Academic literature on the topic 'Quartier de Palente'
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Journal articles on the topic "Quartier de Palente"
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Arcifa, Lucia, C. A. Di STEFANO, M. H. De FLORIS, and Jean-Marie Pesez. "Palerme, quartier Castello San Pietro." Mélanges de l'Ecole française de Rome. Moyen-Age, Temps modernes 101, no. 1 (1989): 332–50. http://dx.doi.org/10.3406/mefr.1989.5340.
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Maccaglia, Fabrizio. "Où est l’état ? Rapport au politique dans un quartier populaire de Palerme (Sicile)." Géographie et cultures, no. 112 (December 1, 2019): 95–117. http://dx.doi.org/10.4000/gc.14531.
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Jeanmougin, Hélène, and Florence Bouillon. "D’une gentrification inaboutie à une « nouvelle précarisation » ? Continuités populaires et conflits de coprésence dans le centre historique de Palerme." Partie 1 – Les politiques urbaines de mixité sociale à l’épreuve de la réalité, no. 77 (November 4, 2016): 103–25. http://dx.doi.org/10.7202/1037904ar.
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LaMagione, quartier populaire du centre historique de Palerme, fait l’objet depuis plusieurs années d’un important programme de renouvellement urbain visant à promouvoir l’installation de citadins aisés. Cet article se donne pour projet de décrire les effets de la cohabitation conflictuelle entre anciens et nouveaux habitants au sein de ce quartier. Nous montrons que le relatif échec de la gentrification de laMagionedoit être analysé en relation avec les usages que les habitants font des espaces publics du quartier, enjeu tout aussi déterminant que l’accès au logement du point de vue des transformations sociospatiales à l’oeuvre sur ce territoire. Émerge alors l’hypothèse conclusive d’une « nouvelle précarisation » de laMagione, entendue comme processus de déqualification d’un espace urbain partiellement gentrifié, dont nous esquissons ici les conditions de possibilités.
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DELLINGER, F., and T. MORONNOZ. "L’eau pluviale dans la rénovation de nos cités, étude de cas : l’Arlequin de la Villeneuve à Grenoble." Techniques Sciences Méthodes, no. 3 (March 20, 2020): 71–77. http://dx.doi.org/10.36904/tsm/202003071.
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L’objet du projet présenté, support de réflexion et d’expérimentation, est la prise en compte de la gestion des eaux pluviales par infiltration dans le cadre de la rénovation urbaine d’un quartier en politique de la ville où, jusqu’à présent, toutes les eaux collectées étaient renvoyées aux réseaux. L’étude de cas est celle de la rénovation des espaces publics sur une surface de 7 ha du quartier de l’Arlequin de la Villeneuve à Grenoble en 2017 et 2018, pour un montant d’investissement de 6,50 M€ HT. En partenariat avec les services de la métropole de Grenoble, les espaces réaménagés sont progressivement déconnectés du réseau, qui, en conséquence, est pour partie abandonné. Le travail porte autant sur les expérimentations des systèmes de gestion hydrauliques en renouvellement urbain que sur le développement conjoint d’un projet urbain et paysager, sur l’évolution des palettes végétales, sur le confort des espaces publics et la réduction des îlots de chaleur, sur la sécurité et sur la gestion de la voiture dans le quartier.
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Bucolo, Elisabetta. "L’arrière-scène participative dans les quartiers populaires de la ville de Palerme : analyse d’une réalité complexe." Partie 3 — Les figures de la solidarité quotidienne pour prendre en charge l’intolérable et la différence, no. 71 (May 2, 2014): 179–94. http://dx.doi.org/10.7202/1024745ar.
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L’émergence d’attitudes civiques, qualifiées ainsi au sens où elles dépassent les seuls intérêts individuels, ne peut se penser qu’en relation directe avec les liens entre individus dans leur quotidienneté, car c’est là qu’elles trouvent leurs racines. Cependant, dans les quartiers populaires de ville de Palerme en Sicile (Italie), les formes d’engagement et de participation se confrontent à la présence invasive de la criminalité organisée de type mafieux. Ainsi, il nous a semblé intéressant d’interroger la forme spécifique de l’« arrière-scène » participative dans ces quartiers. Et, plus particulièrement, le rôle qu’y jouent les habitants et les associations qui gèrent des centres sociaux polyvalents, pour élargir et généraliser la participation civique, des lieux interpersonnels aux lieux institutionnels et systémiques.
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Astakhova, Irina S., and Natalia E. Plaksina. "Paints of Old Believer Carved Icons of the Lower Pechora: Technical, Technological, Historical, and Archival Aspects of Study." Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, no. 2 (2023): 226–36. http://dx.doi.org/10.15826/izv2.2023.25.2.034.
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This article considers the technical, technological, and archival aspects of the study of Old Believer carved works of art (icons and crosses) of the Lower Pechora, whose origin is associated with the Velikopozhensky Monastery on the Pizhma River (currently, Ust-Tsilma District of the Komi Republic). The reason for the study is the hypothesis about the local origin of the ochre used for painting the icons, as there are rich deposits in the vicinity of the village of Skitskaya (on the site of the former Velikopozhensky Skete). According to written sources, they were developed until the first quarter of the twentieth century. The article describes the methods of studying the composition of ochre samples from deposits in the vicinity of the village of Skitskaya, the colours of The Cross of Golgotha, a Velikopozhensky carved icon from the collection of the National Gallery of the Komi Republic (Syktyvkar). Also, the authors speak about the palette of F. O. Anshukov, a hereditary Old Believer spoon maker from the village of Skitskaya, research results, and their correlation with data from written sources. The study demonstrates that the white and other pigments of The Cross of Golgotha icon contain white lead. The red pigment is minium. The blue pigment corresponds to the composition of Prussian blue. Natural pigments (caput mortuum, ochre) are not used. In the spoon maker’s palette, red, brown, and blue pigments are mixed with lead white with an admixture of quartz, barite, and gypsum. Minium was used as a red pigment. The composition of the blue pigment corresponds to Prussian blue. The white paint in the palette is zinc white. The green paint was replaced with zinc white with an arsenic-containing pigment (Scheele’s green?). The brown paint contains iron oxides, which suggests the natural origin of the pigment (caput mortuum). The results of the research testify that in the eighteenth and nineteenth centuries, the inhabitants of the Velikopozhensky Skete and their descendants, masters of “Pyzhem painting” on wood, used mainly imported pigments of artificial origin.
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Sampaio, Breno Fernandes Barreto, Carmem Estefânia Serra Neto Zúccari, Monica Yurie Machado Shiroma, Beatriz Ramos Bertozzo, Ellen Cristina Rivas Leonel, Ricardo da Silva Surjus, Monique Maitê Malho Gomes, and Eliane Vianna da Costa e Silva. "Biometric hoof evaluation of athletic horses of show jumping, barrel, long rope and polo modalities." Revista Brasileira de Saúde e Produção Animal 14, no. 3 (September 2013): 448–59. http://dx.doi.org/10.1590/s1519-99402013000300017.
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This study aimed to evaluate, through biometry, the forelimb hoof of horses participating in show jumping, barrel, long rope and polo competitions. Thirty subjects were assessed in relation to each competition (total of 120 animals). The linear measurements (cm) included the dorsal length of the toe; medial and lateral lengths of the quarter; medial and lateral heights of the quarter; lateral and medial lengths of the heel; medial and lateral heights of the heel; hoof length; hoof width; frog length; and frog width. The following angles (°) were measured: toe angle, pastern angle, heel angle and shoulder palette. The length of the horseshoe, coronet circumference and body weight were also assessed. With the use of hoof biometric evaluation was possible to identify the imbalances of forelimb in athletic horses and the most common were broken-backward hoof angle, with 96.7% of the animals showing this in the right forelimb (RFL) and 95.8% in the left forelimb (LFL); and contracted heels, with 95.0% in the RFL and 87.6% in the LFL. The competition type in which greatest numbers of hoof balance abnormalities were shown was the long rope, followed by the barrel. There were high frequencies of medial/lateral imbalance in all the sports. We conclude that animals used in functional tests have a high incidence of hoof balance abnormalities in the forelimbs.
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Auböck, Maria, and János Kárász. "Open Spaces – Dinamic Places: S M L XL." Journal of Landscape Architecture and Garden Art, no. 70 (December 29, 2023): 2–13. http://dx.doi.org/10.36249/4d.70.4894.
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The article offers insights in the design practice of Maria Auböck and János Kárász, landscape architects in Vienna, Austria. The purpose of this text is to mark the occasion of us being awarded honorary professorships at MATE University. The selected methods describe the mission of Landscape Urbanism by presenting a variety of projects, each of them has a history and story of its own. The chosen design methods described include selected inspirations, for instance sketching on site, the choice of plant material and constructive challenges. The main methods applied offer varied aspects of team building, following questions for work cooperation. How can clients be motivated to consider time as a building material that extends beyond their decision-making horizon? How can affordable and attractive landscapes be created based on the insight that within these we are able to provide even added value in economic sense? How can sophisticated empty spaces be introduced in urban sites, and get public acceptance without overstaging them? To summarize the presented project palette the title “Open Spaces – Dynamic Places: S M L XL” was chosen as the article includes selected works in different scales. The projects include aspects of inner city renovation by example of a baroque monastery’s courtyard and art in public spaces (a memorial of a destroyed synagogue), explaining landscape designs for subsidized housing quarters and the urban greening of Baku- in four steps. The main aspects of the conclusion deals with landscape urbanism, a new field of planning in the challenging time of Climate Change.
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ROMANENKOVA, Yuliia. "“VICTORY CODE”: THE PAINTING BY OLGA KARPENKO AS A REFLECTION OF ARTISTIC PROCESSES IN UKRAINE DURING THE WAR." ART Space 1, no. 4 (2024): 19–35. http://dx.doi.org/10.28925/2519-4135.2024.42.
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Modern Ukrainian art has a heterogeneous, rather rapidly pulsating character. Its latest history formally begins in 1991, when Ukraine began to write its own art history. Stages of development of contemporary Ukrainian art in the first quarter of the 21st century became extremely short. The most extreme of them to date has a duration of only one and a half years – It began on February 24, 2022, from the moment of the full-scale invasion of Russian troops into the territory of Ukraine. It was the war that became the Rubicon that changed the value orientations of artistic processes in Ukraine. The article is an episodic review of the creative biography of the Kyiv artist, painter, designer, scientist Olga Karpenko of the wartime era. The purpose of this investigation is to supplement the picture of the creative chronicle of Olga Karpenko, emphasizing the reasons that provoked a change in her style and plot. She possesses all the advantages of genre variety – portrait, still life, plot compositions (of different directions), but the landscape always attracted the most attention – free, fast, sketchy, light. But the main note that affects all of Olga Karpenko's work since February 2022 has become the note of war. A comparative analysis of the painting style of the previous years, when a light palette, textured painting, and impressionistic influence prevailed, with the creativity of the two war years, when both the subject of the painting and the color scheme, was made. The reasons for these changes are highlighted, the analysis is based on the material of the exhibition “War and Victory”, which took place in the “Hlibnya” gallery in May-June 2023. The narrative canvases, portraits, landscapes of the artist, created during 2022-2023, are highlighted, and the peculiarities are analyzed transformations of artistic language, reasons for stylistic changes. Emphasis is placed on colors, rhythms of painting. Two canvases of 2023 are highlighted as a visualization of the “victory code” in Olga Karpenko's painting of the war period.
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Enina, Ivetta A. "ARTISTIC FEATURES OF THE NORTHERN “WHITE NIGHT” MOTIF IN THE LANDSCAPES OF ALEXANDER BORISOV AND LOUIS APOL." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 77–87. http://dx.doi.org/10.36340/2071-6818-2021-17-5-77-87.
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The article examines the peculiarities of the color and light atmosphere of the phenomenon of white night in the Far North in the seascapes of the Russian and Northern European art. Attention is drawn to the period from the second third of the 19th century to the first quarter of the 20th century, when scientific and artistic exploration of the Arctic begins to take place on a regular basis. The article shows that the motive of the luminous night at the turn of the century appeared in connection with the appeal of artists to the study of natural contrasts of the Far North. Owing to the comprehending of the monotonous northern landscape, the palette of paintings was enriched with cold light shades of a lightair environment, the artists caught its special glow in the reflections in the water, ice floes and on the snow cover. The article mentions works of art by K. A. Korovin, V. A. Serov, V. V. Perepletchikov, N. V. Pinegin, A. A. Rylov and A. N. Benois, created during their participation in polar expeditions in late XIX and early XX centuries. Attention is drawn to the fact that the painters are branching out from marine pictorial art towards the study of special natural phenomena, such as images of light and dark polar nights, the northern lights, floating ice, fogs and snowy shores. It is carried out an art analysis and comparison of the works of the Russian “artist of eternal ice” Alexander Borisov and the Dutch “winter artist” Louis Apol, who were the first to depict such a phenomenon as a white night in the Far North. But their artistic interpretation of this phenomenon differs. A. Borisov perceives the North as a kind of “living” space in his own experience of figurative-symbolic comprehension of the world order, but at the same time does not lose touch with his realistic painting manner. And L. Apol impartially captures the surrounding nature, remaining in the principles of the features of compositional construction, which are characteristic of late romanticism. The European painter prefers muffled coloring, while on the canvas of the Russian artist, the paints literally ring and glow.
Dissertations / Theses on the topic "Quartier de Palente"
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Sacco, Viva. "Une fenêtre sur Palerme entre le IXe et la première moitié du XIIe siècle : étude du matériel céramique provenant de deux fouilles archéologiques menées dans le quartier de la Kalsa." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040072.
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Cette thèse traite de différents thèmes liés à la production et à la circulation des objets céramiques à Palerme entre le IXe et la première moitié du XIIe siècle. En particulier le travail prend en considération le mobilier inédit découvert lors des fouilles menées près de l’église Santa Maria degli Angeli, plus connue sous le nom de Gancia, et près du palais Bonagia. Les deux sites archéologiques sont situés rue Alloro dans le quartier de la “Kalsa”, une zone où les spécialistes concordent pour localiser la Ḫāliṣa, ville princière fondée par les Fatimides en 937. L’objectif premier de cette étude est d’offrir un tableau plus systématique et plus large des productions circulant à Palerme entre le IXe et la première moitié du XIIe siècle, en affrontant les problèmes méthodologiques liés à leur étude céramologique et en proposant de nouvelleschrono-typologies de référence. L’interprétation de ces données a permis d’utiliser la céramique comme source historique, capable d’offrir nouvelles informations, même partielles, relatives à l’évolution topographique de Palerme, aux changements sociaux et aux dynamiques commercialesThis thesis deals with a series of thematic related to the production and circulation of pottery in Palermo during the 9th-12th centuries. In particular this research focuses on the unpublished ceramics found during the archaeological excavations in “Santa Maria degli Angeli” Church, known as “Gancia”, and in the Bonagia palace, both situated along the Alloro street in the Kalsa area, where during the Fatimid period rose up the palatine city called al-Ḫāliṣa (937). The main aim of this project is to offer a more systematic and larger picture of the pottery productions circulating in Palermo between the 9th and the first half of 12th century, facing the methodological problems set by their study and proposing new chrono-typologies. The interpretation of these data has allowed us to use the ceramics as an historical source, able to offer partial but new information related to the topographic evolution of the city of Palermo, to the social changes and to the commercial dynamics it went through
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Panzarella, Antonino. "Attrattività o repulsione dei commerci etnici. Il caso del centro storico di Palermo." Thesis, Paris Est, 2008. http://www.theses.fr/2008PEST3005.
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Le thème des "présences commerciales ethniques", issues du phénomène de la globalisation dansles centres historiques, fait surgir une série de questions liées à l'actuelle transformation urbaine(spatiale et économico/sociale); les commerces ethniques sont en mesure d'engendrer, en mêmetemps, attraction et répulsion, par rapport aux différents facteurs; la recherche effectuée à partir dulaboratoire désigné, le centre historique de Palerme (Italie), analyse ces facteurs multiples.Le travail repose: sur l’analyse des significations et des perceptions "repérables" du commerceethnique, à partir des littératures et des expériences italiennes et françaises, qui voient impliquéesdes figures disciplinaires différentes, l’exploration des transformations urbaines provoquées par lephénomène au niveau spatial sur des cas italiens (Palerme, Florence) et français (Château-Rouge,Paris), l’analyse du cadre de référence des politiques liées à la gestion des commerces dans lescentres historiques et l’individuation de thématiques prééminentes du débat actuel en Italie et enFrance. À la fin de ce parcours, où le thème des commerces ethniques est abordé sous différentspoints de vue qui ont des retombées sur l'espace urbain, la thèse propose la construction d'un"système d'analyse dynamique", au service de l'urbaniste capable de rendre "appréciables" lescaractéristiques différentielles de ces genres de commerces par rapport aux commerces autochtones;en même temps, l’analyse veut être un moyen pour faire surgir les "potentialités" attractives que cescommerces manifestent, dans l'optique d’un emploi dans les stratégies de valorisation et dereclassement des tissus historiques et des systèmes commerciaux qu'ils contiennentThe topic of the "ethnic commercial presences", resulting from the phenomenon of the globalisationin the historical centers, makes emerge a series of questions related to the current urbantransformation (space and économic/social); the “ethnic trade” are able to generate, at the sametime, attraction and repulsion, compared to the various factors; the research carried out startingfrom the indicated laboratory, the historical center of Palermo (Italy), analyzes these multiplefactors.Work is articulated: on the analysis of the significances and "locatable" perceptions of the ethnictrade, starting from the literatures and Italian and French studies cases, which see implied differentdisciplinary figures, the exploration of the urban transformations caused by the phenomenon at thespacial level on Italian cases (Palermo, Florence) and French (Chateau Rouge, Paris), analysis ofthe framework of reference of the policies related to the administration of the trade in the historicalcenters and individuation of preeminent sets of themes of the current debate in Italy and France.At the end of this course, where the topic of the ethnic trade is approached under various “points ofview” which have repercussions on urban space, the thesis proposes one construction of a "dynamicsystem of analysis", at the service of the townplanner able to make "appreciable" the differentialcharacteristics of these paricularies “kinds” of trade compared to the trade autochtones; at the sametime, the analysis wants to be a means to make emerge the gravitational "potentialities" that thesetrade express, in the optics of an employment in the strategies of valorization and reclassification ofhistorical center and the commercial systems which it contain
Book chapters on the topic "Quartier de Palente"
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Barfod, Gry H. "9. The Colour Palette of the Northwest Quarter. Geochemical Evidence from Pigments Used on Roman and Early Islamic Wall Decorations." In Architectural Elements, Wall Paintings, and Mosaics, 387–96. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.jp-eb.5.126444.
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Crist, Stephen A. "Creative Process I." In Dave Brubeck's Time Out, 69–116. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190217716.003.0004.
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This chapter provides thumbnail sketches of each composition on Time Out, informed by manuscript sources. It also includes consideration of the disposition of solos, as well as discussion of the individual quartet members’ approaches to improvisation. In addition to its formal design and rhythmic profile, the architectural features of “Blue Rondo à la Turk” include its motivic content, palette of chord types, and tonal blueprint. “Everybody’s Jumpin’ ” also is an elegantly constructed composition. “Three to Get Ready” and “Kathy’s Waltz” belong together by virtue of their position side by side and because they both involve metrical experimentation with groups of three and four beats. “Strange Meadow Lark” is the longest and most accessible cut, but it is the only number on Time Out that is not a time experiment. Its four pages of pencil sketches provide a glimpse into Brubeck’s creative process. “Take Five” and “Pick Up Sticks” are examined as well.
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Hoffmann, Roald. "Science and Ethics: A Marriage of Necessity and Choice for This Millennium." In Roald Hoffmann on the Philosophy, Art, and Science of Chemistry. Oxford University Press, 2012. http://dx.doi.org/10.1093/oso/9780199755905.003.0034.
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Think of the last two hundred years. Incredible things were given to us by other human beings, in art, music, and social structure—who will question the value of War and Peace, or a Cezanne painting, a Beethoven quartet. Or the end of slavery, the empowerment of women. One should not compare the incommensurate, but there is no question that among the greatest achievements of these years is the gain in our understanding of the world within us and around us, the outcome of science. The achievements of science are of value to humanity in material and spiritual ways. Our own chemistry has so much to be proud of—the extension of life expectancy from forty years to seventy (in part of the world), birth control, synthetic fertilizers to feed twice as many people as could have been fed before, chemotherapy, synthetic fibers and plastics with their myriad of uses, a greater color palette for all. Science, coupled with technology, is democratizing in the deepest sense of the word—it makes available to a wider range of people the necessities and comforts that in a previous age were reserved for a privileged few. The achievement is also spiritual. I am not talking only about the indirect benefit of being able to hear Bob Marley and the Wailers, or a raga, Sind Bhairavi, on a CD. Anywhere in the world. I speak of the direct spiritual value, of knowledge gained of how genetic information is transmitted, stars are born, or how the color of a cornflower comes about. A knowledge that may not be of material value, will not make millions, but still makes the human spirit soar. Given this incredible gain in our knowledge, and the ever-so-clear material improvements in our life span and comfort (and that of much, not nearly all, of the world as well), it is clear as we stand at the beginning of the 21st century that (a) people are not any happier than they were, say, 100 years ago. And (b) that many do not praise the achievements of science and technology with enthusiasm, but question them. Or are suspicious of them.