Bibliografías temáticas / Lisbon Cathedral

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Literatura académica sobre el tema "Lisbon Cathedral"

Autor: Grafiati
Publicado: 25 de julio de 2024

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Artículos de revistas sobre el tema "Lisbon Cathedral"

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Alves da Cunha, João. "The Cathedral of Straw". Actas de Arquitectura Religiosa Contemporánea 3 (2 de octubre de 2015): 228–33. http://dx.doi.org/10.17979/aarc.2013.3.0.5106.

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This communication reflects on the great Eucharistic celebrations held occasionally by the Church in public places and proposes some guidelines to its development. To do this, it uses the examples of the Masses held by Benedict XVI in Valencia and Lisbon, the Mass by Pope Francis in Lampedusa and finally a Mass celebrated in Fatima by Jesuits General Father Adolfo Nicolás sj. Through these cases is visible how a poor and simple construction generated by a humble architecture can be as beautiful and noble as the richest, but more importantly, its testimony of Christ becomes considerably more credible.
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Serafim, João Carlos. "Malfadados livros A confiscada biblioteca de D. Vicente Nogueira (1633)". Via Spiritus: Revista de História da Espiritualidade e do Sentimento Religioso, n.º 29 (2022): 5–29. http://dx.doi.org/10.21747/0873-1233/spi29a1.

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Dom Vicente Nogueira, then priest of Lisbon Cathedral, was accused, in 1633, of the crimes of paedophilia and sodomy. Under these circumstances, his private library was confiscated and, in 1634, taken to the Royal Alcázar of Madrid. In the 19th century, a copy of the catalogue of this confiscated library was found in the National Library of France. In this study, we speak about this collection which, by the quantity and selectivity of books, reveals itself to be, at that time, truly monumental.
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Palomar, Teresa, Pedro Redol, Isabel Cruz Almeida, Eduardo Pereira da Silva y Marcia Vilarigues. "The Influence of Environment in the Alteration of the Stained-Glass Windows in Portuguese Monuments". Heritage 1, n.º 2 (19 de noviembre de 2018): 365–76. http://dx.doi.org/10.3390/heritage1020025.

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This work presents the results of the exposure of soda-lime, potash-lime and mixed-alkali silicate glasses during ten and twenty months in different Portuguese monuments with historical stained-glass windows to characterize the influence of local environmental conditions. The glass samples were exposed in the Monastery of Batalha (Batalha), the Monastery of Jerónimos (Lisbon), and the Cathedral of Évora (Évora). A set of analytical techniques to assess the physicochemical effects were used, including optical microscopy and Fourier transform infrared spectroscopy. All the samples presented crystalline deposits on their surface; however, their quantity and nature depended on the atmospheric conditions during the days before the collection. Potash-lime silicate glass was the most altered glass in comparison with soda-lime and mixed-alkali silicate glasses. The samples from the Cathedral of Évora showed a high content of dust and salts on their surface but without severe chemical pathologies; however, those samples exposed in the Monastery of Jerónimos and the Monastery of Batalha presented alteration layers due to a high humidity environment.
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Ramôa Melo, Joana. "Open books: performativity and mediation in elite women’s effigies at Lisbon Cathedral (14th c.)". Journal of Medieval Iberian Studies 11, n.º 2 (4 de mayo de 2019): 193–221. http://dx.doi.org/10.1080/17546559.2019.1614646.

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Losa, António. "La vie municipale à Coimbra en 1145". Arabist: Budapest Studies in Arabic 15-16 (1995): 297–308. http://dx.doi.org/10.58513/arabist.1995.15-16.29.

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The article provides the analysis of a document from the so-called Livro Preto of the Coimbra Cathedral, currently in the National Archive of Torre do Tombo in Lisbon. This document is dated 1145, nearly a century after the town of Coimbra was reconquered by the Christians in 1064. The document, entitled Correctio morum Colimbriae a civibus omnibus statuta aims to amend the local legislation concerning seven points. This document is not only significant from the point of view of the town’s history but also from the state of the language which – at that time – still contained several terms of Arabic origin no longer in use.
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Dionísio, A. "Stone decay induced by fire on historic buildings: the case of the cloister of Lisbon Cathedral (Portugal)". Geological Society, London, Special Publications 271, n.º 1 (2007): 87–98. http://dx.doi.org/10.1144/gsl.sp.2007.271.01.10.

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Antunes, Vanessa, António Candeias, José Mirão, Maria L. Carvalho, Vitor Serrão, Cristina Barrocas Dias, Ana Manhita, Ana Cardoso y Marta Manso. "On the origin of Goa Cathedral former altarpiece: Material and technical assessment to the work of Garcia Fernandes, Portuguese painter from 16th century Lisbon workshop". Microchemical Journal 138 (mayo de 2018): 226–37. http://dx.doi.org/10.1016/j.microc.2018.01.018.

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Tesis sobre el tema "Lisbon Cathedral"

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Dionísio, Maria Amélia Alves Rangel. "Degradação da pedra em edifícios históricos-o caso da Sé de Lisboa". Phd thesis, Instituições portuguesas -- UTL-Universidade Técnica de Lisboa -- IST-Instituto Superior Técnico, 2002. http://dited.bn.pt:80/29576.

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Figueiredo, Ana Paula Valente. "O espólio artístico das Capelas da Sé de Lisboa-abordagem cripto-histórica". Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras, 2000. http://dited.bn.pt:80/29170.

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Capítulos de libros sobre el tema "Lisbon Cathedral"

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Rodrigues, Jorge [Manuel de Oliveira]. "The Portuguese Cathedrals and the Birth of a Kingdom: Braga, Oporto, Coimbra, and the Historical Arrival at Lisbon - Capital City and Shrine of St Vincent". En Romanesque Cathedrals in Mediterranean Europe, 169–83. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.ama-eb.5.109571.

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Krass, Urte. "The New King’s Oath (15 December 1640)". En The Portuguese Restoration of 1640 and Its Global Visualization. Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463725637_ch03.

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The chapter reconstructs the material and visual framework of the new king’s juramento ceremony, which took place in the square in front of the Lisbon palace. A variety of objects and visual media were used to convey the abstract royal oath of office to the audience. The textile decorations of specially erected pedestals and the lineup of political protagonists are meticulously reported upon in contemporary sources, possibly to counteract the previous episode of political disorder with a re-established order. The fact that a statue of the nebulous figure of Gonçalo Anes Bandarra was subsequently placed on the altar in the cathedral can be understood as an attempt to locate the new political situation between inherited iconographies and innovative visualizations.
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"How the Bishop of Lisbon and others were killed and cast down from the cathedral tower". En The Chronicles of Fernão Lopes, 33–36. Boydell & Brewer Ltd, 2023. http://dx.doi.org/10.2307/j.ctv333ks2d.20.

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"Chapter 12 How the Bishop of Lisbon and others were killed and cast down from the cathedral tower". En The Chronicles of Fernão Lopes, 33–36. Boydell and Brewer, 2023. http://dx.doi.org/10.1515/9781805430124-017.

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Coffey, Patrick. "Science and the Nazis: Nernst and Haber". En Cathedrals of Science : The Personalities and Rivalries That Made Modern Chemistry, 151–74. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195321340.003.0006.

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Abstract In the spring of 1933, Walther Nernst, then cochairman of the University of Berlin’s department of physics, arrived at work and went looking for his colleague, Peter Pringsheim, only to be told that Pringsheim had been banned from the laboratory as a Jew. Enraged, Nernst stormed into the office of Artur Wehnelt, his cochairman. Wehnelt had been given the cochairmanship as a sinecure for past service and had always deferred to Nernst. But today he seemed puffed up, and he lectured Nernst on the importance of cleansing the laboratory of Jews and on the requirements of the new civil service law of 7 April, which clearly barred the employment of non-Aryans such as Pringsheim. Nernst was in no mood to listen. He left, hailed a taxi, and went immediately to see his old colleague and sometimes rival, Fritz Haber.
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Noë, Alva. "Forty Speakers in a Room". En Learning to Look, 9–12. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780190928216.003.0003.

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This chapter examines Janet Cardiff’s 2001 art installation, The Forty Part Motet, which was on view at the Nelson-Atkins Museum in Kansas City, Missouri, in the winter of 2017. In this art installation, one enters the room and encounters forty speakers, arranged in an oval, playing a recording of the Salisbury Cathedral Choir singing “Spem in alium” (Hope in any other), which was composed by the English composer Thomas Tallis in 1556. One could opt to sit in the middle of the room and listen to the wall of sound created by the joint effect of each speaker, but one could also move about the room, causing one voice to pop out and another to be drowned out. In this way, the work invites the audience not only to enjoy the music but to remix it by sampling voices. The whole work is less an opportunity for deep listening than it is an opportunity for manipulating sound by moving around. The work itself is a supercharged technical remaking of the music. And the distortions one produces through one's own movements are the direct result of the fact that recording technology makes separate what was, in the making, collective.
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