Bibliografías temáticas / Albero monumentale

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Literatura académica sobre el tema "Albero monumentale"

Autor: Grafiati
Publicado: 10 de marzo de 2023

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Artículos de revistas sobre el tema "Albero monumentale"

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Hayakawa Casas, José Carlos. "Alberto Barreto Arce". Devenir - Revista de estudios sobre patrimonio edificado 7, n.º 13 (25 de abril de 2020): 177–81. http://dx.doi.org/10.21754/devenir.v7i13.931.

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Egresado de la Universidad Nacional de Ingeniería (UNI) el año de 1958. Ingresó al Consejo Nacional de Conservación y Restauración de Monumentos Históricos y Artísticos con el cargo de Arquitecto en el año de 1961. Como Jefe del Departamento Técnico de obras del Consejo de Monumentos y después del Institu- to Nacional de Cultura (INC) efectuó proyectos de estudio, delimitación y declaración de zona monumental en diversas regiones del Perú. Como consultor independiente, desarrolló estudios y proyectos destinados a la protección y restauración de monumentos y ejecución de obras efectuados durante sus 60 años de actividad profesional.
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Waltrick do Amarante, Dirce y Sérgio Medeiros. "A interação entre Josef Albers e Augusto de Campos". Revista da Anpoll 52, n.º 3 (31 de diciembre de 2021): 76–84. http://dx.doi.org/10.18309/ranpoll.v52i3.1671.

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Um breve poema visual de Augusto de Campos que é uma tradução de Maiakóvski dialoga com a monumental série Homenagem ao quadrado, do artista plástico Josef Albers, inspirada, em parte, nas pirâmides e na paisagem mexicanas.
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Kitses, Jim. "All that Brokeback Allows". Film Quarterly 60, n.º 3 (2007): 22–27. http://dx.doi.org/10.1525/fq.2007.60.3.22.

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ABSTRACT In Brokeback Mountain, the grand Western tradition's he- roes are deconstructed, and the monumental landscape with its coded promise of freedom and opportunity reduced to the scale of a postcard. Brokeback Mountain transforms into melodrama, albeit with a restrained style that disguises its radical take on an America betraying its original ideals.
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Abrahamson, Michael. "“Actual Center of Detroit”: Method, Management, and Decentralization in Albert Kahn's General Motors Building". Journal of the Society of Architectural Historians 77, n.º 1 (1 de marzo de 2018): 56–76. http://dx.doi.org/10.1525/jsah.2018.77.1.56.

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In the period 1919–22, two events catalyzed General Motors’ nascent dominance in the automotive industry: the company built a monumental headquarters in Detroit, designed by Albert Kahn Associates and located on what was then the periphery of the city; and a restructuring of the corporation was enacted at the behest of several newly appointed executives, including Alfred P. Sloan. In “Actual Center of Detroit”: Method, Management, and Decentralization in Albert Kahn's General Motors Building, Michael Abrahamson explores the conjunction between these events, arguing that both manifest a struggle with immense size. To cope with the bigness of buildings, corporations, and urban environments, GM and the Kahn firm developed strategies that set the agenda for architectural practice, corporate management, and urban development for the twentieth-century United States. Together, these strategies reveal the entwined forces that influenced the design of the General Motors Building.
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Jeep, John M. "Etymologisches Wörterbuch des Althochdeutschen. Band VII: quaderna – skazzôn, unter der Leitung von Rosmarie Lühr erarbeitet von Dagmar S. Wodtko (Arbeitsstellenleitung) Harald Bichlmeier, Maria Kozianka und Roland Schuhmann. Göttingen: Vandenhoeck & Ruprecht, 2021. LIII, 707 S. (1414 Sp.)". Mediaevistik 34, n.º 1 (1 de enero de 2021): 387–89. http://dx.doi.org/10.3726/med.2021.01.74.

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Seit 1998 erscheint dieses monumentale, auf zehn Bände geplante etymologische Wörterbuch des Althochdeutschen (EWA). Nach anfänglich neun- bis zehnjährigen Phasen (Band 1 bis 3) hat man die Spanne zwischen den Bänden nach 2007 bis um mehr als die Hälfte gekürzt, so dass nun das Ende des 1978 an der University of Pennsylvania von Albert Larry Lloyd und Otto Springer ins Leben gerufenen Projekts fast absehbar ist. Der siebente Band ist – wie seit Band IV – mit einem Verzeichnis der (über 100) Abkürzungen für Sprachen, die mit einbezogen werden, neben vollständigen Angaben zu Quellen und der umfangreichen Forschungsliteratur (S. XX–LIII mit schätzungsweise an die 1.000 Einträgen) bequem benutzbar. Die einzelnen Einträge sind in der Regel mit Kürzel versehen, so dass die Autorin / der Autor leicht zu ermitteln sind.
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Zoppelli, Luca. "The twilight of the true gods: Cristoforo Colombo, I Medici and the construction of Italian history". Cambridge Opera Journal 8, n.º 3 (noviembre de 1996): 251–69. http://dx.doi.org/10.1017/s0954586700004742.

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In little more than a year, between October 1892 and November 1893, the Italian operatic repertory acquired two ambitious and monumental works, similar in their choice of a national–historic subject and in their dramatic form: Alberto Franchetti's Cristoforo Colombo and Ruggero Leoncavallo's I Medici. After a few revivals scattered over several decades, both disappeared from circulation, and recent productions have confirmed doubts about their stageworthiness, notwithstanding some convincing passages (particularly in Colombo) and the enormous investment of intellectual and historical reflection that had attended their birth. Ideological motivations determined the musico-dramatic structures of the two operas, and are closely related to the failure of their projects.
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Vilanova, Oriol. "Ex aequo". Revista SOBRE 4 (2 de mayo de 2018): 216–41. http://dx.doi.org/10.30827/7377.

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El 25 de mayo de1937 se inauguró en París la Exposition internationale des Arts et des Techniques appliqués à la Vie moderne. Cincuenta naciones fueron representadas. Los pabellones de la Alemania hitleriana y la Rusia estalinista fueron los claros protagonistas. En un contexto de aparente neutralidad, las construcciones de Albert Speer y Boris Iofan ganaron el premio ex aequo como los mejores pabellones de la muestra. Ambos respondían a una misma arquitectura totalitaria y monumental, coronados por simbólicos motivos esculturales. Justo al lado del alemán, discreto y de dimensiones reducidas, la España republicana presentó el que sería llamado como el pabellón de la vanguardia. Todo el díptico Ex aequo (2012-en proceso) contiene un subtítulo con fragmentos de poemas de Federico García Lorca, asesinado durante la Guerra Civil y homenajeado en el pabellón español.
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Long, R. James. "The Anonymous Peterhouse Master and the Natural Philosophy of Plants". Traditio 46 (1991): 313–26. http://dx.doi.org/10.1017/s0362152900004281.

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Early in the thirteenth century, probably within the first decade, a treatise on plants was translated from the Arabic by Alfred of Sareshel (or Alveredus Anglicus), which was to become the foundation of the science of botany for the Latin-speaking world. This treatise was until the sixteenth century universally ascribed to Aristotle and awarded all the authority accorded the Philosopher in the other sciences. Within a generation of the appearance of the Latin version the De plantis had become a set text in university curricula and by 1254 was prescribed by statute at the University of Paris as an examination subject. Roger Bacon was lecturing on the text at Paris already in the 1240s and a decade later Albert the Great was composing his monumental and never-to-be-surpassed commentary on the same text.
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Lada-Richards, Ismene. "Staging the Ephebeia: Theatrical Role-Playing and Ritual Transition in Sophocles' Philoctetes". Ramus 27, n.º 1 (1998): 1–26. http://dx.doi.org/10.1017/s0048671x00001910.

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The last two decades have seen a renewed emphasis on studies falling within the general area of Ritual and Drama. The majority of extant plays have been scrutinised in the search for ritual schemes and sequences, metaphors and allusions remoulded in their imagery and language, and some of the juiciest discussions of Greek theatre have emerged as a result. Nevertheless, compared to this proliferation of studies on particular aspects of ritual symbolism and ritual patterns, few scholars have attempted to investigate the ways in which ritual and theatre can interrelate and unfold in parallel at the level of dramatic plots. Brilliant, albeit isolated, examples of this type of inquiry can be sought in Froma Zeitlin's unequalled pieces on Aristophanes' Thesmophoriazusae and Euripides' Ion; in the rewarding work of Foley, Segal, Goldhill on the Bacchae as well as in Bowie's ‘ritual’ reading of Aristophanic plots and Seaford's monumental study of Dionysiac patterns in fifth-century Greek tragedy.
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Castro-Henriques, Mendo. "Eric Voegelin's History of political ideas. The bones of contention of the political animal". RUDN Journal of Philosophy 24, n.º 1 (15 de diciembre de 2020): 99–112. http://dx.doi.org/10.22363/2313-2302-2020-24-1-99-112.

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The History of Political Ideas by the German-American philosopher Eric Voegelin (1901-1985) is a monumental work of around 2,600 pages. It remained unpublished during his lifetime, and it came to light through the American edition (1997-1999) and the now completed Portuguese edition (2012-2018). Being the author of the first world edition of an abridged version of the History of Political Ideas ; the translator of the first three volumes of the 2012-2018 Portuguese edition; and the author of The civil philosophy of Eric Voegelin (my 1990 Ph. D diss.) I consider that the History of Political Ideas challenges the present climate of opinion: it subverts the dominant corrosive forces of moral relativism, intolerant neo-positivism, end-of-history obsessions, postmodernist deconstructions, agnosticism, nihilism, new age religions, and the all-pervasive ideology of money. Eric Voegelin achieves all this leading his readers from Antiquity to Modern Age. His monumental work begins with the “spiritual disintegration” of the Greek world, after the peak of Plato and Aristotle, a disintegration that ushered a long process of transition in the self-understanding of man in the Mediterranean world. The series goes through Middle Ages , R enaissance and Reformation as Voegelin analyzes the collapse of imperial Christianity, which led to the rise of autonomous reason and sectarian revolts that reached full development in later centuries. A new form of modern human consciousness replaced the Christian understanding of a divinely created closed cosmos. The collection ends - in a suspensive way - with “The Crisis and the Apocalypse of Man” focused on thinkers such as Comte, Bakunine and Marx; although they experienced true epiphanies, they become self-obsessed to the detriment of the world to which they refer. Such “Apocalypse of Man” must now be challenged, albeit with methodologies and hermeneutic principles other than those that Voegelin himself abandoned some decades ago.
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Tesis sobre el tema "Albero monumentale"

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Dufrêne, Thierry. "Art et réalité dans l'oeuvre d'Alberto Giacometti (1901-1966) : le monumental à rebours". Paris 1, 1993. http://www.theses.fr/1993PA010649.

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L'œuvre d’Alberto Giacometti (1901-1966) est exemplaire d'un tournant pris dans l'art européen au sortir des avant-gardes du début du xxeme siècle. La réalité s'y trouve valorisée par l'expression du sentiment existentiel. D'abord dans la mouvance du cubisme puis membre du groupe surréaliste, Giacometti revient en 1935 à l'étude de sa perception. Un art phénoménologique et bientôt proche de l'existentialisme s'ensuit. Mais la force de l'œuvre est dans l'élimination des conventions qui régissent notre vision de la réalité et dans la réconciliation à laquelle l'article parvient de la sensation et de l'idée. Un "monumental à rebours" fait jouer à l'espace et au rapport entre figures et socles un rôle essentiel. Son œuvre s'inscrit dans le contexte de crise de la représentation de l'après-guerre. Giacometti, en refusant toute "figuration idéologique", fait partie des artistes européens qui établissent la figuration dans sa dimension tragique. On peut mesurer son influence sur F. Bacon, B. Newman, D. Smith et A. Kirili
Alberto Giacometti's work (1901-1966) is typical of a shift in european art at the dawning of the early twenthieth century "avant-garde" movement. Reality is promoted by the expression of existential feeling. First in line with cubism, then a member of the surrealist group, giacometti came back to the study of his perception in 1935. Soon follows a phenomenological art, moving closer to existentialism. But the strength of the works is in the elimination of conventions which rule our notion of reality and in the artist's success when reconciles perception and idea. A "backward monument" gives an essential role to the space and the relation between figures and stands. His works are produced in the crisis context of post-war representation. Giacometti by refusing ideological figuration is one of the european artists who set up figuration in its typical tragic dimension. His influence on F. Bacon, B. Newman, D. Smith and A. Kirili can be measured
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Lesmeister, Isabelle [Verfasser] y Albert [Akademischer Betreuer] Dietl. "Comenzate a tormentarglie – Studien zur Provenienz der Strafwerkzeuge auf monumentalen Weltgerichtsdarstellungen des toskanischen Trecento – / Isabelle Lesmeister ; Betreuer: Albert Dietl". Regensburg : Universitätsbibliothek Regensburg, 2017. http://d-nb.info/1123802742/34.

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Lesmeister, Isabelle Verfasser] y Albert [Akademischer Betreuer] [Dietl. "Comenzate a tormentarglie – Studien zur Provenienz der Strafwerkzeuge auf monumentalen Weltgerichtsdarstellungen des toskanischen Trecento – / Isabelle Lesmeister ; Betreuer: Albert Dietl". Regensburg : Universitätsbibliothek Regensburg, 2017. http://nbn-resolving.de/urn:nbn:de:bvb:355-epub-350338.

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CECCARELLI, ELIAS. "Aspetti metodologici e applicativi per la definizione, l’individuazione e la conservazione degli alberi vetusti e monumentali. Il caso di studio del Parco Nazionale Foreste Casentinesi Monte Falterona e Campigna". Doctoral thesis, 2009. http://hdl.handle.net/2158/579097.

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Libros sobre el tema "Albero monumentale"

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Paolo, Crivelli y Rigoni Stern Mario, eds. L' albero monumentale. Cabbio: Museo etnografico della Valle di Muggio, 2006.

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Bortolotti, Lucio. Gli alberi monumentali d'Italia. Roma: Edizioni Abete, 1989.

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Galli, Federica. Alberi monumentali di Federica Galli. Milano: Compagnia del disegno, 1996.

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Albano, Museo civico, ed. Albano Laziale: Il circuito archeologico monumentale. Albano: Museo civico Albano Laziale, 2015.

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Poli, Ivo. Alberi monumentali della Garfagnana: Storia e mitologia. Castelnuovo Garfagnana: Unione comuni Garfagnana, 2014.

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Yoki. Albert Chavaz, 1907-1990: Catalogue de l'art monumental. Visp: Rotten, 2000.

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Giambastiani, Massimo. Gli alberi e gli arbusti monumentali del Comune di Lucca. Lucca: Città di Lucca, Comune di Lucca, Assessorato all'Ambiente, 2010.

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1964-, Cazzani Alberta, ed. Le architetture vegetali nel Milanese: Parchi, giardini e alberi di interesse storico e monumentale. Milano: Guerini e associati, 2003.

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Pieters, Hannes. Bouwen voor de nati :.: De Albertina op de Brusselse Kunstberg als monumentaal totaalproject. Gent: Academia Press, 2012.

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Alberi monumentali del Piemonte. Savigliano (Cuneo): Artistica piemontese, 2004.

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Capítulos de libros sobre el tema "Albero monumentale"

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Lia Maria Papa. "Alberi monumentali e giardini storici: un processo virtuoso di disseminazione e fruizione". En DIALOGHI / DIALOGUES • visioni e visualità / visions and visuality. FrancoAngeli srl, 2022. http://dx.doi.org/10.3280/oa-832-c113.

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Stangl, Paul. "Conclusion". En Risen from Ruins. Stanford University Press, 2018. http://dx.doi.org/10.11126/stanford/9781503603202.003.0008.

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Key cultural and political groups displayed a great deal of internal unity in their approach to the urban landscape due to their adherence to the same frameworks of interpretation and political interests. This is not to imply that humans agency was irrelevant. Individuals and groups created and altered these frameworks, and made decisions about how to apply them to the city. The triad of place-based meaning, spatial/formal relations and representation was consistently significant, albeit with vastly different levels of importance attached to each on a case-by-case basis. The differential treatment of memorials, monumental architecture, vernacular buildings, public spaces, and city plans suggests that they differed in how they conveyed cultural meaning. The construction of the Berlin Wall in 1961 made an emphatic statement about the GDR that would always stand as a counterpoint to its other building projects.
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Frede, Michael. "The Historical History of Philosophy and Its Object". En The Historiography of Philosophy, 44–54. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198840725.003.0005.

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This chapter evaluates the historical history of philosophy. Given the very strong philosophical assumptions underlying the early philosophical histories of philosophy, and given in particular the fact that they tended to be written from the point of view of some kind of idealism, it is not surprising that they should have met with some resistance, in particular outside philosophy. Thus, one finds Albert Schwegler criticizing Hegel’s method of treating the history of philosophy, rejecting any kind of philosophical history of philosophy as history. He insists that the systematical study of the history of philosophy is the task of a historian and has to be pursued in precisely the way one studies any other kind of history or history in general. Zeller therefore advocates a purely historical approach to the history of philosophy, a historian’s history of philosophy, and his own monumental work on the history of Greek philosophy is inspired by this conception, just as it, in turn, inspires a lot of work, at least on ancient philosophy of the same kind. The chapter then presents a systematical consideration of the historical history of philosophy.
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Ohi, Kevin. "“Epitaph, the Idiom of Man”". En Inceptions, 177–98. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823294626.003.0009.

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This chapter explores the intertwined power and impotence of human speech, starting from Eudora Welty’s story “Circe.” In “torment,” Circe seeks the secret of human grief; immortal, she finds that her words cannot reach the metaphors to which mortal speech has access. To explore this “frailty,” the chapter traces a passage from Ovid as it is cited by Shakespeare in The Tempest, Milton in Paradise Lost (at the crucial moment of Adam’s telling of his awakening into life), and then Wordsworth in the Immortality Ode. A layered confession of powerlessness is also, in each instance, an invocation of poetic power. The chapter isolates a particular phrase in Wordsworth as an index of its paradoxical formulation of the power of human frailty—“there is” of poetic positing—and then traces some of its appearances in elegiac poetry to link positing to “frailty”: in George Oppen’s “The Image of the Engine,” read as a rewriting of the Immortality Ode, and, briefly, in short poems by Mark Strand and Louise Glück. The chapter concludes by turning to the abyssal consideration of positing in a more monumental work in a different genre, albeit still in elegy: Gertrude’s speech announcing Ophelia’s death in Shakespeare’s Hamlet.
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