Academic literature on the topic 'S. anastasia'
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Journal articles on the topic "S. anastasia"
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Dergacheva, Irina. "Autobiographical Novel of the 20th century (based on Margarita Sabashnikova᾿s “Die Grtine Schlange. Lebenserinnerungen”, Anastasia Tsvetaeva᾿s “Memories” and Gala Dalí᾿s “A History, Invented by Herself”." Stephanos Peer reviewed multilanguage scientific journal 55, no. 5 (September 30, 2022): 78–87. http://dx.doi.org/10.24249/2309-9917-2022-55-5-78-87.
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The article is devoted to comparison, analysis of problems, features of the composition of autobiographical novels of three contemporaries: Margarita Sabashnikova, Anastasia Tsvetaeva, Gala Dali. The genre of the autobiographical novel is interesting for the researcher because it combines the documentary and artistic components. The choice of material is determined by the typological commonality of the fates of the authors of the works. The range of ideas presented in these novels allows us to imagine the attitude and psychology of the people of that era.
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Kovačević, Marijana. "Olipski fragment gotičkoga srebrnog ophodnog križa s prikazom Sv. Stošije." Ars Adriatica, no. 3 (January 1, 2013): 103. http://dx.doi.org/10.15291/ars.463.
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This paper discusses an interesting silver fragment showing an image of a saint which was found a few years ago in the rectory of the island of Olib. Based on a thorough comparison of the fragment with similar liturgical objects from the wider area of Zadar, especially with the processional cross from Vlašići (Pag), the authoress proposes that the fragment once belonged to a Gothic proccessional cross dating from the end of the 14th century and that it was nailed as the middle part of its reverse side. The image of the saint depicted on this fragment is identified, based partly on the place of its discovery, with the patron saint of the parish of Olib, St.Anastasia. This identification is further strenghtened also by an iconographical analysis of various depictions of St. Ananstasia in Romanesque and Gothic art of Zadar and its area, especially in goldsmiths’ work of the time, where there are relatively many of her images considering that St. Anastasia was the patron saint of Zadar cathedral, where her relic was treasured for centuries, and also one of four main patron saints of this important Adriatic city. That analysis led to the conclusion that there was a certain evolutive change in the depiction of the saintly patroness during that era, and that, starting form ourfragment and the end of the 14th century, she is more often adorned with a book as her standard attribute.It was also noted that the image depicted on the Olib fragment may, perhaps, be identified with St. Catherine of Alexandria who was also often depicted with a book. Namely, she was the patron saint of a church in Novigrad, a small medieval town situated in the hinterland of Zadar,whence its inhabitants could have brought a whole cross, or solely this fragment, centuries after its making, as C. F. Bianchi recorded thet they brought to Olib a worshipped painting when fleeing from the Turks. This move of the local treasure from Novigrad to Olib in times of crisis and flight would thus coincide with the same practice of the move of the processional cross from Gorica to Pašman, as proposed by N. Jakšić. The stumbling stone of this theory is, of, course, the existence of the 14th century processional cross in Novigrad, with very similar image of St. Catherine on its reverse. Although she is iconographically coherent with the saintly image on the fragment from Olib, it is rather difficult toexplain the making of two similar processional crosses in such a short period of time, since the evident stylistic and tehnical differences between the two images allow only for a short time difference. On the other hand, if the saint on the Olib fragment indeed is St. Anastasia, this would mean that the parish church of Olib regularly refurbished its liturgical equipment during the period of less than two centuries, since one processional cross from Olib older than our fragment has also survived, still partly Romanesque in its morphology and iconography, as well as has survived the late 15th century cross attributed to Toma Martinov, goldsmith from Zadar, whose style is already Rennaissance in many aspects. In course of the search for the images of St. Anastasia in the medieval goldsmiths’ work of Zadar it was also observed that the long established iconographical identification of the figures depicted on the luxurious bishop’s staff of the archbishop Maffeo Vallaresso (1460) has to be partially revised.
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SINEV, ARTEM Y., MIGUEL ALONSO, MARIA ROSA MIRACLE, and MARIA SAHUQUILLO. "The West Mediterranean Alona azorica Frenzel & Alonso, 1988 (Cladocera: Anomopoda: Chydoridae) is composed of two species." Zootaxa 3276, no. 1 (April 24, 2012): 51. http://dx.doi.org/10.11646/zootaxa.3276.1.3.
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A study of several populations of the West Palaearctic endemic Alona azorica Frenzel & Alonso, 1988 reveals the exis-tence of a sibling-species. Alona azorica s. str. is confined to the Azores and the Atlantic part of West Iberia; Alona anas-tasia sp. nov. inhabits temporary ponds in Mediterranean Iberia and other West Mediterranean regions. It differs by size,by the morphology of the head shield and head pores, and by the shape of the male postabdomen. Both species belong tothe pulchella-group of Alona s. lato. Alona anastasia sp. nov. population dynamics and seasonal variation in body size in the province of Valencia (Spain) are also studied.
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Vedriš, Trpimir. "Ponovno otkriveni srednjovjekovni rukopis Codex Filippi i zadarska redakcija Pasije sv. Anastazije*." Ars Adriatica, no. 6 (January 1, 2016): 61. http://dx.doi.org/10.15291/ars.177.
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Zadar’s medieval manuscript known as Cod. Lat. Iaderensis Filippi (S. Mariae) has been rediscovered after its whereabouts were unknown following its translocation from Zadar during World War II and its acquisition in London in 1997. The most recent research on the manuscript, which was familiar to the older experts on Zadar’s hagiography, has confirmed many of the previous conclusions and suggestions, but the possibility to work on the manuscript itself after almost a century has also brought new insights about its nature and the nature of the legends contained therein. As the older experts argued, it is a segment of a once far larger liturgical codex (of some 300 pages) owned by the Benedictine monastery of St Chrysogonus. The author has accepted the conclusions of the previous researchers and suggested that the manuscript should be described as Legendarium. In its present form (consisting of only 21 sheets), the Cod. Lat. Iaderensis Filippi (S. Mariae) contains two hagiographic legends: a late antique Passio Sanctae Anastasiae and a local legend called Translatio Beati Grisogoni martyris. Based on a codicological and palaeographic analysis, as well as the stylistic and iconographic features of the preserved miniatures and other decorative elements, the author has suggested the period between the late 13th and late 14th centuries as the probable date of its making. Having thus delimited the approximate terminus ante quem for this redaction of the two legends about the saints of Zadar, the author has further suggested a link between this variant of the Passio Sanctae Anastasiae and other known medieval versions of that originally late antique legend. Based on the content, palaeography, and style of the manuscript, the codex has been compared to similar liturgical books from a wider northern Adriatic area. Having observed some analogies (primarily in terms of content and language) with a group of manuscripts from a wider Aquileian area, the author has further suggested a link between the Passio Sanctae Anastasiae preserved in the manuscript and a northern Italian redaction of the legend, thus paving the way for further research on the origins of Zadar’s cult and hagiography of St Anastasia and St Chrysogonus.
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Smykovskaya, Tatyana E. "Anastasia Tsvetaeva`s novel Amor: the lyrical genre model as the embodiment of spiritual resistance." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 63 (2022): 198–207. http://dx.doi.org/10.37816/2073-9567-2022-63-198-207.
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The study looks at Anastasia Tsvetaeva’s novel Amor, the first draft of which (1939–1941) was composed when the author was incarcerated in Amurlag, a labor camp located in the Soviet Far East. Tsvetaeva resumed work on the manuscript, which was smuggled to Moscow by some free workers employed in the camp, in 1960, after she had served her term of “perpetual exile” in Siberia. Yet the definitive, canonical text was completed only in the 1980s. The novel was first published in the journal Moskva. The paper examines the novel from a concrete, genre-based perspective and interprets it as a lyrical work, owing to its focus on the psychological depiction of the consciousness of the protagonist, Nikki, Tsvetaeva’s alter ego. The genre of the lyrical novel, to which the work conforms, determines its poetics. Amor exhibits a degree of multilayered lyrical fragmentation that frames several of its aspects: narrational and compositional structure (a multilayered chronotope), mythopoetic dimension (a novel about the authorial self, the poem about Moritz, and the author’s own verse productions), discursive design (complex monologues of a voiced and interior kind), portrait sketches, and landscapes notes. By making use of this lyrical genre during a period of the totalitarian enslavement of the individual, Tsvetaeva asserts the value of every human being and gives expression of her axiological and humanistic stance, aimed at defending personhood under any historical and social circumstances.
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Iakovleva, Tatiana A. "VISUALIZATION OF MEMORY IN PROJECTS OF URAL PHOTOGRAPHERS A. BOGOMOLOVA AND S. POTERYAEV." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 43 (2021): 179–96. http://dx.doi.org/10.17223/22220836/43/14.
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The article is devoted to the problem of memory visualization in the language of photography. Photography is presented as a sign system and a communicative tool of culture, as one of its mnemonic and memorial techniques. An image archive is created through a photo. It becomes a refuge of memory and material for the reconstruction and reinterpretation of memory. The author explores the nostalgic, retrospective genre of photography. The appearance of this genre demonstrates an increase in the demand of culture, society and personality for memory, to assert themselves in the present through a search for a connection with the past. The purpose of the article is the analysis of the visual language of photographic projects related to the theme of memory, the analysis of visual rhetoric, and the identification of a set of "visual toposes" and metaphors of memory. This article reviewed the projects of two young Ural photographers Anastasia Bogomolova and Sergey Poteryayev. Their work connects the theme of memory, the problem of reconstruction, reinterpretation and retranscription of the past. These projects are a kind of visual research of personal and collective memory, the development of the problems of places of memory and mythology of the place. The theme of memory in projects is directly related to the problem of identity. In the course of the study, the author of the article relies on materials from creative projects and exhibitions, information from copyright sites. The author also uses materials interviews in which photographers talk about themselves, about the history of project creation, conceptual ideas and creative orientations. Creativity of Anastasia Bogomolova appears as a performative act, as "unpacking the archive". For a photographer, memory becomes the basis of individual and family identity. In the exposition space, photographs are complemented by objects, video and sound installations, and performances. The projects of Sergey Poteryaev represent photo stories about real places and people. The photographer refers to the relationship of the fate of the disappearing settlements and their inhabitants. Using a collage technique, the photographer connects the past and the present, creates pictures of memory. The analysis of the visual language of the photo projects was carried out, the conceptual bases of the projects and creative techniques were investigated. The article identifies the key methods and techniques of working with photography, the basic metaphors and images through which personal, family, and collective memory became visible. The author shows that both photographers apply a topographical approach to memory in accordance with the nature of photography. Project photos convey such memory characteristics as paradox and surreality, multi-layered and collage, selectivity, fragmentation, and construction. The events of the past are distant from us, but images of memory exist in the present. Images of memory can fade; overlap each other like images in a photo. At the same time, they are overloaded and insufficient. Just as memory is changeable, mobile, its images can be fluid, distorted, but they help us comprehend the past for the present.
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Kozlova, N. K. "The fairy-tale repertoire of A. S. Kozhemyakina collected by Omsk local historian I. S. Korovkin (based on materials of the folklore archive of the Omsk State Pedagogical University)." Languages and Folklore of Indigenous Peoples of Siberia, no. 38 (2019): 5–15. http://dx.doi.org/10.25205/2312-6337-2019-2-5-15.
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The article is devoted to the analysis of fairy-tale material from the folklore collection of the Omsk local historian I. S. Korovkin whose wide collection of folklore materials is stored in the folklore archive of the Omsk State Pedagogical University. The article will focus on the texts of fairy tales written by a collector from a Siberian performer Anastasia Stepanovna Kozhemyakina, manuscripts of these recordings are stored in the folklore archive of the Pedagogical Uni- versity. Of the 40 fairy tales recorded by Korovkin from the performer, the author of the article was able to identify (from archival records and published materials) 36 texts. The repertoire represents the Russian old-time tradition of Siberia. Tales by A. S. Kozhemyakina reflect the process of the existence of a folklore text in the oral tradition (which is typical for the late XIX - early XX centuries). The bearers of the tradition have a certain “baggage” or a set of elements specific for a particular genre (poetic, content) in order to “form” a text from these elements when reproducing it. "Forming" a fairy tale, Kozhemyakina takes out any element, image, plot episode, etc. from her fairy-tale "baggage". It includes not only fairy-tale, but also epic episodes, formulas, elements, as well as images, plot conflicts from adventure stories or novels. Fairy-tale contaminations are also peculiar. They are as well due to the specifics of the oral existence of fairy tales. A special publication of this fairy-tale heritage with scientific commentary on each text is needed.
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Smykovskaya, Tatyana Ye. "“A Word from Heaven in Hell′s Three Dimensions”: The Specifics of the Artistic Topos in the Camp Poems of Anastasia Tsvetaeva." Philological Sciences. Scientific Essays of Higher Education, no. 1 (January 2018): 97–104. http://dx.doi.org/10.20339/phs.1-18.097.
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Alexandri, Styliani, Maria Tsaktsira, Stefanos Hatzilazarou, Stefanos Kostas, Irini Nianiou-Obeidat, Athanasios Economou, Apostolos Scaltsoyiannes, and Parthena Tsoulpha. "Selection for Sustainable Preservation through In Vitro Propagation of Mature Pyrus spinosa Genotypes Rich in Total Phenolics and Antioxidants." Sustainability 15, no. 5 (March 2, 2023): 4511. http://dx.doi.org/10.3390/su15054511.
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Pyrus spinosa Forssk. (almond-leaved pear) is a wild-growing native tree of the hilly countryside of Greece, which has recently gained interest for its valuable endogenous substances. In the present work, the determination of the total phenol content (TPC) and antioxidant capacity (AC) was carried out during 2021 and 2022 in leaves from 32 genotypes of mature wild-growing trees at four different locations of Central Macedonia District, Greece: Agia Anastasia, Chalkidiki, Lagadas and Pieria. The measurements taken from the leaf samples of all genotypes revealed a strong positive linear correlation between TPC and AC (R2 = 0.772). Two genotypes from Agia Anastasia, coded as AA2 and AA3, were comparatively the richest in TPC (44.86 for AA2 and 46.32 mg GAE/g fresh weight for AA3) and AC (70.31 and 71.21 μg AAE/g fresh weight for the same genotypes). For these two genotypes of high TPC and AC, an efficient micropropagation protocol was developed to preserve and multiply this valuable germplasm. Newly emerged shoot tips were excised from winter shoots and, after disinfestation, they were established on a modified Murashige and Skoog (MS) nutrient medium with 5 μΜ of 6-Benzyloaminopurine (ΒΑP). For shoot multiplication, explants from clean cultures were transferred to Pear Medium 1 with 5 μΜ of BAP. The effect of the nutrient medium was tested by using five different nutrient media (modified MS, Pear Medium 1, Pear Medium 2, DKW and WPM) supplemented with 5 μΜ of BAP. Pear Medium 1 was the most effective in shoot formation. Among the four different BAP concentrations (0, 5, 10 and 20 μΜ) used in Pear Medium 1, 5 μΜ of BAP resulted in the production of the significantly highest number of shoots (22.7 shoots per explant, 2.4 cm long). The exposure of cultures to 10 μmol·m−2·s−1 for one week under light irradiance followed by 35 μmol·m−2·s−1 for four weeks increased both the number and length of the shoots produced. A 20-sec dip of the shoot bases into 49.0 μΜ of Indole-3-butyric acid (IBA) in EtOH equally affected rooting in a modified rooting MS (79%) and Pear Medium 1 (80%). The root system developed better in the modified rooting MS medium (mean number of roots of 2.7 with a length of 3.9 cm). The acclimatization of the plantlets was successfully carried out (high survival rates five weeks after their establishment) on a perlite substrate under controlled environmental conditions.
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Skulkin, Artyom. "THE CONCEPT OF LOVE AND THE FORMS OF ITS EMBODIMENT IN THE NOVEL BY F. M. DOSTOEVSKY “THE IDIOT”." Проблемы исторической поэтики 20, no. 1 (February 2022): 187–207. http://dx.doi.org/10.15393/j9.art.2022.10603.
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In the article, the concept of love, embodied in F. M. Dostoevsky’s novel “The Idiot,” is considered from the point of view of three religious and philosophical types of love identified by V. S. Solovyov, namely, ascending love (amor ascendens), descending love (amor descendens) and balanced love (amor aequalis). This approach allows not only to conceptualize the forms of manifestation of love in “The Idiot” in the context of V. S. Solovyov’s thoughts, but also to identify the readers’ tradition of adequate perception of Dostoevsky's work, associated with the mental and spiritual atmosphere of the era. Seeing the meanings of the novel through the “eyes” of V. S. Solovyov allows to outline the national value code of reading. Each type of love designated by the philosopher in Dostoevsky's novel corresponds to descending love (amor descendens), embodied in parental love (Lizaveta Prokofievna and Ardalion Alexandrovich), sacrificial love (Nastasya Filippovna Barashkina) and Christian love (Lev Nikolaevich Myshkin). The manifestations of selfless children's love (Swiss children) and passionate love (Parfyon Rogozhin) became forms of embodiment of ascending love (amor ascendens). The forms of embodiment of balanced love (amor aequalis) include “brotherly” love (Epanchiny sisters: Aglaya, Adelaide, Anastasia). However, the love of God is the highest form of love in hierarchy (which includes all others), the effective power of which begins with faith: therefore, it is no coincidence that the episode with the painting by Hans Holbein the Younger “Dead Christ in the Tomb” becomes the meaning-generating theoanthropic center of “The Idiot.”
Dissertations / Theses on the topic "S. anastasia"
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August, Anastasia [Verfasser], and E. [Akademischer Betreuer] Leuzinger. "Über die Dehn-Funktion von S-arithmetischen Gruppen / Anastasia August ; Betreuer: E. Leuzinger." Karlsruhe : KIT-Bibliothek, 2007. http://d-nb.info/1186010975/34.
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Manousi, Anastasia [Verfasser]. "Phenotypic screening for pharmacological compounds promoting p57kip2’s protein nuclear shuttling and myelin repair / Anastasia Manousi." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2021. http://d-nb.info/1237883857/34.
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Betti, Maddalena. "La formazione della sancta Ecclesia Marabensis (858-882). Fonti e linguaggi di un progetto papale." Doctoral thesis, Università degli studi di Padova, 2008. http://hdl.handle.net/11577/3425547.
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My research focuses on realising a study on Methodius' archbishopric and on the papal politics of the 9th century concerning central Europe. Besides my work on the sources the huge historiography on this theme which dates from the 19th and the second half of the 20th century, serves as a basis for my analysis. This poses a significant challenge to the project according to the ideological and polemical tendency of a large part of the literature. But of course these extensive results can't be ignored and therefore the adaptation and contextualisation due to modern standards and the critical analysis of the main topics, aims and methodological approaches are an important part of my project. My work examines new prospects in discussing the traditional historiographical problems concerning the foundation of a new ecclesiastical territoriality in central Europe and it concentrates on the recovering of long neglected sources; therefore, the Roman sources (for example the Liber Pontificalis or the pope's registers), the Slavic sources (the Vita Costantini and the Vita Methodi) and the German sources (Annales fuldenses and the Conversio Bagoariorum et Carantanorum) will be subjects of a systematic investigation. The letters of Pope John VIII serve as an important source (872-882), especially the Moravian corpus (seven fragments and four complete letters), which represents a possibility to observe papal politics towards the rising archbishopric of Methodius.
The analysis on the Moravian corpus will also be a linguistic one. I will concentrate especially on the vocabulary in the papal letters defining the Methodian archbishopric and its archbishop and the vocabulary used in the correspondence between Pope John VIII and the Slav chief Svatopluk. The linguistic analysis allows to understand the main stages of a dynamical and flexible papal politic: at the beginning of the correspondence the letters are written in a cautious style, reflecting the papal awareness of the alternating historical and territorial circumstances. After Svatopluk's confirmation and an increased political stability in that region, the papal letters became more audacious. Moreover efforts were made towards a justification and legitimation of the new Roman diocese, in order to decrease the influence and the continuous objections of the Bavarian church having had tried to reject papal intrusion over the missionary territories by claiming them to be Bavarian ones assigned by Carolingian authority. The papal letters are precious documents which testify the ideological effort to find an untouchable identity for the Methodian diocese and the right canonical position for Methodius. The first papal attempt consists in assigning Pannonian identity to the Methodian diocese, according to a strategy already adopted during the furious polemic between Rome and Constantinople about the control of Bulgarian Christianity. In the papal letters the term "Pannonian diocese" is suddenly replaced by "Moravian diocese". This seems to be a strategy to establish a new diocese with a new name, that can be regarded independent from the late Roman past.The change of the diocese's name signifies a radical transformation in the papal politics demonstrating an example of effective political sovereignty that reacts to the new political realities along the eastern borders of the Empire. In this context, it's obvious that the relationships between the Pope and the Slavic chiefs, which serve as absolute guarantors for the survival of the new ecclesiastical realities, gain significantly in importance.
Books on the topic "S. anastasia"
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Mazzoni, Stefania, ed. Studi di Archeologia del Vicino Oriente. Florence: Firenze University Press, 2012. http://dx.doi.org/10.36253/978-88-6655-145-4.
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The book presents recent studies and research by the students of Paolo Emilio Pecorella, a lecturer in Archaeology and Art History of the Ancient Near East at the University of Florence. The contributions reflect the numerous interests and activities in the field promoted by Pecorella and continued now by his school: in Syria and Mesopotamia (J.S. Baldi, S. Nannucci, V. Orsi, C. Coppini and G. Baccelli), in Anatolia (F. Manuelli, A. D'Agostino, G. Guarducci and S. Valentini), in Cyprus (L. Bombardieri), and in Iran (S. Anastasio).
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K, Vasilʹev G., Nikitina, G. I͡A. (Galina I͡Akovlevna), and Łubińska Zofia 1904-, eds. Perepiska Anastasii T͡Svetaevoĭ s Sofʹeĭ (Zoseĭ) Lubinskoĭ. Aleksandrov: Literaturno-khudozhestvennyĭ muzeĭ Mariny i Anastasii T͡Svetaevykh, 2011.
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Kolut Sveta: Intertekstualna autobiografija Anastasije S. Beograd: Draganič, 2005.
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Kozlova, Lilit. Skvozʹ gody: Perepiska s Anastasieĭ Ivanovnoĭ T︠S︠vetaevoĭ. Ulʹi︠a︡novsk: Laterna magica, 2003.
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Kozlova, Lilit. Skvozʹ gody: Perepiska s Anastasieĭ Ivanovnoĭ T︠s︡vetaevoĭ. Neizvestnye avtografy. 2003.
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Il Monastero di S. Elia di Carbone e il suo territorio dal Medioevo all'età moderna: Nel millenario della morte di S. Luca Abate : atti del convegno internazionale di studio promosso dall'Università degli studi della Basilicata in occasione del decennale della sua istituzione (Potenza-Carbone, 26-27 giugno 1992). Galatina: Congedo, 1996.
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Diederich, Bernard. Somoza & the Legacy of U. S. Involvement in Central America. Marcus Wiener, 1989.
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Hegland, Frode, ed. The Future of Text. Future Text Publishing, 2020. http://dx.doi.org/10.48197/fot2020a.
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This book is the first anthology of perspectives on the future of text, one of our most important mediums for thinking and communicating, with a Foreword by the co-inventor of the Internet, Vint. Cerf and a Postscript by the founder of the modern Library of Alexandria, Ismail Serageldin. In a time with astounding developments in computer special effects in movies and the emergence of powerful AI, text has developed little beyond spellcheck and blue links. In this work we look at myriads of perspectives to inspire a rich future of text through contributions from academia, the arts, business and technology. We hope you will be as inspired as we are as to the potential power of text truly unleashed. Contributions by Adam Cheyer • Adam Kampff • Alan Kay • Alessio Antonini • Alex Holcombe • Amaranth Borsuk • Amira Hanafi • Amos Paul Kennedy Jr. • Anastasia Salter • Andy Matuschak & Michael Nielsen • Ann Bessemans & María Pérez Mena • Andries Van Dam • Anne-Laure Le Cunff • Anthon Botha • Azlen Ezla • Barbara Beeton • Belinda Barnet • Ben Shneiderman • Bernard Vatant • Bob Frankston • Bob Horn • Bob Stein • Catherine C. Marshall • Charles Bernstein • Chris Gebhardt • Chris Messina • Christian Bök • Christopher Gutteridge • Claus Atzenbeck • Daniel Russel • Danila Medvedev • Danny Snelson • Daveed Benjamin • Dave King • Dave Winer • David De Roure • David Jablonowski • David Johnson • David Lebow • David M. Durant • David Millard • David Owen Norris • David Price • David Weinberger • Dene Grigar • Denise Schmandt-Besserat • Derek Beaulieu • Doc Searls • Don Norman • Douglas Crockford • Duke Crawford • Ed Leahy • Elaine Treharne • Élika Ortega • Esther Dyson • Esther Wojcicki • Ewan Clayton • Fiona Ross • Fred Benenson & Tyler Shoemaker • Galfromdownunder, aka Lynette Chiang • Garrett Stewart • Gyuri Lajos • Harold Thimbleby • Howard Oakley • Howard Rheingold • Ian Cooke • Iian Neil • Jack Park • Jakob Voß • James Baker • James O’Sullivan • Jamie Blustein • Jane Yellowlees Douglas • Jay David Bolter • Jeremy Helm • Jesse Grosjean • Jessica Rubart • Joe Corneli • Joel Swanson • Johanna Drucker • Johannah Rodgers • John Armstrong • John Cayle • John-Paul Davidson • Joris J. van Zundert • Judy Malloy • Kari Kraus & Matthew Kirschenbaum • Katie Baynes • Keith Houston • Keith Martin • Kenny Hemphill • Ken Perlin • Leigh Nash • Leslie Carr • Lesia Tkacz • Leslie Lamport • Livia Polanyi • Lori Emerson • Luc Beaudoin & Daniel Jomphe • Lynette Chiang • Manuela González • Marc-Antoine Parent • Marc Canter • Mark Anderson • Mark Baker • Mark Bernstein • Martin Kemp • Martin Tiefenthaler • Maryanne Wolf • Matt Mullenweg • Michael Joyce • Mike Zender • Naomi S. Baron • Nasser Hussain • Neil Jefferies • Niels Ole Finnemann • Nick Montfort • Panda Mery • Patrick Lichty • Paul Smart • Peter Cho • Peter Flynn • Peter Jenson & Melissa Morocco • Peter J. Wasilko • Phil Gooch • Pip Willcox • Rafael Nepô • Raine Revere • Richard A. Carter • Richard Price • Richard Saul Wurman • Rollo Carpenter • Sage Jenson & Kit Kuksenok • Shane Gibson • Simon J. Buckingham Shum • Sam Brooker • Sarah Walton • Scott Rettberg • Sofie Beier • Sonja Knecht • Stephan Kreutzer • Stephanie Strickland • Stephen Lekson • Stevan Harnad • Steve Newcomb • Stuart Moulthrop • Ted Nelson • Teodora Petkova • Tiago Forte • Timothy Donaldson • Tim Ingold • Timur Schukin & Irina Antonova • Todd A. Carpenter • Tom Butler-Bowdon • Tom Standage • Tor Nørretranders • Valentina Moressa • Ward Cunningham • Dame Wendy Hall • Zuzana Husárová. Student Competition Winner Niko A. Grupen, and competition runner ups Catherine Brislane, Corrie Kim, Mesut Yilmaz, Elizabeth Train-Brown, Thomas John Moore, Zakaria Aden, Yahye Aden, Ibrahim Yahie, Arushi Jain, Shuby Deshpande, Aishwarya Mudaliar, Finbarr Condon-English, Charlotte Gray, Aditeya Das, Wesley Finck, Jordan Morrison, Duncan Reid, Emma Brodey, Gage Nott, Aditeya Das and Kamil Przespolewski. Edited by Frode Hegland.
Book chapters on the topic "S. anastasia"
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Becket, Thomas. "250 Archbishop Thomas of Canterbury to his Enemy, John, Cardinal Priest of the Title of S. Anastasia, after 18 November 1169." In Oxford Medieval Texts: The Correspondence of Thomas Becket, Archbishop of Canterbury 1162–1170, Vol. 2: Letters 176–329, edited by Anne J. Duggan. Oxford University Press, 2000. http://dx.doi.org/10.1093/oseo/instance.00257733.
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