Littérature scientifique sur le sujet « Abramovitz »
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Articles de revues sur le sujet "Abramovitz"
Bardill, D. Ray. « Response to Dr. Abramovitz ». Journal of Social Work Education 29, no 1 (janvier 1993) : 11–13. http://dx.doi.org/10.1080/10437797.1993.10779174.
Texte intégralLange, Alexandra. « Review : The Troubled Search : The Work of Max Abramovitz by Max Abramovitz ». Journal of the Society of Architectural Historians 64, no 4 (1 décembre 2005) : 554–56. http://dx.doi.org/10.2307/25068205.
Texte intégralDavid, Paul, et Gavin Wright. « IN MEMORIAM MOSES ABRAMOVITZ 1912–2000 ». Journal of Economic History 61, no 1 (mars 2001) : 190–96. http://dx.doi.org/10.1017/s0022050701003163.
Texte intégralDavies, Benjamin K. « Joan Guinjoan concertos ». Tempo 59, no 234 (21 septembre 2005) : 56–57. http://dx.doi.org/10.1017/s0040298205220326.
Texte intégralSyrquin, Moshe. « Thinking about Growth and Other Essays on Economic Growth and Welfare. Moses Abramovitz ». Economic Development and Cultural Change 40, no 4 (juillet 1992) : 887–92. http://dx.doi.org/10.1086/451983.
Texte intégralKemal, A. R. « Skill Development in Pakistan ( The Presidential Address) ». Pakistan Development Review 44, no 4I (1 décembre 2005) : 349–57. http://dx.doi.org/10.30541/v44i4ipp.349-357.
Texte intégralJones, Linda E. « Regulating the Lives of Women : Social Welfare Policy from Colonial Times to the Present. Mimi Abramovitz ». Social Service Review 63, no 3 (septembre 1989) : 489–91. http://dx.doi.org/10.1086/603719.
Texte intégralMuhammad, Ali, Abiodun Egbetokun et Manzoor Hussain Memon. « Human Capital and Economic Growth : The Role of Governance ». Pakistan Development Review 54, no 4I-II (1 décembre 2015) : 529–49. http://dx.doi.org/10.30541/v54i4i-iipp.529-549.
Texte intégralHANEL, RICARDO A., LUIZ E. MADALOZZO, JOÃO CÂNDIDO ARAÚJO, MARCELO A. RODRIGUES et LUCIANO V. R. TRUITE. « Pseudoaneurisma de artéria ilíaca comum como complicação de cirurgia para hérnia discal lombar : relato de caso ». Arquivos de Neuro-Psiquiatria 57, no 3B (septembre 1999) : 890–94. http://dx.doi.org/10.1590/s0004-282x1999000500028.
Texte intégralAndersson, Martin, et Andrés Palacio. « Catch up growth and social capability in developing countries : A conceptual and measurement proposal ». OASIS, no 26 (11 décembre 2017) : 7–23. http://dx.doi.org/10.18601/16577558.n26.02.
Texte intégralThèses sur le sujet "Abramovitz"
Sanin, A. « Roman Abramovich ». Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/40446.
Texte intégralParry, Caroline. « The Abramović Method : The Performance Art of Marina Abramović, 2010 to Present ». Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19296.
Texte intégralChen, Luciana. « Marina Abramović : modos de presença e seus sentidos ». Pontifícia Universidade Católica de São Paulo, 2016. https://tede2.pucsp.br/handle/handle/19567.
Texte intégralMade available in DSpace on 2016-12-23T11:50:09Z (GMT). No. of bitstreams: 1 Luciana Chen.pdf: 12140738 bytes, checksum: b5180e8f08ec6325be5313d22553116f (MD5) Previous issue date: 2016-12-06
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present work commits to the enunciation display applied by Marina Abramović, analyzing how it produces presence modes and meaning effects. With a corpus of 100 works by the artist, from the 1970s to 2015 and enunciations that provide mediatic visibility to her from 2010 to 2016, the study aims to map the enunciative devices that trigger aesthesic and pathemic meanings and to unveil the problem of how these promote the presence modes of her public to the point of changing them from observer to part of the artistic action. It takes as a first hypothesis that through the feedback of information about Abramović and her actions, her mediatic visibility strategy diversifies her audience at the same time that promotes the doing with the body and the feeling by reactive adjustment. The second one implies that Abramović Method effectiveness, developed by herself, occurs by contagion of the presences of her very audience, proponing the retaking of the body in virtual communication era, being these ones the devices applied to seduce and modalize the addressee so that it participates. Fomented by the gaps found in art history, centered on the artist process, on the artistic object and/or on the production context, this investigation is based on discursive semiotics, which considers the communicative and communicational relations between performance and audience, the interaction regimes between audience and art and the sensible lived experience. Algirdas Julian Greimas, Eric Landowski, Ana Claudia de Oliveira and Eugênio Trivinho stand out among the authors that substantiate the investigation. The methodology comprises corpus analysis based on the meaning generative process, the mapping of Abramović’s visibility strategies and the analysis on the Method. The results point out: the self-conscience thematic and the immaterial and material values predominance, the emphasis on the body figure of the participants with Abramović Method; the effectiveness of the artist’s communicational strategy and the triggering of actions against her procedure, all of them feeding back her figure and proving the first hypothesis right; the communicative effectiveness of the Method through the presences contagion, which can be mediated by electronic devices, making feel simultaneously to the Method spread, which presents itself as condition of modalizing enunciation of alterity’s being and doing; the feeling of our time happens through reactive adjustment mediated by electronic devices and reveals itself as one more product in bunkerization era
O presente trabalho se debruça sobre o aparato da enunciação empregado por Marina Abramović, analisando como produz os modos de presença e efeitos de sentido. Com o corpus de 100 trabalhos da artista da década de 1970 a 2015 e enunciados que lhe dão visibilidade mediática de 2010 a 2016, o estudo objetiva mapear os mecanismos enunciativos desencadeadores de sentidos estésicos e patêmicos e desvelar o problema de como promovem os modos de presença de seu público a ponto de transformá-lo de observador a parte da ação artística. Toma como hipótese primeira, que a estratégia de visibilidade mediática de Abramović com a retroalimentação de informações sobre ela e suas ações diversifica seu público ao mesmo tempo que promove o fazer com o corpo e o sentir pelo ajustamento reativo. A segunda é de que a eficácia comunicativa do Método Abramović por ela desenvolvido ocorre pelo contágio das presenças do próprio público, propondo a retomada do corpo na era da comunicação virtual, sendo esses os mecanismos empregados para a sedução e modalização do destinatário para que ele participe. Fomentada pelas lacunas encontradas na história da arte, centrada no processo do artista, no objeto artístico e/ou no contexto de produção, essa investigação fundamenta-se na semiótica discursiva, que considera as relações comunicativas e comunicacionais entre a performance e público, os regimes de interação entre público e arte e a experiência sensível vivida. Dentre os autores que alicerçam a investigação, destacam-se Algirdas Julian Greimas, Eric Landowski, Ana Claudia de Oliveira e Eugênio Trivinho. A metodologia compreende a análise do corpus com base no percurso gerativo do sentido, o mapeamento das estratégias de visibilidade de Abramović e a análise do Método. Os resultados apontam: o predomínio da temática da autoconsciência, dos valores imaterial e material e a ênfase na figura do corpo dos participantes com o Método Abramović; a eficácia da estratégia comunicacional da artista e o desencadeamento de ações contrárias ao procedimento dela, todos retroalimentadores de sua figura provando a primeira hipótese; a eficácia comunicativa do Método por meio do contágio das presenças, podendo ser mediado por dispositivos eletrônicos, fazendo sentir simultaneamente à propagação do Método, que apresenta-se como condição de enunciação modalizadora do ser e do fazer da alteridade; o sentir do nosso tempo se dá por meio do ajustamento reativo mediado pelos dispositivos eletrônicos e revela-se como mais um produto na era da bunkerização
Polat, Faruk. « On The Generalizations And Properties Of Abramovich-wickstead Spaces ». Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12610166/index.pdf.
Texte intégralRadonjic, Vladimir. « Aspects of Lev Abramovich Mazel' thinspace's theory of integrated analysis ». Thesis, University of Ottawa (Canada), 1992. http://hdl.handle.net/10393/7462.
Texte intégralKozo, Abramovic Dunja [Verfasser]. « Role of age in epithelial ovarian cancer / Dunja Kozo Abramovic ». Berlin : Medizinische Fakultät Charité - Universitätsmedizin Berlin, 2014. http://d-nb.info/1062536436/34.
Texte intégralLacis, Indra K. « Fame, Celebrity and Performance : Marina Abramović--Contemporary Art Star ». Case Western Reserve University School of Graduate Studies / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=case1396625700.
Texte intégralVigeland, Anne. « Marina Abramović på Moderna Museet : En fenomenologisk analys av re-performance som utställningsmetod ». Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-151830.
Texte intégralGoulart, José Ricardo. « A artista (ainda) está presente ? : performance e aura, reprodutibilidade e reperformance em Marina Abramovic ». Universidade do Estado de Santa Catarina, 2016. http://tede.udesc.br/handle/handle/2573.
Texte intégralMade available in DSpace on 2018-03-16T16:26:10Z (GMT). No. of bitstreams: 1 JOSÉ RICARDO GOULART.pdf: 2971161 bytes, checksum: dac0c5b3b7ea842745b0f19f1e9772fb (MD5) Previous issue date: 2016-02-18
The notion of reperformance is established and passed with the Marina Abramović’s exhibition The Artist is Present, in 2010. Five years earlier, however, the serbian artist had resubmitted works by other performers. This practice calls into question the relationship of artistic work with the here and now of the context in which is (re) presented, once the performance has emerged as ephemeral and unrepeatable art. The German philosopher Walter Benjamin diagnosed in the 30s, the decline of the artwork aura due to its mechanical reproduction. Taking such exhibition as a starting point, and 7 Easy Pieces (2005) and Terra Comunal (2015), I intend to investigate in this work the relationships arise between the terms performance, reperformance, reproducibility and aura.
A noção de reperformance se instaura e encontra repercussão com a exposição A Artista está Presente, de Marina Abramovic, em 2010. Cinco anos antes, porém, a artista sérvia já havia reapresentado obras de outros performers. Esta prática coloca em questão a relação da obra artística com o aqui e o agora do contexto em que é (re)apresentada, uma vez que a performance tenha surgido como arte efêmera e não repetível. O filósofo alemão Walter Benjamin diagnosticou, no anos 30, o declínio da aura da obra de arte em decorrência de sua reprodutibilidade técnica. Tomando como ponto de partida a referida exposição, além de Sete Peças Fáceis (2005) e Terra Comunal (2015), pretendo investigar, neste trabalho, as consequências decorrentes das relações que emergem entre os termos reperformance, reprodutibilidade e aura.
Orr, Meital. « God and the Devil in the Human Heart : The Dialogic Vision of Abramovitch and Dostoevsky ». Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10091.
Texte intégralNear Eastern Languages and Civilizations
Livres sur le sujet "Abramovitz"
painter, Abramovich Pinchas 1909-1986, dir. Pinḥas Abramovits : Biṭui ha-ʻatsmi = Pinchas Abramovich : the expression of the self. [Haifa, Israel] : [Ron Shpigel], 2015.
Trouver le texte intégralauthor, Postal Matthew A., dir. Springs Mills Building : 104 West 40th Street (aka 102-106 West 40th Street, 107-115 West 39th Street), Manhattan : built 1961-63, Harrison & Abramovitz, architects, Charles H. Abbe, chief designer. New York] : Landmarks Preservation Commission, 2010.
Trouver le texte intégralAbramovic, Marina. Marina Abramović. Stuttgart : Edition Cantz, 1993.
Trouver le texte intégralRichards, Mary. Marina Abramović. Second edition. | New York : Routledge, 2019. | Series : Routledge performance practitioners : Routledge, 2018. http://dx.doi.org/10.4324/9780429485718.
Texte intégralAbramovic, Marina. Marina Abramovic. [Ferrara] : [SATE], 1993.
Trouver le texte intégralAbramovic, Marina. Marina Abramovic. München : Museum Villa Stuck, 1996.
Trouver le texte intégralMarina Abramovic. London : Routledge, 2009.
Trouver le texte intégralMarina, Abramovic, S. Francesco (Church : Como, Italy) et Fondazione Antonio Ratti, dir. Marina Abramović. Milano : Charta, 2002.
Trouver le texte intégralAbramovic, Marina. Marina Abramović : Biography. Ostfildern bei Stuttgart : Cantz, 1994.
Trouver le texte intégralMarina, Abramović, dir. Marina Abramović : Estasi. Novate Milanese : Casa Testori associazione culturale, 2019.
Trouver le texte intégralChapitres de livres sur le sujet "Abramovitz"
Easterlin, Richard A. « Abramovitz, Moses (1912–2000) ». Dans The New Palgrave Dictionary of Economics, 2–3. London : Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95189-5_73.
Texte intégralEasterlin, Richard A. « Abramovitz, Moses (Born 1912) ». Dans The New Palgrave Dictionary of Economics, 1–2. London : Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1057/978-1-349-95121-5_73-1.
Texte intégralEasterlin, Richard A. « Abramovitz, Moses (1912–2000) ». Dans The New Palgrave Dictionary of Economics, 1–2. London : Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/978-1-349-95121-5_73-2.
Texte intégralDurlauf, Steven N., et Lawrence E. Blume. « The New Palgrave : Dictionary of Economics, Volume 1 Abramovitz — collusion ». Dans The New Palgrave : Dictionary of Economics, 1–896. London : Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1007/978-1-349-58802-2_1.
Texte intégralRichards, Mary. « Biography and context ». Dans Marina Abramović, 1–43. Second edition. | New York : Routledge, 2019. | Series : Routledge performance practitioners : Routledge, 2018. http://dx.doi.org/10.4324/9780429485718-1.
Texte intégralRichards, Mary. « Writings, interviews and influences ». Dans Marina Abramović, 44–92. Second edition. | New York : Routledge, 2019. | Series : Routledge performance practitioners : Routledge, 2018. http://dx.doi.org/10.4324/9780429485718-2.
Texte intégralRichards, Mary. « Key works ». Dans Marina Abramović, 93–135. Second edition. | New York : Routledge, 2019. | Series : Routledge performance practitioners : Routledge, 2018. http://dx.doi.org/10.4324/9780429485718-3.
Texte intégralRichards, Mary. « Practical explorations and their origins ». Dans Marina Abramović, 136–57. Second edition. | New York : Routledge, 2019. | Series : Routledge performance practitioners : Routledge, 2018. http://dx.doi.org/10.4324/9780429485718-4.
Texte intégralRichards, Mary. « Abramović (1946–) ». Dans The Routledge Companion to Performance Practitioners, 433–86. Abingdon, Oxon ; New York, NY : Routledge, 2020. | Series : Routledge theatre and performance companions : Routledge, 2020. http://dx.doi.org/10.4324/9781315667201-10.
Texte intégralSchimmrigk, Rolf, Steven Duplij, Antoine Van Proeyen, Władysław Marcinek, Gert Roepstorff, Władysław Marcinek, Władysław Marcinek et al. « Golfand, Yuri Abramovich ». Dans Concise Encyclopedia of Supersymmetry, 168. Dordrecht : Springer Netherlands, 2004. http://dx.doi.org/10.1007/1-4020-4522-0_219.
Texte intégralActes de conférences sur le sujet "Abramovitz"
San Cristóbal, Úrsula. « Cuerpo, límites y autobiografía : Una aproximación a lo sonoro en la obra de Marina Abramović ». Dans II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento : Identidad y Patrimonio. Valencia : Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.12845.
Texte intégralChen, Luciana. « Marina Abramović : presencia virtual en “Terra Comunal” ». Dans Congreso Internacional de Investigación en Artes Visuales. ANIAV. Editorial Universitat Politècnica de València, 2015. http://dx.doi.org/10.4995/aniav.2015.1073.
Texte intégralKorsten, Saskia Isabella Maria. « Partaker Agency : Entanglement of agencies in artworks by Bekirovic and Abramović. » Dans Politics of the Machines - Art and After. BCS Learning & Development, 2018. http://dx.doi.org/10.14236/ewic/evac18.39.
Texte intégralGárgoles, María. « Aumentando la empatía en entornos virtuales artísticos : la presencia en la imagen esférica desde el avatar invisible ». Dans IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia : Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9015.
Texte intégralKathirkamanathan, Lijithan, Adam Sadowski, Marc Seidel et Benjamin Schafer. « Recommendations for Surface Imperfection Surveys for Thin-Walled Metal Wind Turbine Support Towers ». Dans ASME 2022 4th International Offshore Wind Technical Conference. American Society of Mechanical Engineers, 2022. http://dx.doi.org/10.1115/iowtc2022-98659.
Texte intégralPérez García, Elías Miguel. « Un teatro de perros. » Dans III Congreso Internacional de Investigación en Artes Visuales : : ANIAV 2017 : : GLOCAL. Valencia : Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.6417.
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