Bibliografías temáticas / Luigi

Literatura académica sobre el tema "Luigi"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 28 de julio de 2024

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Artículos de revistas sobre el tema "Luigi"

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Bobbio, Norberto. "Luigi Einaudi, Federalista / Luigi Einaudi, Federalist". Brazilian Journal of International Relations 3, n.º 3 (4 de noviembre de 2020): 548–65. http://dx.doi.org/10.36311/2237-7743.2014.v3n3.p548-565.

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O texto analisa o pensamento de Luigi Einaudi sobre o tema do federalismo europeu, tanto do ponto de vista dos diversos escritos einaudianos sobre o assunto quanto do ponto de vista da tradição do pensamento federalista europeu. Abstract: This paper analyzes the thought of Luigi Einaudi on the subject of European federalism, both from the point of view of various einaudianos written on the subject and from the point of view of the tradition of European federalist thought.
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Lepschy, A. L. y Harold Bloom. "Luigi Pirandello". Modern Language Review 86, n.º 1 (enero de 1991): 224. http://dx.doi.org/10.2307/3732156.

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Bayer, Francis y Pierre Michel. "Luigi Dallapiccola". Revue de musicologie 83, n.º 2 (1997): 318. http://dx.doi.org/10.2307/946932.

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Colonnelli, Enzo. "Luigi Magnano". Memorie della Società Entomologica Italiana 88, n.º 1 (30 de junio de 2009): 3. http://dx.doi.org/10.4081/memoriesei.2009.3.

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Il 3 luglio 2009, nel giorno del suo ottantaquattresimo compleanno, Luigi Magnano ci ha lasciati per sempre, dopo una non lunga ma penosa malattia che lo aveva costretto da alcuni mesi ad interrompere la sua intensa attività.
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Silva, Valmir Luis. "Luigi Pirandello". Tabuleiro de Letras 15, n.º 1 (1 de julio de 2021): 44–54. http://dx.doi.org/10.35499/tl.v15i1.10366.

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Um dos pontos mais importantes da crítica e da teoria feita por Luigi Pirandello é o conceito de humorismo. Em seu ensaio L’umorismo (1908), Pirandello nos dá a base de sua escrita e aponta que a questão fundamental do humorista centra-se no sentimento do contrário. Neste trabalho, analisamos com profundidade textos poéticos de Pirandello, a fim de perceber a especificidade da obra de arte humorística e relacioná-la ao conceito de existencialismo, principalmente aquele seguido por Jean Paul Sartre. Concluímos afirmando que o humorismo é tanto uma teoria de crítica literária quanto uma espécie de teoria da vida, por valorizar as ações humanas que fogem ao enquadramento harmonioso que a arte em geral pinta, mas que inexistem, de fato, na praxis da vida.
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Longman, Stanley V., Susan Basnett-McGuire y A. Richard Sogliuzzo. "Luigi Pirandello". Theatre Journal 37, n.º 3 (octubre de 1985): 392. http://dx.doi.org/10.2307/3206877.

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Thomas, Gavin, LaSalle Quartet, Slavka Taskova, Laren Driscoll, Saarlandischen Radio SO, Berlin Radio SO y Gielen. "Luigi Nono". Musical Times 134, n.º 1810 (diciembre de 1993): 715. http://dx.doi.org/10.2307/1002949.

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Fitch, Fabrice, Soloists, Stuttgart State Opera, Beethoven, Prometeo, Liszt, Scriabin, Vienna Philharmonic y Claudio Abbado. "Luigi Nono". Musical Times 136, n.º 1829 (julio de 1995): 366. http://dx.doi.org/10.2307/1004340.

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Jay, Venita. "Luigi Rolando". Journal of Histotechnology 25, n.º 3 (septiembre de 2002): 149. http://dx.doi.org/10.1179/his.2002.25.3.149.

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Gesnerus, Editors. "Luigi Belloni". Gesnerus 47, n.º 2 (21 de noviembre de 1990): 187–90. http://dx.doi.org/10.1163/22977953-04702006.

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Tesis sobre el tema "Luigi"

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Nardin, Elisa <1986&gt. "Luigi Basiletti". Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3123.

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Giachino, Monica. "L'opera di Luigi Carrer". Doctoral thesis, Università Ca' Foscari Venezia, 1994. http://hdl.handle.net/10579/349.

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Giacomello, Irene <1986&gt. "Luigi Ramello: erudito rodigino". Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/9417.

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L'elaborato presenta la figura del Canonico Luigi Ramello come erudito e collezionista rodigino. Dopo aver presentato il quadro storico-culturale in cui si trova Rovigo nella prima metà del XIX secolo, viene analizzato il ruolo che ha avuto Ramello all'interno dell'Accademia Scientifico Letteraria dei Concordi di Rovigo come Socio e Presidente negli anni in cui il sodalizio apre al pubblico la biblioteca e la pinacoteca. Sulla base di documenti editi ed inediti lo studio analizza le sue collezioni personali, la raccolta di autografi e il catalogo della quadreria Casilini da lui personalmente curato.
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Tortella, Jaime Gérard Yves. "Boccherini, un músico italiano en la España ilustrada /". Madrid : Sociedad Española de Musicología, 2002. http://catalogue.bnf.fr/ark:/12148/cb40156614g.

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Lazzarini, Guilia. "Luigi Nono : espace et composition". Paris, EHESS, 2014. http://www.theses.fr/2014EHES0049.

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Tout a commencé à partir de l'intuition qu'il existait un lien entre musique et architecture, auxquelles j'ai consacré beaucoup de temps et d'études, en suivant et complétant deux parcours académiques parallèles. Après un long processus d'analyse des sujets de réflexion infinis que présentait le thème, j'ai choisi de me concentrer sur un des exemples les plus significatifs de collaboration entre un architecte et un musicien du XXe siècle : l'œuvre Prometeo, tragédies dell‘ascolto composée par Luigi Nono en collaboration avec Massimo Cacciari et Renzo Piano. Cette recherche a été effectuée principalement sur la base de la lecture des écrits de Luigi Nono et sur l'étude des manuscrits, des dessins et de la correspondance conservés dans l'Archivio Luigi Nono à Venise et dans les archives de la Fondazione Renzo Piano à Gênes. J'ai ensuite interviewé quelques-unes des personnes liées de diverses manières à l'expérience de Prometeo. Ma thèse est organisé en trois parties: une première partie qui concerne le rôle de l'espace dans la musique du XXe siècle et dans les œuvres de Luigi Nono précédentes par rapport à Prometeo : une deuxième partie dans laquelle est approfondi le processus de composition qui a conduit aux représentations de Prometeo à Venise, Milan et Paris ; une troisième partie dans laquelle j'ai pris en compte ce qui s'est passé après Prometeo et j'ai réfléchi sur les contributions que cette expérience peut apporter à la conception d'espaces pour la musique, en analysant différentes versions de l'œuvre sans l'arche et en prenant en considération les projets de l'auditorium de l'International Art Village de Akiyoshidai et de la salle de la nouvelle Philharmonie de Paris
Architecture and music. Space and time. Sound. Experience. These are the key words on which my research is based. It all started from the intuition of the existence of a link between two disciplines to which I have devoted much time and study, along two parallel academics paths: the school of architecture and the conservatory. After a long process of identification and analysis of the infinite possible approaches to the topic, I chose to focus on one of the most emblematic example of collaboration between an architect and a musician of the twentieth century: "Prometeo, tragedia dell’ascolto" (1984), composed by Luigi Nono in collaboration with Massimo Cacciari and Renzo Piano. Through the study of Prometeo, I was able to deal with many possible interpretations of the interdisciplinary relationship between music and architecture. The research was mainly carried out by analysing the writings of Nono and by studying the documents stored at Archivio Luigi Nono and Fondazione Renzo Piano. The dissertation consists of three parts: the first part deals with the role of space in Nono's works preceding the Prometeo, highlighting the importance of cultural and sound environment in Venice: the second part explores the composition process that led to the set-up Promefeo in Venice, Milan and Paris; the third part deepens what happened after Prometeo, and reflects on the contributions that this experience can give to the design of spaces for music, analysing different setups of the play without the ark, and studying the projects of Akiyoshidai's International Art Village and the concert hall of the new Philharmonie in Paris. The study of the experience of Prometeo aims to encourage the curiosity to research, and the experimentation of those 'infiniti possibili’ of the architectural and musical composition mentioned by Nono
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Chessa, Luciano. "Luigi Russolo and the occult /". For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2004. http://uclibs.org/PID/11984.

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Lazzarini, Giulia <1985&gt. "Luigi Nono: spazio e composizione". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6529/1/lazzarini_giulia_tesi.pdf.

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Architettura e musica. Spazio e tempo. Suono. Esperienza. Queste le parole chiave da cui ha preso avvio la mia ricerca. Tutto è iniziato dall’intuizione dell’esistenza di un legame tra due discipline cui ho dedicato molto tempo e studio, completando due percorsi accademici paralleli, la Facoltà di architettura e il Conservatorio. Dopo un lavoro d’individuazione e analisi degli infiniti spunti di riflessione che il tema offriva, ho focalizzato l’attenzione su uno degli esempi più emblematici di collaborazione tra un architetto e un musicista realizzatasi nel Novecento: Prometeo, tragedia dell’ascolto (1984), composta da Luigi Nono con la collaborazione di Massimo Cacciari e Renzo Piano. Attraverso lo studio di Prometeo ho potuto affrontare la trattazione di molte delle possibili declinazioni del rapporto interdisciplinare tra musica e architettura. La ricerca si è svolta principalmente sullo studio dei materiali conservati presso l’Archivio Luigi Nono e l’archivio della Fondazione Renzo Piano. La tesi è organizzata in tre parti: una prima parte in cui si affronta il tema del ruolo dello spazio nelle opere di Nono precedenti a Prometeo, facendo emergere l’importanza dell’ambiente culturale e sonoro veneziano; una seconda parte in cui si approfondisce il processo compositivo che ha portato alle rappresentazioni di Prometeo a Venezia, Milano e a Parigi; una terza parte in cui si prende in considerazione quanto avvenuto dopo Prometeo e si riflette sui contributi che questa esperienza può portare alla progettazione di spazi per la musica, analizzando diversi allestimenti dell’opera senza arca e prendendo in considerazione i progetti dell’auditorium dell’International Art Village di Akiyoshidai e della sala della nuova Philharmonie di Parigi. Lo studio dell’esperienza di Prometeo ha lo scopo di stimolare la curiosità verso la ricerca e la sperimentazione di quegli infiniti possibili della composizione architettonica e musicale di cui parla Nono.
Architecture and music. Space and time. Sound. Experience. These are the key words on which my research is based. It all started from the intuition of the existence of a link between two disciplines to which I have devoted much time and study, along two parallel academics paths: the school of architecture and the conservatory. After a long process of identification and analysis of the infinite possible approaches to the topic, I chose to focus on one of the most emblematic example of collaboration between an architect and a musician of the twentieth century: "Prometeo, tragedia dell'ascolto” (1984), composed by Luigi Nono in collaboration with Massimo Cacciari and Renzo Piano. Through the study of Prometeo, I was able to deal with many possible interpretations of the interdisciplinary relationship between music and architecture. The research was mainly carried out by analysing the writings of Nono and by studying the documents stored at Archivio Luigi Nono and Fondazione Renzo Piano. The dissertation consists of three parts: the first part deals with the role of space in Nono's works preceding the Prometeo, highlighting the importance of cultural and sound environment in Venice; the second part explores the composition process that led to the set-up Prometeo in Venice, Milan and Paris; the third part deepens what happened after Prometeo, and reflects on the contributions that this experience can give to the design of spaces for music, analysing different setups of the play without the ark, and studying the projects of Akiyoshidai's International Art Village and the concert hall of the new Philharmonie in Paris. The study of the experience of Prometeo aims to encourage the curiosity to research, and the experimentation of those 'infiniti possibili' of the architectural and musical composition mentioned by Nono.
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Lazzarini, Giulia <1985&gt. "Luigi Nono: spazio e composizione". Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2014. http://amsdottorato.unibo.it/6529/.

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Architettura e musica. Spazio e tempo. Suono. Esperienza. Queste le parole chiave da cui ha preso avvio la mia ricerca. Tutto è iniziato dall’intuizione dell’esistenza di un legame tra due discipline cui ho dedicato molto tempo e studio, completando due percorsi accademici paralleli, la Facoltà di architettura e il Conservatorio. Dopo un lavoro d’individuazione e analisi degli infiniti spunti di riflessione che il tema offriva, ho focalizzato l’attenzione su uno degli esempi più emblematici di collaborazione tra un architetto e un musicista realizzatasi nel Novecento: Prometeo, tragedia dell’ascolto (1984), composta da Luigi Nono con la collaborazione di Massimo Cacciari e Renzo Piano. Attraverso lo studio di Prometeo ho potuto affrontare la trattazione di molte delle possibili declinazioni del rapporto interdisciplinare tra musica e architettura. La ricerca si è svolta principalmente sullo studio dei materiali conservati presso l’Archivio Luigi Nono e l’archivio della Fondazione Renzo Piano. La tesi è organizzata in tre parti: una prima parte in cui si affronta il tema del ruolo dello spazio nelle opere di Nono precedenti a Prometeo, facendo emergere l’importanza dell’ambiente culturale e sonoro veneziano; una seconda parte in cui si approfondisce il processo compositivo che ha portato alle rappresentazioni di Prometeo a Venezia, Milano e a Parigi; una terza parte in cui si prende in considerazione quanto avvenuto dopo Prometeo e si riflette sui contributi che questa esperienza può portare alla progettazione di spazi per la musica, analizzando diversi allestimenti dell’opera senza arca e prendendo in considerazione i progetti dell’auditorium dell’International Art Village di Akiyoshidai e della sala della nuova Philharmonie di Parigi. Lo studio dell’esperienza di Prometeo ha lo scopo di stimolare la curiosità verso la ricerca e la sperimentazione di quegli infiniti possibili della composizione architettonica e musicale di cui parla Nono.
Architecture and music. Space and time. Sound. Experience. These are the key words on which my research is based. It all started from the intuition of the existence of a link between two disciplines to which I have devoted much time and study, along two parallel academics paths: the school of architecture and the conservatory. After a long process of identification and analysis of the infinite possible approaches to the topic, I chose to focus on one of the most emblematic example of collaboration between an architect and a musician of the twentieth century: "Prometeo, tragedia dell'ascolto” (1984), composed by Luigi Nono in collaboration with Massimo Cacciari and Renzo Piano. Through the study of Prometeo, I was able to deal with many possible interpretations of the interdisciplinary relationship between music and architecture. The research was mainly carried out by analysing the writings of Nono and by studying the documents stored at Archivio Luigi Nono and Fondazione Renzo Piano. The dissertation consists of three parts: the first part deals with the role of space in Nono's works preceding the Prometeo, highlighting the importance of cultural and sound environment in Venice; the second part explores the composition process that led to the set-up Prometeo in Venice, Milan and Paris; the third part deepens what happened after Prometeo, and reflects on the contributions that this experience can give to the design of spaces for music, analysing different setups of the play without the ark, and studying the projects of Akiyoshidai's International Art Village and the concert hall of the new Philharmonie in Paris. The study of the experience of Prometeo aims to encourage the curiosity to research, and the experimentation of those 'infiniti possibili' of the architectural and musical composition mentioned by Nono.
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Santini, Andrea. "The spatial performance of Luigi Nono". Thesis, Queen's University Belfast, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603065.

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The thesis discusses space as a central element in Luigi Nona's composition and performance practices. Focusing chiefly on the pieces with tape and live-electronics composed after 1960, the dissertation attempts to illustrate the major influences that have contributed to the development of the Nono's spatial practice, with particular emphasis on his involvement with technology and theatrical practices ever since the detachment from Darmstadt in the late fifties. The musical and extra-musical implications of Nona's unique contribution to spatial music are discussed, in the hope that this work may become a useful practical contribution for future composers, performers and scholars, especially considering the lack of publications on the subject in English at the time of writing. The analysis is centred on the composer's use of acoustic space as a conveyor of meaning, designed to stimulate active and critical audience engagement. Particular emphasis is thus placed on the use of amplification, tape and live-electronics in performance, introducing notions such as 'doubling', 'con-fusion', fragmentation, non-linearity, simultaneity, mobility and multiplicity, which inform Nona's vision of space and are essential for a serious understanding of the composer's engaged spatial aesthetic.
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Magalhães, Michelle Agnes. "O estilo tardio de Luigi Nono". Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-04112010-151812/.

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Este trabalho se propõe a analisar alguns dos aspectos da obra tardia do compositor veneziano Luigi Nono (1924-1990), a partir da leitura de três obras: Fragmente-Stille, an Diotima para quarteto de cordas, Das atmende Klarsein para flauta baixo, coro e processamento em tempo real, e Omaggio a György Kurtág para contralto, flauta, clarinete baixo e processamento em tempo real. As três diferentes análises têm como foco três importantes princípios da poética tardia de Luigi Nono: as idéias de fragmentação, de limite e de suspensão.
This research studies some aspects of Luigi Nonos (1924-1990) late work. It is based on analysis and interpretation of three important works of the Venetian composer: Fragmente-Stille, an Diotima, for string quartet, Das atmende Klarsein, for bass flute, double-bass, choir and live electronics, and Omaggio a György Kurtág, for contralto, flute, bass clarinet and live electronics. Each of these investigations focuses on three important principles of Nonos late poetics: the ideas of fragmentation, limit and suspension.
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Libros sobre el tema "Luigi"

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Einaudi, Luca, Riccardo Faucci y Roberto Marchionatti, eds. Luigi Einaudi. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230522978.

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Perilli, Giorgio. Luigi Bonazza. Trento: Publiprint, 1992.

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Pellegrini, Ernestina. Luigi Meneghello. Fiesole (Firenze): Cadmo, 2002.

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Ontani, Luigi. Luigi Ontani. Torino: Galleria in arco, 1989.

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Pomini, Mario. Luigi Amoroso. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-10339-1.

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Michel, Pierre. Luigi Dallapiccola. Genève: Contrechamps, 1996.

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Luigi Vanvitelli. Milano: Skira, 2000.

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Manca, Gavino y Marzio Achille Romani. Luigi Einaudi. Milano: Università Bocconi, 2011.

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Senesi, Luigi. Luigi Senesi. Trento: Edizione d'arte, Studio d'arte Raffaelli, 1990.

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Mussini, Massimo. Luigi Ghirri. Milano: F. Motta, 2001.

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Capítulos de libros sobre el tema "Luigi"

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Rössner, Michael. "Luigi Pirandello". En Kindler Kompakt: Drama des 20. Jahrhunderts, 76–79. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04526-3_13.

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Wild, Gerhard. "Capuana, Luigi". En Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2998-1.

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Leonelli, Antonella. "Luigi Onnis". En Encyclopedia of Couple and Family Therapy, 1748–50. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-49425-8_981.

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Albèra, Philippe. "Nono, Luigi". En Metzler Komponisten Lexikon, 536–42. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_207.

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Kämper, Dietrich. "Dallapiccola, Luigi". En Metzler Komponisten Lexikon, 186–87. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03421-2_74.

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Lenort, Bernhard. "Luigi Cherubini". En Kammermusikführer, 127–30. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_20.

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Kardos-Morin, Maria y Frank Schneider. "Luigi Nono". En Kammermusikführer, 454–59. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03514-1_89.

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Albèra, Philippe. "Nono, Luigi". En Komponisten Lexikon, 418–23. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_206.

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Kämper, Dietrich. "Dallapiccola, Luigi". En Komponisten Lexikon, 144–45. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05274-2_72.

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Badolati, Ennio. "Lilio, Luigi". En Biographical Encyclopedia of Astronomers, 1322. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4419-9917-7_9349.

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Actas de conferencias sobre el tema "Luigi"

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Kirman, Ben, Shaun Lawson y Conor Linehan. "Mario, Luigi and Dave". En the 13th International MindTrek Conference: Everyday Life in the Ubiquitous Era. New York, New York, USA: ACM Press, 2009. http://dx.doi.org/10.1145/1621841.1621872.

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"Dedication: In memory of Luigi Ciminiera 1954-2012 [includes "In memory of Luigi Dadda 1923-2012"]". En 2013 IEEE 21st Symposium on Computer Arithmetic (ARITH). IEEE, 2013. http://dx.doi.org/10.1109/arith.2013.11.

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Cosentino, O. y R. Ibba. "Luigi Broglio Base facilities and activities: The ASI balloon program". En ASTROPHYSICAL POLARIZED BACKGROUNDS: Workshop on Astrophysical Polarized Backgrounds. AIP, 2002. http://dx.doi.org/10.1063/1.1471852.

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Ceravolo, R., G. De Lucia, E. Lenticchia, G. Miraglia, A. Quattrone, F. Tondolo, E. Matta et al. "Challenges in the Reuse and Upgrade of Pier Luigi Nervi‘s Structures". En 12th International Conference on Structural Analysis of Historical Constructions. CIMNE, 2021. http://dx.doi.org/10.23967/sahc.2021.043.

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Daldoss, Ivan. "The problem of sovereignty according to Hans Kelsen and Luigi Ferrajoli". En Naděje právní vědy 2022. University of West Bohemia, Czech Republic, 2023. http://dx.doi.org/10.24132/zcu.nadeje.2022.31-41.

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This contribution deals with the theme of ‘sovereignty’, especially state sovereignty, as a problematic concept that, from legal modernity onwards, falls into crisis and determines multiple aporias. According to the theoretical constructions of the two authors here considered in a diachronic key, Kelsen and Ferrajoli, it should be overcome in favour of an internationalist dimension of law, which can effectively guarantee the protection of fundamental rights and peace, thus approaching the horizon that Kant outlined at the end of the 18th century. This contribution will therefore set out several reasons why such a shift is desirable.
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6

Tavoletta, Concetta. "Luigi Cosenza, Bernard Rudofsky and Gio Ponti and the Secret of the Mediterranean Sea". En 4th International Conference of Contemporary Affairs in Architecture and Urbanism – Full book proceedings of ICCAUA2020, 20-21 May 2021. Alanya Hamdullah Emin Paşa University, 2021. http://dx.doi.org/10.38027/iccaua2021186n6.

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Landscape, cavity, courtyard, skin, pergola are some of the elements of the Mediterranean abacus that architecture tries to transfigure into a single substance but also as a derivation of a great mother, the Mediterranean Sea. However, we can suppose that all these elements come from an idea that acts as a trait d'union, an intuition that made the domestic space of the Mare Nostrum the place of the myth of living: the innovative idea of horizon summarized as the ability of the gaze to observe outward. Gio Ponti, Bernard Rudofsky and Luigi Cosenza are the architects of the materialization of this idea where the horizon is not only found in the relationship with the landscape but is present within the domestic space. In this space full of symbolism and origin, three houses are a body to be vivisected and rediscovered. Casa per Positano... and other shores, Hotel San Michele in Capri, Casa a Procida become autoptic and utopian spaces from which to steal the secret of the Mediterranean Sea.
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di Fraia, Guido y Alessandra Massarelli. "DIGITAL PIRANDELLO: EDUCATIONAL INNOVATION THROUGH A VIRTUAL ASSISTANT INSPIRED BY NOBEL LAUREATE LUIGI PIRANDELLO". En 16th International Conference on Education and New Learning Technologies. IATED, 2024. http://dx.doi.org/10.21125/edulearn.2024.0698.

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8

Riva, MA, M. Belingheri, M. Turato y G. Cesana. "754 carlo vallardi (1886–1962). an assistant of luigi devoto deported to mauthausen concentration camp". En 32nd Triennial Congress of the International Commission on Occupational Health (ICOH), Dublin, Ireland, 29th April to 4th May 2018. BMJ Publishing Group Ltd, 2018. http://dx.doi.org/10.1136/oemed-2018-icohabstracts.543.

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9

Roccetti, M., G. Marfia, A. Amoroso, S. Caraceni y Angelo Varni. "Augmenting augmented reality with pairwise interactions: The case of Count Luigi Ferdinando Marsili shooting game". En 2012 IEEE Consumer Communications and Networking Conference (CCNC). IEEE, 2012. http://dx.doi.org/10.1109/ccnc.2012.6181002.

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Tetti, Barbara. "THE TERMINOLOGY OF THE RESTORATION IN THE EIGHTEENTH CENTURY. RESTORATION AND RENEWAL IN LUIGI VANVITELLIS WORK." En SGEM 2014 Scientific SubConference on ARTS, PERFORMING ARTS, ARCHITECTURE AND DESIGN. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b41/s15.134.

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Informes sobre el tema "Luigi"

1

Brown, M., G. Huntington y T. Brown. Identification of the mineral phases responsible for cementation of Lurgi spent oil shale. Office of Scientific and Technical Information (OSTI), febrero de 1991. http://dx.doi.org/10.2172/5989897.

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Brown, M., G. Huntington y T. Brown. Identification of the mineral phases responsible for cementation of Lurgi spent oil shale. Office of Scientific and Technical Information (OSTI), febrero de 1991. http://dx.doi.org/10.2172/10114390.

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