Littérature scientifique sur le sujet « Arte fascista »
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Articles de revues sur le sujet "Arte fascista"
Magalhães, Ana Gonçalves. « Classicismo moderno. Margherita Sarfatti e o Novecento Italiano, entre Brasil e Estados Unidos ». Revista de Italianística, no 37 (30 décembre 2018) : 37–57. http://dx.doi.org/10.11606/issn.2238-8281.v0i37p37-57.
Texte intégralCaldas, Pedro. « O (ab)uso da palavra fascimo : a recepção de Tropa de Elite ». Viso : Cadernos de estética aplicada 2, no 4 (15 mars 2008) : 46–56. http://dx.doi.org/10.22409/1981-4062/v4i/54.
Texte intégralOLIVEIRA, Marcos Antônio Bessa. « (Des)política para corpos-política na arte, na cultura e na educação ». INTERRITÓRIOS 6, no 10 (14 avril 2020) : 1. http://dx.doi.org/10.33052/inter.v6i10.244891.
Texte intégralSchargel, Sergio. « Retratos de fascismos brasileiros : a relação de Teocrasília e a nova ordem com o bolsonarismo ». Cadernos de Letras da UFF 32, no 63 (16 décembre 2021) : 230–51. http://dx.doi.org/10.22409/cadletrasuff.v32i63.50290.
Texte intégralHervás y Heras, Josenia. « Un madrileño en la revista Bauhaus. Los carteles de Gecé ». Archivo Español de Arte 94, no 373 (15 février 2021) : 69–84. http://dx.doi.org/10.3989/aearte.2021.05.
Texte intégralViegas, Susana. « Deleuze, leitor de Espinosa : automatismo espiritual e fascismo no cinema ». Kriterion : Revista de Filosofia 55, no 129 (juin 2014) : 363–78. http://dx.doi.org/10.1590/s0100-512x2014000100020.
Texte intégralMiguel, Marlon. « O CORPO DAS MASSAS NA ERA DA REPRODUTIBILIDADE TÉCNICA ». Kriterion : Revista de Filosofia 59, no 139 (janvier 2018) : 195–214. http://dx.doi.org/10.1590/0100-512x2017n13910mm.
Texte intégralSeligmann-Silva, Marcio. « Do museu como prisão de imagens ao triunfo da cidade como obra de arte total ». Remate de Males 39, no 1 (1 juillet 2019) : 38–62. http://dx.doi.org/10.20396/remate.v39i1.8654024.
Texte intégralVieira, Liliane Cirino. « O HORROR AO FRANQUISMO REPRESENTADO NO FILME, “O LABIRINTO DO FAUNO”, RETRATADO NO INCONSCIENTE DA CRIANÇA À LUZ DA HISTÓRIA E DA PSICANÁLISE ». Revista Ibero-Americana de Humanidades, Ciências e Educação 7, no 8 (6 septembre 2021) : 918–31. http://dx.doi.org/10.51891/rease.v7i8.2032.
Texte intégralPereira, Volmir Cardoso, et Keyla Andrea Santiago Oliveira. « giornata particolare (1977) ». PÓS : Revista do Programa de Pós-graduação em Artes da EBA/UFMG 12, no 24 (28 avril 2022) : 124–41. http://dx.doi.org/10.35699/2237-5864.2022.36147.
Texte intégralThèses sur le sujet "Arte fascista"
TELES, B. N. « A Arte Vai a Luta : Resistência Artística na Itália Fascista ». Universidade Federal do Espírito Santo, 2017. http://repositorio.ufes.br/handle/10/9269.
Texte intégralO presente trabalho tem como foco a análise da resistência artística antifascista italiana, que ganhou forma através do filme Ossessione, do cineasta Luchino Visconti. Essa resistência se reuniu durante o fim da década de 1930 e início de 1940 ao redor da revista de crítica cinematográfica Cinema, período do nosso recorte temporal. O período compreendido por esse recorte foi assim estipulado por dois motivos. Primeiramente porque foi uma época em que o regime fascista italiano esteve envolvido em guerras imperialistas, como a guerra da Etiópia, e na Segunda Guerra Mundial. Por esse motivo o regime buscou ter maior controle sobre a imprensa e a arte, usando-os intensamente como forma de propaganda para a manipulação da opinião pública em prol da mobilização para a guerra. O segundo motivo diz respeito à construção de um ambiente de relativa liberdade de expressão ao redor da revista Cinema, dirigida por Vittorio Mussolini, filho do ditador italiano. Essa revista tinha em sua equipe editorial nomes como Gianni Puccini, Giuseppe De Santis, Mario Alicata, Antonio Pietrangeli e Luchino Visconti. Após anos escrevendo ásperas críticas a respeito do tipo de cinema que se produzia nesse período na Itália, esse grupo foi responsável pela produção do filme Ossessione, obra considerada nesse trabalho como a bandeira desse grupo de jovens cineastas, fruto do amadurecimento de um antifascismo artístico. Essa dissertação tem o objetivo de analisar como funcionava a censura do regime fascista italiano, como era o discurso da propaganda fascista nas mídias, e de que forma o grupo responsável pela produção de Ossessione conseguiu utilizar os meios disponíveis para fazer resistência artística ao fascismo, a partir da denúncia da pobreza, da desesperança e da falta de opções em uma sociedade controlada por um regime autoritário fascista.
Oliveira, Marcel Steiner Giglio de. « Arquitetura em São Paulo na Era Vargas - o art déco e a arquitetura fascista nos edifícios públicos (1930 -1945) ». Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/16/16133/tde-16032010-093020/.
Texte intégralThe objective of this study is the analysis of five works of architecture constructed in the city of São Paulo between 1930 and 1945, years during which Brazil was governed by Getúlio Vargas. The works selected for this study were Pacaembu Stadium, the Municipal Library, the Trianon Tunnel, the Viaduto do Chá, and the Bandeiras Bridge, all constructed by the São Paulo municipal government during the mayorships of Fabio Prado and Francisco Prestes Maia. Using the theories of David Harvey and Robert O. Paxton, the study defines the political and economic moment in which the projects were constructed in the city, taking into consideration the relation between the Brazilian state and architecture in São Paulo.
Héry-Montanes, Emilia. « Fascisme imaginaire : imaginaire du Fascisme dans l'art italien contemporain (1945-2015) ». Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H027.
Texte intégralOver a period spanning 70 years, 1945 through 2015, ltalian artists carried out a "memory" endeavour for those generations that were bom before the fascist era, during the period of its highest imperialistic aims, during the aftermath of the war, and even for the generation of those artists bom 30 years after the end of the war. As a result, a multitude of individual and collective memories had emerged. This work aims to reconstruct and track the history of these memories (whether or not actually experienced by the artist), and to provide the tools to understand the genesis ofthese memories. Analysing "memory" through art pieces is an intimate, singular, and political act. To what extent fascist memory manipulations affect artistic creations? How do the artists react and position themselves, once confronted with the problems of re-defining "Fascism", after the dictatorship fell? Which new "plastic forms" emerge from these new adaptations of individual and collective memories?
Durante settant'anni, dal 1945 al 2015, gli artisti italiani, attraverso le loro opere, hanno svolto un lavoro di memoria. Fra una generazione nata prima del Fascismo, una nata quando questo è al culmine della sua potenza imperialista, un'altra nata dopo la guerra e infine una generazione di giovani artisti nati trent'anni dopo la fine del conflitto, le memorie individuali e collettive si affollano. L'obiettivo di questa ricerca è di ricostruire la storia di queste testimonianze su un passato, vissuto o no, e di fomire gli strumenti per capire le condizioni della loro genesi. Parlare della memoria attraverso le opere d'arte è un'espressione intima, singolare, ma allo stesso tempo un atto eminentemente politico. Nel periodo preso in esame, le manipolazioni della memoria del Fascismo influenzano la creazione su questo tema? Quai è la posizione degli artisti di fronte alle problematiche nate da una ridefinizione del pericolo fascista, sebbene la dittatura sia ufficialmente caduta? Quali forme plastiche son date a queste rimemorazioni e riattualizzazioni?
Manfren, Priscilla. « Niger alter ego : stereotipi e iconografie coloniali nell'Italia del Ventennio ». Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3424415.
Texte intégralIl presente lavoro è dedicato alla raccolta e all'analisi di un nutrito corpus di fonti visive e letterarie italiane, aventi come soggetto le popolazioni nere dell'Africa durante il periodo coloniale; l'arco cronologico indagato è, nello specifico, quello del Ventennio fascista (1922-1943). La ricerca prende in esame svariate tipologie di veicoli delle immagini, quali opere d'arte, riviste illustrate e grafica per l'infanzia, nonché numerosi articoli d'epoca tratti da riviste e quotidiani. Lo scopo del lavoro è quello di indagare le diverse modalità di rappresentazione dell'alterità nera, al fine di mettere in luce i pregiudizi e gli stereotipi generati dalla visione eurocentrica. Prima di passare alla disamina dei diversi clichés emersi dall'insieme delle immagini reperite, il lavoro propone un capitolo introduttivo, dedicato a presentare la metodologia con la quale è stata impostata la ricerca. Il secondo capitolo è suddiviso in due sezioni, l'una rivolta alla contestualizzazione dell'arte a soggetto esotico, della corrente ottocentesca dell'Orientalismo e di alcuni suoi esponenti italiani, l'altra riservata alla presentazione del dibattito in merito all'arte a soggetto coloniale nell'ambito della critica d'arte del Ventennio. Il terzo capitolo, suddiviso anch'esso in diverse sezioni, analizza gli stereotipi maschili e femminili emersi dall'osservazione delle immagini e dalla lettura dei testi d'epoca, tenendo conto di alcuni particolari frangenti storici, quali le guerre italo-etiopiche del tardo Ottocento e del biennio 1935-36, che hanno contribuito alla diffusione di determinati soggetti e iconografie. Il lavoro propone, oltre all'analisi delle immagini, notizie in merito a molti degli artisti citati, utili per comprendere l'arte coloniale del periodo fascista e le vicende dei suoi protagonisti. Concludono il lavoro l'apparato bibliografico, una parte dello spoglio degli articoli d'epoca rintracciati, divisi in fonti a tema artistico e fonti a soggetto etnografico, e il catalogo delle illustrazioni, consistente in una selezione di oltre ottocento elementi.
Gallo, Francesco <1992>. « L'immagine nella medaglistica sportiva fascista ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/12306.
Texte intégralWarren, Alec J. « Britain's Green Fascists : Understanding the Relationship between Fascism, Farming, and Ecological Concerns in Britain, 1919-1951 ». UNF Digital Commons, 2017. http://digitalcommons.unf.edu/etd/755.
Texte intégralABBONIZIO, ISABELLA. « Musica e colonialismo nell’Italia fascista (1922-1943) ». Doctoral thesis, Università degli Studi di Roma "Tor Vergata", 2010. http://hdl.handle.net/2108/1196.
Texte intégralThe Italian colonial experience lasted just sixty years, spanning the years between the second half of 19th century and the first half of 20th century (1882-1943). During the final twenty years of this experience, Italian imperial politics was driven by the fascist regime. The colonial discourse, already diffuse, soon spread to all fields of knowledge through the regime’s powerful means of propaganda. Art music was also involved. Only in the final two decades of the twentieth century was Italian colonialism granted scholarly consideration, thanks to the development of cultural studies. Fields such as social science and arts, that were traditionally absent, joined the debate. Nevertheless, musicology has remained outside the discourse until now, limiting itself to the consideration of the effects of the Society of Nations’ sanctions on art music programming. The consequences in the creative fields have just been considered in few manifest cases; the impact of colonial politics on ethnomusicology have only been considered superficially until now. This thesis analyzes the relationship between Italian music and Italian fascist colonial politics from four points of view. It first looks at the exportation of the mother country’s cultural identity into the colonies; second, at the colonizer’s attitude towards African indigenous culture; third, at the influence on musical ethnography and finally, at the propaganda produced for the Empire. The first two perspectives are analyzed taking Libya as case-study. Libya was conceived as Italian dominated Africa’s “shop window”. In Libya, Italians built leading colonial theatres, whose programmes followed those in the motherland and offered performances of North African artists for both tourists and local. The increase of exchange between colonies allowed a closer and more extended contact with the indigenous of the African domains. Italian musical ethnographers received a, until now unknown and unrecognised, stimulus for study and knowledge from indigenous traditions. Fascist foreign political choices were mirrored in the creative sphere: with many scores connected with Italian imperial politics created for the occasion of the competitions promoted by the regime in the mid-Thirties. Opposing attempts to remove Italian music during fascism from its historical context, or operations of “purification” pursued for a long time, we demonstrate how music is part of a wider cultural context. We also prove that music cannot be left out of this context: on the contrary, it marks music’s way. Through our thesis we aim to open the field of musicology to cultural studies on Italian colonialism. In this way, we intend to offer a new contribution to the understanding of the complex situation of the Italian music in the first half of 20th century.
Sousa, Alexandre Barros de. « Teatro estudio do Salitre, um teatro improvável entre a arte e a política ». Master's thesis, Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, 2013. http://hdl.handle.net/10362/11339.
Texte intégralPretende-se, com este estudo, perceber as motivações essenciais que levaram, em 1946, à fundação do Teatro Estúdio do Salitre, projeto que, durante quatro anos, levou à cena um número significativo de peças de teatro de autores nacionais e estrangeiros, no Micro Teatro, do Instituto Italiano de Cultura de Lisboa, situado na Rua do Salitre, muito perto do Largo do Rato. Pretende-se também analisar as razões que levaram três homens de teatro, Gino Saviotti, Vasco de Mendonça Alves e Luís Francisco Rebelo a associar-se, considerando que, à distância de mais de sessenta anos, essa associação se afigura no mínimo improvável, dadas as suas claras diferenças, tanto ideológicas, como culturais. Um objectivo parece no entanto aproximá-los, o de conseguir um teatro abrangendo um público tão vasto quanto possível, embora com intuitos aparentemente bem diferenciados: Rebelo, querendo oferecer a esse público um teatro de elevado nível intelectual e cénico, experimentando ... diversos recursos contemporâneos da linguagem teatral no sentido de uma crítica iluminada, quer pela obsessão existencial da morte, quer pelo seu progressismo social...1; Saviotti, dando preferência ao lado espetacular, sem dar grande importância ao texto e ao seu conteúdo, defensor de um teatro próximo do teatro de boulevard, um teatro para o povo; Mendonça Alves, desejando, acima de tudo, divertir a audiência, optando pela ligeireza dos textos, escrevendo dramas de moral burguesa e comédias de grande público. Verificar-se-á, concomitantemente, a coerência entre os propósitos iniciais - defendidos em vários documentos, que serão estudados, em particular o Manifesto do Essencialismo Teatral e o Paradoxo sobre o Teatro - e a prática teatral, durante os anos em que o Salitre existiu. Far-se-á, por último, um breve historial das obras apresentadas, dos seus autores e encenadores, bem como dos atores mais conhecidos.
Taddeo, Giulia <1986>. « "All'opera ha fatto seguito il ballo" : Danza e stampa nell'Italia fascista ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amsdottorato.unibo.it/6967/1/taddeo_giulia_tesi.pdf.
Texte intégralThe dissertation investigates the relationship between dance and press during the fascist period in order to reconstruct the narrative on dance dominating in Italy in the first half of the Twentieth Century and aims to think about the birth of dance criticism in Italy. Unlike what happens in the rest of Europe and in America, in fact, throughout the first half of the twentieth century, Italian press can’t boast the presence of an authentic dance criticism. Grounded on these assumptions, my inquiry focuses on a particular and controversial phase of Italian history such as the Fascist period, aiming, on the one hand , to reconstruct the discourses on dance elaborated by Italian journalism in the early twentieth century, and trying, on the other hand, to wonder about the cultural dynamic underlying the lack of a authentic dance criticism in Italy during the Fascism . Starting from the recognition of some formal and conceptual elements characterising the discourses on dance published on daily newspapers and periodicals, I propose a methodological approach that intertwines an historiographical perspective with concepts derived from semiotics of culture. By this I analyze the discourses mentioned above by posing the following questions: how can dance become one of the topics of journalistic discourse? What's the image of the dancing body developed in Italian journalism during the fascist period? What kind of cultural dynamics can generate the development of a critical discourse on dance? And, on the contrary, in which case is the emergence of a dance criticism inhibited? A special attention is dedicated to three intellectuals who wrote about dance during the fascist period adopting a particularly interesting insight: Anton Giulio Bragaglia, Paolo Fabbri and Marco Ramperti.
Taddeo, Giulia <1986>. « "All'opera ha fatto seguito il ballo" : Danza e stampa nell'Italia fascista ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amsdottorato.unibo.it/6967/.
Texte intégralThe dissertation investigates the relationship between dance and press during the fascist period in order to reconstruct the narrative on dance dominating in Italy in the first half of the Twentieth Century and aims to think about the birth of dance criticism in Italy. Unlike what happens in the rest of Europe and in America, in fact, throughout the first half of the twentieth century, Italian press can’t boast the presence of an authentic dance criticism. Grounded on these assumptions, my inquiry focuses on a particular and controversial phase of Italian history such as the Fascist period, aiming, on the one hand , to reconstruct the discourses on dance elaborated by Italian journalism in the early twentieth century, and trying, on the other hand, to wonder about the cultural dynamic underlying the lack of a authentic dance criticism in Italy during the Fascism . Starting from the recognition of some formal and conceptual elements characterising the discourses on dance published on daily newspapers and periodicals, I propose a methodological approach that intertwines an historiographical perspective with concepts derived from semiotics of culture. By this I analyze the discourses mentioned above by posing the following questions: how can dance become one of the topics of journalistic discourse? What's the image of the dancing body developed in Italian journalism during the fascist period? What kind of cultural dynamics can generate the development of a critical discourse on dance? And, on the contrary, in which case is the emergence of a dance criticism inhibited? A special attention is dedicated to three intellectuals who wrote about dance during the fascist period adopting a particularly interesting insight: Anton Giulio Bragaglia, Paolo Fabbri and Marco Ramperti.
Livres sur le sujet "Arte fascista"
Stabile, Tommaso. Le bonifiche in Italia e nei territori d'oltremare : Eritrea, Somalia, Etiopia, Albania, in Russia, USA, Olanda, arte e bonifica, mobilitazione culturale, sindacalismo fascista e post fascista. Velletri (Roma) : Vela, 2000.
Trouver le texte intégralStabile, Tommaso. Le bonifiche in Italia e nei territori d'oltremare : Eritrea, Somalia, Etiopia, Libia, Albania, in Russia, USA, Olanda, arte e bonifica, mobilitazione culturale, sindacalismo fascista e post fascista. Velletri (Roma) : Vela, 2000.
Trouver le texte intégralPenelope, Curtis, Henry Moore Institute et Museo d'arte moderna e contemporanea di Trento e Rovereto., dir. Sculpture from fascist Italy = : Scultura nell'Italia fascista. Leeds : Henry Moore Institute, 2003.
Trouver le texte intégralVedere il fascismo : Arte e politica nelle esposizioni del regime (1928-1942). Roma : Carocci editore, 2020.
Trouver le texte intégralFabrizio, Pompei, et Dante Umberto, dir. Una generazione in fermento : Arte e vita a fine ventennio. Roma : Palombi, 2010.
Trouver le texte intégralPenelope, Curtis, Lucchesi Silvia, Fergonzi Flavio, Campiglio Paolo, Filardo Daria, Henry Moore Institute (Leeds, England) et Museo d'arte moderna e contemporanea di Trento e Rovereto, dir. Scultura lingua morta : Scultura nell'Italia Fascista = Dead language sculpture : sculpture from Fascist Italy. Leeds : Henry Moore Institute, in association with MART (Museo di arte moderna e contemporanea di Trento e Rovereto), 2003.
Trouver le texte intégralLacroix, Michel. De la beauté comme violence : L'esthétique du fascisme français, 1919-1939. [Montréal] : Presses de l'Université de Montréal, 2004.
Trouver le texte intégralNovecento : Fascismo, America e arte in Margherita Sarfatti. Roma : Altaforte edizioni, 2022.
Trouver le texte intégralLlorente, Carlos Villavieja. Arte y autarquía en la crítica de arte valenciano. Valencia : Universidad Politécnica de Valencia, Servicio de Publicaciones, 1995.
Trouver le texte intégralSalvi, Edoardo. Le arti nel Ferruccio : Settimanale fascista in una provincia d'Italia. Pistoia : Libreria dell'Orso, 2004.
Trouver le texte intégralChapitres de livres sur le sujet "Arte fascista"
Bedarida, Raffaele. « Exporting Fascist Culture/Importing American Modernity ». Dans Exhibiting Italian Art in the United States from Futurism to Arte Povera, 37–82. New York : Routledge, 2022. http://dx.doi.org/10.4324/9781003216179-3.
Texte intégralBilliani, Francesca, et Laura Pennacchietti. « The Regime and the Creation of an ‘Arte di Stato’ ». Dans Architecture and the Novel under the Italian Fascist Regime, 15–30. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19428-4_2.
Texte intégralBejan, Cristina A. « The Criterion Association of Arts, Literature and Philosophy : Beginnings and Birth in Bucharest, 1932 ». Dans Intellectuals and Fascism in Interwar Romania, 59–84. Cham : Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-20165-4_3.
Texte intégralApoifis, Nicholas. « ‘I Hope Little Worms Die in Your Arse’ : Fieldwork, Anarchists, Fascists and Academic Snitches ». Dans Navigating Fieldwork in the Social Sciences, 107–28. Cham : Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46855-2_6.
Texte intégralDe Donno, Fabrizio. « Rereading Italian Travellers to Africa : Precursors, Identities and Interracial Relations in Narratives of Italian Colonialism ». Dans Rereading Travellers to the East, 65–82. Florence : Firenze University Press, 2022. http://dx.doi.org/10.36253/978-88-5518-579-0.05.
Texte intégralMartini, Federica. « “Contingent monuments:” *Constructions of Publicness in the Fascist Italy Exhibitionary Complex 1920s–1940s ». Dans Regimes of Invisibility in Contemporary Art, Theory and Culture, 125–40. Cham : Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55173-9_9.
Texte intégralWhite, Anthony. « Introduction ». Dans Italian Modern Art in the Age of Fascism, 1–19. New York : Routledge, 2019. | : Routledge, 2019. http://dx.doi.org/10.4324/9780429203541-1.
Texte intégralWhite, Anthony. « The Folk Machine ». Dans Italian Modern Art in the Age of Fascism, 20–65. New York : Routledge, 2019. | : Routledge, 2019. http://dx.doi.org/10.4324/9780429203541-2.
Texte intégralWhite, Anthony. « The Men Who Turn Around ». Dans Italian Modern Art in the Age of Fascism, 66–112. New York : Routledge, 2019. | : Routledge, 2019. http://dx.doi.org/10.4324/9780429203541-3.
Texte intégralWhite, Anthony. « Mario Radice ». Dans Italian Modern Art in the Age of Fascism, 113–57. New York : Routledge, 2019. | : Routledge, 2019. http://dx.doi.org/10.4324/9780429203541-4.
Texte intégralActes de conférences sur le sujet "Arte fascista"
Chin, LiKang, Anthony Calabro et Kathleen A. Derwin. « Development and Characterization of Tyramine Substituted-Hyaluronan (TS-HA) Enriched Fascia for Rotator Cuff Repair ». Dans ASME 2010 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2010. http://dx.doi.org/10.1115/sbc2010-19553.
Texte intégralСаврав, Игорь, Эфи Шпеннес et Ольга Обратнева. « Развитие международного сотрудничества в области среднего профессионального образования в Псковском государственном университете ». Dans Россия — Германия в образовательном, научном и культурном диалоге. Конкорд, 2021. http://dx.doi.org/10.37490/de2021/020.
Texte intégralSiyuan, Jin, Hu Min et Chen Yabin. « Enabler Study for Plan View Cutline Styling of Front End Based on Variation Simulation ». Dans ASME 2019 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2019. http://dx.doi.org/10.1115/imece2019-10566.
Texte intégralGherasim, Elena, Dumitru Erhan et Stefan Rusu. « Establishing the role of amphibians (Anura) in the prophylaxis of helminths specific to domestic, wild and pet animals ». Dans Xth International Conference of Zoologists. Institute of Zoology, Republic of Moldova, 2021. http://dx.doi.org/10.53937/icz10.2021.33.
Texte intégralJacobitz, Frank G., Niki L. Yamamura et Geert W. Schmid-Schönbein. « Investigation of the Spatial Structure of the Microcirculation in a Capillary Bundle From Rat Spinotrapezius Muscle Tissue ». Dans ASME 2013 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/sbc2013-14107.
Texte intégralBoguszewski, Daniel V., Nathaniel A. Dyment, Denis L. Bailey, Jason T. Shearn et David L. Butler. « Biomechanical Comparison of Abdominal Wall Hernia Repair Materials ». Dans ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-192615.
Texte intégralKulik, Sergei. « THE CATHOLICISM AND SUNNI ISLAM POSITION AND ROLE IN THE FASCISM AND NATIONAL SOCIALISM IDEOLOGICAL COORDINATE SYSTEM AT THE TURNING POINT OF THE SECOND WORLD WAR ». Dans 2nd International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2015. Stef92 Technology, 2015. http://dx.doi.org/10.5593/sgemsocial2015/b31/s10.059.
Texte intégralMansour, James, Badih A. Jawad, Sabah Abro, Liping Liu, Vernon Fernandez et Jeff Tibbenham. « Critical Factors That Impact Consistency of Fit and Finish at the Rear Fascia Cutline of Vehicles ». Dans ASME 2017 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/imece2017-70341.
Texte intégralRamirez, Angelica Maria, Begoña Calvo Calzada et Jorge Grasa. « The Effect of the Fascia on the Stress Distribution in Skeletal Muscle ». Dans ASME 2010 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2010. http://dx.doi.org/10.1115/sbc2010-19696.
Texte intégralCanonaco, Brunella, et Francesc Bilotta. « Lettura del sistema fortificato della fascia Tirrenica calabrese attraverso le iconografie storiche ». Dans FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia : Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11527.
Texte intégralRapports d'organisations sur le sujet "Arte fascista"
Kenes, Bulent. CasaPound Italy : The Sui Generis Fascists of the New Millennium. European Center for Populism Studies (ECPS), juin 2021. http://dx.doi.org/10.55271/op0010.
Texte intégralSiebert, Rudolf J., et Michael R. Ott. Catholicism and the Frankfurt School. Association Inter-University Centre Dubrovnik, décembre 2020. http://dx.doi.org/10.53099/ntkd4301.
Texte intégralBlazakis, Jason, et Colin Clarke. From Paramilitaries to Parliamentarians : Disaggregating Radical Right Wing Extremist Movements. RESOLVE Network, décembre 2021. http://dx.doi.org/10.37805/remve2021.2.
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