proposito seguito l’ultimo corso di Barilli a Bologna prima del suo pensionamento, nel 2007. Nella tesi mi servo di brani tratti da dichiarazioni prese in quel contesto), a cui ho posto come pendant La rivoluzione romantica di Rodolfo Bottacchiari del 1943, un testo conosciuto ma ancora non affrontato con attenzione dalla critica, fondamentale per comprendere lo stacco compiuto da Francesco Arcangeli nei confronti del suo maestro Longhi. Queste due ‘bibbie’ postulano come meglio non si potrebbe il carattere aperto, stratificato, antinaturalistico, anti individualista, ‘irrazionale’, fortemente libidico dell’uomo contemporaneo (che convive ancora, d’altronde, con i forti residui moderni individualisti/borghesi presenti nella nostra società). Da qui, l’esigenza di sondare per sommi capi la figura di Giovanni Pascoli, porta di accesso irrinunciabile ai caratteri qualitativi appena nominati, letto attraverso l’esperienza del materialismo storico-culturale di matrice nordamericana (Marshall McLuhan in primis, da me ricevuto attraverso Barilli). La seconda parte della tesi è un’applicazione delle conclusioni a cui arrivo nelle pagine precedenti, per quanto sia in realtà da porre a monte del mio lavoro. Ho fatto cioè mio un metodo di constatazione sul campo di matrice empirica secondo cui viene prima l’opera e poi le riflessioni su di essa (in verità, nel migliore dei casi, le due ‘crescono’ insieme, parallelamente). Giuseppe Ferrari e Andrea Raccagni sono nella loro prima fase analitici/quantitativi: misurano cioè attentamente lo spazio della tela su cui intendono lavorare. Ferrari è infatti un postimpressionista e subito dopo un neo cézanniano (alla base di entrambe queste poetiche, apparentemente contraddittorie, troviamo il punto-linea-superficie di Euclide rilanciato potentemente in epoca moderna dallo spirito analitico cartesiano); Raccagni è surrealista-neometafisico, e utilizza una pennellata attentamente calcolata. Poi arriva l’Informale, e tutto questo viene abbandonato. Lo spazio viene infatti colto d’emblée, senza misurazioni preventive, all’insegna di un bruciante hic et nunc. Da qui l’utilizzo di soluzioni casuali, autre; il caso agisce infatti come esplosivo plastico posto sulle giunture del pensiero moderno/cartesiano/borghese, e sul naturalismo mimetico speculare che ne è l’espressione più matura. L’Informale di Maria Petroni conferma le peculiarità ‘qualitative’ della nostra epoca. Mi servo della triade freudiana Ego-SuperEgo-Es, dimostrando come quest’ultimo costituisca il serbatoio più generoso della nostra epoca., a fronte delle censure di vecchia matrice borghese tipiche della modernità, simboleggiate anche dalla ‘gabbia’ prospettica e, in letteratura, dall’autore fuori campo onnisciente. L’Informale non è dunque importante solo come fatto storico artistico: la sua comprensione comporta infatti l’accettazione di un nuovo modello di società e di comportamento.
This research is divided in two parts. The first one is methodological, the second one is an application of the first. The methodology I’m referring to is the one I received since 1990-1991 from my teacher, professor Renato Barilli (born in 1935), when I attended a course of him dedicated to the English painter William Turner at the University of Bologna. So, what is phenomenology of style and science of culture, the two main battle horses ridden by Barilli when approaching history of art? Let’s say better: how these disciplines were born? Here you can find one of the most important points of my research, due to the conviction that Abstract Expressionism, the international artistic movement of the Forties and Fifties, influenced the birth of the methodology Barilli officially uses since 1980. What does this mean? First of all, the refuse of the nexus cause/effect so typical of the modern art and critic (as Modernity I mean the period since 1450 to 1789, as Contemporary age the period since 1789 till nowadays), the first one symbolized by Leon Battista Alberti’s perspective and western naturalism (they both have a strong rational print), the second by philology, a discipline born during Positivism. So, here I introduce the presence of Francesco Arcangeli (1915-1974), one of the teacher of Barilli, even if not directly. Arcangeli slowly understands that is the time to pass from a History of Art meant as quantity to one who is meant as quality: so, from philology used by his teacher Longhi to the individuation of ‘bridges’, nucleus of a no codified tradition. At a mere stylistic level, this means the abandon of a measurable space, the one of western naturalism, for a fluid space, open and due also to the hazard. Arcangeli starts to hit the illuminist rational nexus cause/effect he received from his teacher Longhi, and this also for a particular psychological disposition which enables him to catch this important change. The younger Barilli has the chance to see this important ‘experiment’. At that time we can say Bologna is the umbilicus of the Italian artistic historiography. In the Emilian town in fact there’s a situation quite similar to the one that some year before you could find in the Los Alamos desert in Texas, where the first nuclear bomb exploded: a huge energy was spread for the fission of the uranium atom. Similarly Arcangeli hits the static nexus his teacher Roberto Longhi represents, something that involves also moral, politics and thinking. The limits of History of art are so overcome). The young Barilli sees this experiment and, enthusiastic, understands its potentialities, which also involve the overcoming of the new idealist esthetics quite followed in Italy at that time (Benedetto Croce in primis). So my thesis is the first try to study Renato Barilli’s thought and methodology. Barilli still has a position not well accepted from Italian culture, as the discussion of this thesis showed indirectly. My work found an aggressive and close acceptance, and I had to fight in order to defend it. I decided to study a capital critic essay by Barilli, La Barriera del Naturalismo, edited in1964 (I also attended last course of Barilli at University of Bologna, before he retired in 2007); I also studied La Rivoluzione Romantica by Rodolfo Bottacchiari (1943), a book known by critics even if not deeply analyzed, even if important to understand the step forward Arcangeli made compared to his teacher Longhi. These two ‘bibles’ clearly show the open, stratified, no naturalistic, no individualistic, ’irrational’, highly ’erotic’ aspect of contemporary man (near who you find traces of the individualistic/bourgeois modern behave still well spread in our society). I also focalized the important role of Giovanni Pascoli, a writer who is a ’door’ open toward these quality characters; I analyzed Pascoli using technological materialism offered by Marshall McLuhan and by Renato Barilli to me. The second part of my research is an application of the conclusion of the previous pages, even if you can put it at the beginning of the work. I mean I used an empirical method which puts artistic work before any theory (let’s say better, the two have a common life, they grow up together). Giuseppe Ferrari and Andrea Raccagni are analytical at their first period: they carefully measure the space of the canvas. In fact Ferrari is firstly a postimpressionist, and little later he follows a new Cezanne style (at the base of both these two poetics you find the Euclidean geometry, confirmed in Modern Era by Descartes); the young Raccagni is surrealist-metaphysical, and uses a well calculated touch in his works. When Abstract Expressionism arrives, all this is left apart. Space is seen by artist d’emblée, without being measured before, following a hic at nunc (a Latin expression which means ‘here and now’) poetic which follows casual solutions. Casual solutions that qualifies a poetic you may define as ’autre’, a bomb put inside the walls of rational naturalism (a product typical of western culture if you define it as a mimetic representation of actions in art and literature). Maria Peroni’s Abstract Expressionism confirms the ’quality’ character of our time. I used the Freudian trio Ego-SuperEgo-Es, showing that Es is the main distributor of energy of our time, opposed to the closeness thought of Modern Era, symbolized by the perspective cage. So Abstract Expressionism is not only important as an artistic fact: its understanding means the acceptance of a new model of society and behavior.
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Books on the topic "Maria Petroni"

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BG Oktopod. Sofii͡a: Ni͡u Medii͡a Grup, 2010.

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Le chiavi del Paradiso: Primato petrino e devozione mariana di Sisto IV tra Cappella Sistina e S. Maria della Pace. [Rome]: Istituto nazionale di studi romani - onlus, 2016.

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Ogden, Daniel. The Werewolf in the Ancient World. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198854319.001.0001.

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The ancient world already cherished a rich folklore of werewolfism that broadly resembled the one copiously attested for the central medieval period in Europe. Our best access to the sort of narrative that underpinned such folklore comes in the well-known werewolf tale of the Neronian Petronius’ Satyricon, which shares some striking motifs with the equally famous AD 1160-78 Anglo-Norman tale of Bisclavret by Marie de France. It was, accordingly, folklore that determined the ancients’ conception of what a werewolf actually was. Almost all the evidence for werewolfism in antiquity should be regarded either as folkloric in nature or as secondary to and refractive of a folkloric core. The ancients re-deployed, finessed and parlayed this focal conception in distinct ways in diverse cultural contexts. Notions, themes and images were borrowed from this folkloric home and transferred, in as it were a metaphorical fashion, to other realms of human experience and endeavour, be this: aetiological myth, in the case of the material bearing upon Lykaon; rites of passage or of maturation, in the case of the material bearing upon the Lykaia rite; or medicine, in the case of the medical writers’ identification of the disease of ‘lycanthropy.’ It is this that accounts for what initially appears to be the incoherent, chaotic and centrifugal nature of the evidence-field for werewolves that the ancients have bequeathed to us.
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Book chapters on the topic "Maria Petroni"

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Mäkelä, Marko. "Maria: Modular Reachability Analyser for Algebraic System Nets." In Application and Theory of Petri Nets 2002, 434–44. Berlin, Heidelberg: Springer Berlin Heidelberg, 2002. http://dx.doi.org/10.1007/3-540-48068-4_25.

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Dostoevsky, Fyodor. "Chapter IV." In Crime and Punishment. Oxford University Press, 2019. http://dx.doi.org/10.1093/owc/9780198709718.003.0042.

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‘You may know—in fact I told you myself—’, began Svidrigailov, ‘that I was in the debtors’ prison* here, for an enormous debt which I hadn’t the faintest chance of paying. There’s no point going into detail about how Marfa Petrovna bought...
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Dostoevsky, Fyodor. "Chapter 5." In Devils. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199540495.003.0007.

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1 Varvara Petrovna rang the bell and flung herself into an armchair near the window. ‘Sit here, my dear,’ she said, motioning Marya Timofeevna to a seat in the middle of the room near a large round table. ‘Stepan Trofimovich, what do you make of...
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"Die Grand Tour des russischen Thronfolgerpaares Pavel Petrovič und Marija Fёdorovna in den Jahren 1781/1782." In Europäischer Musiktransfer, 25–96. Wilhelm Fink Verlag, 2019. http://dx.doi.org/10.30965/9783846764640_006.

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Ogden, Daniel. "Werewolves and Projected Souls." In The Werewolf in the Ancient World, 109–36. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198854319.003.0005.

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This chapter argues that the ideas of soul-projection so strongly associated with werewolfism in the medieval and early modern periods were already associated with it in the ancient world. This notion is more or less explicitly articulated by Augustine, but long before him there obtained a striking parallel between werewolf narratives (in which the werewolf off on his adventures leaves behind the human shell constituted by his clothes and must keep them secure, so that he can don them again to retrieve his human form), and the ‘Greek shaman’ narratives (in which the soul-projector must keep his catatonic human body secure as he sends his soul off on his adventures, so that the soul can reanimate it again and he can continue his physical life in the world). Petronius’ intriguingly complex werewolf narrative, when taken with other evidence, presupposes the existence already in antiquity of other werewolf narratives broadly along the lines of Marie de France’s Bisclavret in which a werewolf, perhaps an innkeeper, is stranded in lupine form when his clothes are stolen by his unfaithful wife.
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Вељковић Мекић, Јелена. "АЛТЕРНАТИВНИ ПРАВАЦ У КЊИЖЕВНОСТИ ЗА ДЕЦУ: КЊИЖЕВНЕ ПОТРАГЕ." In JEZIK, KNJIŽEVNOST, ALTERNATIVE/LANGUAGE, LITERATURE, ALTERNATIVES - Književna istraživanja, 205–2018. Filozofski fakultet u Nišu, 2022. http://dx.doi.org/10.46630/jkal.2022.13.

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In contrast to classical stories, fairy tales and novels, that are characterized by a “closed” structure and do not require any additional intervention of the recipient, there are literary works that are based on a special author- literary text-recipient relationship. The aim of the research is to examine the specific features and forms of these alternative literary texts for children in which the reader is the decisive factor in creating the course of the story and its ending. This paper analyzes the collections of stories: Stories of Almost Everything and Pocket Stories by Igor Kolarov, Mysteries of Ginkgo Street, Mysterious Stories and Secret Skills of Marta Smart by Uroš Petrović, history quest novels: Race through Rome, Minotaur’s Maze, Tomb of Terror: Egyptians, Medieval Mayhem by Timothy Knapman, math quest novels: The Cavern of Clues, The Planet of Puzzles, Mansion of Mazes and Museum of Mysteries by David Glover and adventurous novels: Who Killed Harlowe Thrombey, Underground Kingdom and The Forbidden Castle by Edward Packard, The Abominable Snowman and The Mystery of the Maya by Raymond Montgomery, The Throne of Zeus by Deborah Lerme Goodman, By Balloon to Sahara by Douglas Terman and The Secret of the Pyramids by Richard Brightfield. Publishers and authors have labeled this relatively new class of books as “literary adventures,” “history quests,” “stories for finishing, fooling around, tickling, and who knows what else” and have warned readers that they are responsible for what will be embodied in their receptive act.
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Conference papers on the topic "Maria Petroni"

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Yan Wang, Jiantao Zhou, Hua Li, and Ying Hao. "Analyzing and verifying Petri net model of security protocol based on Maria." In 2010 International Conference on Computer Application and System Modeling (ICCASM 2010). IEEE, 2010. http://dx.doi.org/10.1109/iccasm.2010.5620733.

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Auburtin, Erwan, Guillaume Toutin, and Ahmad Fahmi Bin Mahmud. "An Experimental and Numerical Assessment of Moss-Type LNG Carrier Seakeeping Moored to PETRONAS FLNG in Partially Filled Condition." In ASME 2018 37th International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2018. http://dx.doi.org/10.1115/omae2018-77892.

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Moss-type LNG carriers (LNGC) — equipped with spherical LNG tanks — have successfully performed multiple side-by-side (SBS) offloading operations from the PETRONAS FLNG (PFLNG1) terminal since first gas in late 2016. Such LNGC are well suited for these operations as by essence their tanks mitigate the liquid impact risk, for any filling ratio. However, regardless of the LNG tanks shape, the accurate assessment of the relative motion between PFLNG1 and a SBS-moored LNGC was critical for designing the mooring and offloading systems — in particular the LNG Marine Loading Arms (MLA) — and subsequently assessing the terminal operability. While the issue has been extensively studied for LNGC equipped with prismatic tanks (SALT I & II JIPs [4]) and a good agreement achieved with numerical models using potential theory, literature available on coupling with LNG sloshing in spherical tanks in a SBS mooring configuration is rare. Compared with prismatic tanks, the axisymmetric tank geometry is not restricting the main sloshing modes direction: these modes are therefore free to rotate due to LNGC wave-induced motions. An experimental wave basin model test campaign has been held at the MARIN facility to assess the behavior of a Moss-type LNGC with partially filled tanks and provide a good quality database for numerical model calibration and relative motion prediction. This carrier, equipped with Plexiglas spherical tanks, has been tested in free-standing conditions and SBS-moored to PFLNG1. A variety of loading conditions was covered for the LNGC including ballast, 20% and 50% filling. Sloshing modes have been captured with dedicated cameras and wave probes implemented in the LNGC tanks. In this paper, the model test set-up is presented and a comparison is made between the experiments and numerical simulations, using the potential theory software Diodore™, accounting for the hydrodynamic interaction between the vessels and the coupling with the liquid motion in tanks. Particular attention is paid to the coupling effects between longitudinal and transverse motions induced by the longitudinal asymmetry, and their consequences on the design of the offloading system.
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Frota, Arthur Daniel Lopes, and Bárbara De Iansã Santos Moura. "CARACTERIZAÇÃO MORFOLÓGICA DE ACTINOBACTÉRIAS ISOLADAS DA RIZOSFERA DE CYPERUS ARTICULATUS (PRIPRIOCA)." In II Congresso Brasileiro de Biotecnologia On-line. Revista Multidisciplinar de Educação e Meio Ambiente, 2022. http://dx.doi.org/10.51189/conbiotec/08.

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Introdução: As actinobactérias são bactérias cosmopolitas que ocupam majoritariamente o solo, onde inibem microrganismos patogênicos pelas plantas; o que atrai a comunidade cientifica para síntese de fármacos oriundos de compostos bioativos produzidos pelas plantas. A Cyperus articulatus (Priprioca) é uma planta amazônica conhecida por seu óleo essencial e usada na medicina tradicional como anti-inflamatório e outras moléstias. Objetivo: Conforme os dados supracitados, este trabalho objetivou agregar informações sobre actinobactérias isoladas da rizosfera de Cyperus articulatus (Priprioca), para servirem de material didático para futuras pesquisas no Laboratório de Microbiologia da Universidade Federal do Oeste do Pará (UFOPA). Material e métodos: O solo rizosférico de Cyperus articulatus (Priprioca) foi coletado na Fazenda Experimental da UFOPA (Latitude 2°28’ 01.28’’ e Longitude 54°49’ 45.32’’) no município de Santarém-PA. Para isolamento foram coletadas 10g de solo e solubilizado em 90 mL de tampão fosfato (PBS 1x) pH 7,0 sob agitação por 30 min e posteriormente ultrasonificação por 1 min e aquecimento em banho maria a 50ºC por 10 min. Foram obtidas as concentrações 10-1 a 10-5 , e em seguida 100μL das diluições 10^-3 , 10^-4 e 10^-5 foram semeadas em placas de Petri (15mmx90mm) contendo o meio ALA adicionado de Nistatina (100μg/mL). A caracterização cultural das linhagens foi realizada nos meios ISP nº1 ao nº5 e ALA, a 30°C por 14d para observação do micélio aéreo. Fora realizada a caracterização microscópica para determinar a formação da cadeia de esporos e a técnica de Coloração de Gram para determinar as propriedades químicas e físicas da parede celular das actinobactérias. Resultados: A maioria dos isolados apresenta bom crescimento nos meios acrescidos de sais minerais e altas concentrações de aminoácidos – ISP-2, ISP-3, ISP-4, ISP-5 e ALA -; o meio ISP-1 não dispõe de nutrientes suficientes para o desenvolvimento de todos os isolados. Estes dados estão de acordo com as características da maioria dos membros do grupo das actinobactérias, que cresce preferencialmente em meios acrescidos de sais minerais, aminoácidos, amido e caseína. Conclusão: Estes resultados mostram a diversidade da microbiota da rizosfera, sugerindo a necessidade de isolar e identificar, sobretudo, actinobactérias, devido ao grande potencial biotecnológico destas.
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