Littérature scientifique sur le sujet « Figure animali »
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Articles de revues sur le sujet "Figure animali"
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Belozorovich, Anna. « Volpi, farfalle, uccelli e un cagnolino nero : il mimetismo e la sopravvivenza sotto il regime staliniano in Vesti bianche di Vladimir Dudincev ». Altre Modernità, no 26 (29 novembre 2021) : 145–64. http://dx.doi.org/10.54103/2035-7680/16802.
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L’articolo prende in esame Vesti bianche (Belye odeždy), il secondo romanzo di Vladimir Dudincev (1918-1998), figura tragica della letteratura sovietica. Dopo Non si vive di solo pane (1957), riscuote un enorme successo ma viene costretto al silenzio a causa dello scandalo politico che ne deriva. Vesti bianche, scritto nel 1966, ma pubblicato solo vent’anni più tardi (1987), è ambientato nel pieno del lysenkoismo, la violenta repressione nei confronti della comunità scientifica che ebbe luogo tra gli anni ’40 e ’50. I suoi protagonisti sono biologi: comprendere la natura, essere in dialogo con il mondo naturale, è la loro prerogativa per ottenere dei risultati. La riflessione scientifica è puntualmente accompagnata da quella filosofica. In una intensa discussione sul rapporto tra l’uomo e la Natura, i protagonisti si schierano su differenti posizioni e sembrano “indossare” figure animali quasi con valore totemico. Le possibili configurazioni della società umana, i rapporti professionali e le esperienze individuali vengono messe in relazione con il comportamento animale. Il carattere associato a questi animali riporta sia al loro comportamento in natura sia alla simbologia ad essi legata nella tradizione popolare russa. La ricerca della verità da parte degli uomini di scienza incontra la necessità di mascheramento, parola chiave della trama. Il mimetismo è vissuto come un inganno necessario, come per mantenere la varietà biologica nel mondo naturale, così per garantire la libertà del pensiero e della ricerca scientifica in un paese paralizzato dal regime.
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Gilebbi, Matteo. « Testimoni dei macelli. Esseri umani e animali nella poesia di Ivano Ferrari //Witnesses of the Slaughters. Humans and Animals in Ivano Ferrari’s Poetry // Testigos de las matanzas. Humanos y animales en la poesía de Ivano Ferrari ». Ecozon@ : European Journal of Literature, Culture and Environment 7, no 1 (15 juin 2016) : 94–111. http://dx.doi.org/10.37536/ecozona.2016.7.1.981.
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Quando le rappresentazioni e le simbologie animali ridimensionano e mettono in discussione lo statuto umano, ci si trova di fronte al passaggio dal teriomorfismo alla questione animale. Ciò significa che, da semplici tropi, le figure animali divengono operatori epistemologici che forzano un ripensamento dell’antropocentrismo e mettono in luce i limiti dello specismo. Le raccolte di poesie Macello (2004) e La Morte Moglie (2013) di Ivano Ferrari sono, all’interno della letteratura italiana, tra i più recenti ed intensi esempi di questo passaggio dal teriomorfismo alla questione animale. Queste poesie costituiscono un diario in presa diretta del periodo che Ivano Ferrari ha trascorso come operaio al mattatoio di Belfiore, presso Mantova. La sua scrittura testimonia le tensioni presenti nel rapporto umano-animale quando questi, fuori e dentro il mattatoio, diventano rispettivamente carnefice e vittima, svelando anche i profondi legami tra crudeltà verso l’animale (interspecifica) e crudeltà verso l’umano (intraspecifica). I componimenti di Ferrari mostrano inoltre come, proprio nell’inumanità dello spazio del mattatoio, sia possibile un contatto con l’animale che riduce la distanza tra specie causata dall’antropocentrismo. Abstract When animal representations and symbols reconfigure and challenge human status, we are then confronted with a transition from theriomorphism to the so-called Animal Question. This means that, from simple tropes, animal figures become epistemological operators that force a reconsideration of anthropocentrism and highlight the limits of speciesism. Ivano Ferrari’s poetry collections Macello (2004) and La morte moglie (2013) are, within Italian literature, among the most recent and intense examples of this shift from theriomorphism to the Animal Question. The poems constitute a type of diary of the period Ferrari spent working in the abattoir in Belfiore, near Mantua. His writing bears witness to the tensions present in the relationship between humans and animals when, inside and outside of the slaughterhouse, they become respectively executioner and victim, revealing even the profound links between cruelty to the animal (interspecific) and cruelty to the human (intraspecific). Ferrari’s compositions also show how, precisely in the inhumane space of the slaughterhouse, contact with the animal is possible, contact that reduces that distance between species caused by anthropocentrism.Resumen Cuando las representaciones y símbolos de animales reconfiguran y cuestionan el estatus de lo humano, nos enfrentamos a la transición del teriomorfismo a la llamada Cuestión Animal. Esto significa que las figuras animales pasan de ser simples tropos a operadores epistemológicos que fuerzan una reconsideración del antropocentrismo y resaltan los límites del especismo. Los poemarios Macello (2004) y La morte moglie (2013) de Ivano Ferrari se encuentran, dentro de la literatura italiana, entre los ejemplos más recientes e intensos de este cambio del teriormofismo hacia la Cuestión Animal. Los poemas constituyen un tipo de diario del periodo que Ferrari pasó trabajando en el matadero en Belfiore, cerca de Mantua. Su escritura da testimonio de las tensiones contemporáneas en la relación entre humanos y animales cuando, dentro y fuera del matadero, estos se vuelven verdugo y víctima respectivamente, revelando inclusive los profundos vínculos entre crueldad hacia los animales (inter-específico) y crueldad al humano (intra-específico). Las composiciones de Ferrari también muestran cómo, precisamente en el espacio inhumano del matadero, el contacto con lo animal es posible, un contacto que reduce la distancia entre las especies causado por el antropocentrismo.
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Corrain, Lucia. « Il manoscritto 99 di Ulisse Aldrovandi. Il programma iconografico della residenza di campagna ». Aldrovandiana. Historical Studies in Natural History 1, no 1 (4 juillet 2022) : 35–79. http://dx.doi.org/10.30682/aldro2201c.
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Nel ms. 99 di Ulisse Aldrovandi (qui per la prima volta trascritto e pubblicato) – conservato presso la Biblioteca Universitaria di Bologna – lo scienziato registra il programma iconografico che aveva progettatoper la sua villa di campagna. Il manoscritto è articolato in più parti: la prima, più consistente, riguarda la decorazione della prima stanza con l’Odissea, la seconda – quella su cui qui si fermerà maggiormente l’attenzione – è relativa ai tre ambienti dove, in fregio, erano dipinti emblemi, in molti casi affiancati da figure animali che trovano nelle tavole acquerellate fatte realizzare da Aldrovandi per illustrare la sua opera scritta, un puntuale riscontro.
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Scappini, Alessandra. « Leonor Fini, maga del trasformismo ». iQual. Revista de Género e Igualdad, no 1 (22 février 2018) : 201. http://dx.doi.org/10.6018/iqual.317701.
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<p><strong>Riassunto</strong> Leonor Fini (Trieste, 1987 - Parigi, 1996) è una pittrice e scrittrice singolare che lavora nel tempo delle avanguardie storiche avvicinandosi all’<em>entourage</em> del surrealismo a Parigi. Il senso del meraviglioso e l’onnipotenza del desiderio che emergono dalle sue storie e dalle sue opere pittoriche sono aspetti comuni all’avanguardia, anche se non ha mai aderito al movimento. Le figure femminili, gli animali totemici e gli ibridi dipinti o descritti sono simbolici e riflettono il suo gusto per il metamorfismo proprio di una personalità e di un <em>alter ego</em> prossimi all’universo fantastico.</p><p><strong>Abstract</strong> Leonor Fini (Trieste, 1987 - Paris, 1996) is a singular woman painter and writer who works in the period of historical avant-gardes approaching the <em>entourage </em>of surrealism in Paris. The sense of the marvelous and the omnipotence of desire that emerge from her stories and her pictorial works are common aspects in the vanguard, even if she has never joined the movement. The female figures, totemic animals and hybrids painted or described are symbolic and reflect her taste for the metamorphism of a personality and an <em>alter ego</em> close to the fantastic universe.</p><p><strong>Keywords </strong>Leonor Fini, surrealism, desire, marvelous, fantastic.</p>
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Cano Guarín, Laura. « Las figuras femeninas en La mujer del animal ». Futhark. Revista de Investigación y Cultura, no 15 (2020) : 5–18. http://dx.doi.org/10.12795/futhark.2020.i15.01.
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El presente artículo aborda el asunto de las representaciones femeninas en el filme La mujer del animal del director de cine colombiano Víctor Gaviria, quien en general retrata paisajes citadinos referentes a las problemáticas y miseria de las clases sociales más bajas. En primera instancia se enmarca el contexto en el que se desarrolla la historia, la ciudad de Medellín, los acontecimientos históricos que han propiciado dichas realidades y el estilo narrativo de su autor. A continuación, a la luz de las bases teóricas provistas por los estudios de género, se hace un breve resumen y análisis de la producción fílmica en cuestión, con el fin descubrir cómo se percibe, se concibe y se proyecta el universo femenino en su obra. A través del análisis propuesto se hará una revisión del complejo rol que cumplen las mujeres en un entorno desafortunado de abandono e indiferencia del estado, en una ciudad segregada en cuyas periferias la violencia es el pan de cada día y de las historias que protagonizan a través de las cuales pueden o bien reforzar o bien resistirse a las construcciones sociales.
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Pouillard, Violette. « Animal Biographies : Beyond Archetypal Figures ». Journal of Animal Ethics 12, no 2 (1 octobre 2022) : 172–78. http://dx.doi.org/10.5406/21601267.12.2.07.
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Abstract The biographies of animal celebrities published by the historians John Simons and Eric Baratay aim to place animals in and of themselves at the center of academic narratives. Both excavate the lived experiences concealed behind official discourses and collective representations, notably by relying on cross-fertilization with ethological research. They unveil the ways in which information was reshaped in order to portray animal celebrities as benevolent members of human-animal communities, and thereby shed light on the mechanics of animal commodification. The close examination of a few individual animal trajectories enlightens the condition of many historical animals living under human tutelage in the 19th and early 20th century and highlights long-term historical evolutions, such as the succession of animal cultures and generations largely determined by human actions.
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Gouabault, Emmanuel, Annik Dubied et Claudine Burton-Jeangros. « Genuine Zoocentrism or Dogged Anthropocentrism ? On the Personification of Animal Figures in the News ». Humanimalia 3, no 1 (17 septembre 2011) : 77–100. http://dx.doi.org/10.52537/humanimalia.10059.
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Human-Animal relationships are changing and the media coverage of animal issues plays a major part in these transformations. The personification of animals is a socially-constructed process through which the status of a person is attributed to an animal. In this article, we analyze this process in the media, through successive analytical steps. Identifying the attributes of animal personification enables us to distinguish three increasingly complex levels of this process. In the most developed stage, the process of ‘starification’ is applied to the animal, such as in the 2007 case of the polar bear Knut, the abandoned cub of the Berlin Zoo. Using the ‘contrasted portrait’ approach, we then compare this story to an opposite animal figure, also making headline news in the media at the same time, namely the three pitbulls dogs who killed a child on his way to school in the eastern part of Switzerland. This analysis illustrates a number of current mutations in human-animal relationships and challenges the idea of ‘growing zoocentrism.’ Indeed, personified animals transformed in human figures rather than promoted as subjects of interest in themselves, suggest a permanence of anthropocentrism.
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Kidd, Aline H., et Robert M. Kidd. « Children's Drawings and Attachment to Pets ». Psychological Reports 77, no 1 (août 1995) : 235–41. http://dx.doi.org/10.2466/pr0.1995.77.1.235.
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To help confirm the concept that distances placed between the self and other figures in children's drawings represent emotional distances, 242 pet-owning and 35 nonpet-owning kindergarteners through eighth graders drew pictures of themselves, a pet, and/or a family member. Owners drew pets significantly closer than family-figures although the younger the child, the greater the distance between self and pet. Older children drew themselves holding pets significantly more often, but younger children placed the family-figure between the self and the pet significantly more often. There were no significant gender differences in self-figure/pet-figure distances, but cats, dogs, caged animals, and farm animals were placed significantly closer to self-figures than were fish. Over-all, owners were clearly emotionally closer to pets than to family members, but nonowners were as close emotionally to family members as were owners.
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Taylor, Katy, et Laura Rego Alvarez. « An Estimate of the Number of Animals Used for Scientific Purposes Worldwide in 2015 ». Alternatives to Laboratory Animals 47, no 5-6 (novembre 2019) : 196–213. http://dx.doi.org/10.1177/0261192919899853.
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Few attempts have been made to estimate the global use of animals in experiments, since our own estimated figure of 115.2 million animals for the year 2005. Here, we provide an update for the year 2015. Data from 37 countries that publish national statistics were standardised against the definitions of ‘animals’ and ‘procedures’ used in the European Union (EU) Directive 2010/63/EU. We also applied a prediction model, based on publication rates, to estimate animal use in a further 142 countries. This yielded an overall estimate of global animal use in scientific procedures of 79.9 million animals, a 36.9% increase on the equivalent estimated figure for 2005, of 58.3 million animals. We further extrapolated this estimate to obtain a more comprehensive final global figure for the number of animals used for scientific purposes in 2015, of 192.1 million. This figure included animals killed for their tissues, normal and genetically modified (GM) animals without a harmful genetic mutation that are used to maintain GM strains and animals bred for laboratory use but not used. Since the 2005 study, there has been no evident increase in the number of countries publishing data on the numbers of animals used in experiments. Without regular, accurate statistics, the impact of efforts to replace, reduce and refine animal experiments cannot be effectively monitored.
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Vol’naya (Kerczeva), G. N. « ANIMALISTIC ART OF KOBAN CULTURE AND SCYTHIAN-SIBERIAN ANIMAL STYLE ». Archaeology and Early History of Ukraine 31, no 2 (25 juin 2019) : 402–8. http://dx.doi.org/10.37445/adiu.2019.02.33.
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The Koban animalistic art and the Scythian-Siberian animal style in many respects are based on culture of the Central European art of the pre-Scythian period, Middle East and Urartu art. In some cases, both directions use similar compositions (whirlwind forms and symmetric), the same animal images («the scraped predator», a winged predator, a deer, a ram, a goat, the head and a figure of the flying bird of prey, fish), and parts of animals (a boar canine teeth) who receive various art interpretation. In the Koban animal style there was an infiltration of images of the Scythian-Siberian animal style (figures of deer with the head turned back and the turned-in legs; animals with the turned-out back part of a trunk at an angle 180°; the predator which was curtailed in a ball), occurs registration of the Koban bronze trapezoid zone buckles Scythian motives). Also the return process of penetration of the Koban images into Scythian art is known (objects in the form of a bust of a bird of prey, «the scraped predator»). All this demonstrates difficult centuries-old interaction of two directions of animal art.
Thèses sur le sujet "Figure animali"
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Lanzoni, Anna <1990>. « Figure simboliche di animali all'interno della decorazione scultorea del portale maggiore della cattedrale di Ferrara ». Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13476.
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Questo lavoro, ha come oggetto l’analisi della decorazione scultorea del portale maggiore della cattedrale di Ferrara, altrimenti noto come ‘Porta dei Principi’. In particolare, nel sesto capitolo, il più corposo della trattazione, l’attenzione sarà focalizzata sui rilievi a soggetto faunistico scolpiti sui quattro pilastrini a sezione quadrata che compongono la strombatura del portale stesso. L’obiettivo è quello di verificare se, e in quale modo, tali figure possano essere messe in relazione con altri elementi appartenenti al programma iconografico del protiro e del portale, e se sia possibile attribuire loro specifici significati simbolici.
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Joyeux, Laure. « Les animalités de l’art : modalités et enjeux de la figure animale contemporaine et actuelle ». Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30012/document.
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Ma démarche de recherche comme de création s’articule autour de l’animalité dans ses relations avec l’art d’une part et autour des notions-clés que sont l’anthropomorphisme animal, le zoomorphisme, la métamorphose, la figure animale et l’hybridation, constantes thématiques, iconiques et plastiques de mes travaux d’autre part. Comment et pourquoi l’artiste convoque-t-il l’animal de manière récurrente et diversifiée ? Comment ont pu se jouer entre l’homme et l’animal, mais aussi aujourd’hui de manière frappante, des complémentarités physiques et matérielles, des affinités mentales, des tensions exacerbées ? Si l’animal est le témoin excentré du fonctionnement de nos sociétés, tel un miroir déformant et critique, que révèle sa figure aux prises avec l’art de nos comportements de bête sociale et de la relation que nous entretenons avec lui ? Le recours à des concepts émanant de différentes disciplines, en particulier des sciences humaines, a irrigué et éclairé les analyses d’œuvres : les nôtres, celles de l’art d’hier et d’aujourd’hui. Il s’en est dégagé leur densité sémantique quant à la teneur du lien qui nourrit le binôme homme-animal, que les situations mises en scène soient fictives ou réelles. Le parallèle entre pratiques d’expression plastique (imitation, caricature, assemblage, mise en scène) et figures de style (métonymie, métaphore, comparaison, allégorie) au sein des processus cités plus haut vise à mettre en valeur le caractère discursif des œuvres choisies. La convocation de l’animal bénéficie ainsi, au sein de notre thèse, d’une triple définition. L’image de l’animal, reflet et mémoire de notre humanité, accompagne l’homme, tel le paradigme – modèle vivant ou image modèle –, d’une certaine identité de l’homme – ses fragilités, ses révoltes, ses excès, ses obsessions, etc. La figure de l’animal est aussi à entendre comme une médiation, réussissant là où l’attaque et le dialogue directs ne sont plus possibles, parvenant à concilier les contraires. Ainsi investie, l’image ambigüe ou ambivalente de l’animal donne lieu à la multiplicité, à une extraordinaire fertilité iconographique et artistique. Ses figures, au défi de la forme monolithique, sont rarement isolées ; elles se croisent, se mélangent et s’interpénètrentMy research as well as my creative process on the one hand, revolves around the animal figure in its relationship to art, and on the other hand, around the key-notions of animal anthropomorphism, zoomorphism, metamorphosis, the animal figure and hybridization; constant, iconic and plastic themes of my work. How and why does the artist call forth animals in such a recurrent and diversified manner? How have physical and materiel complementarities, mental analogies as well as exacerbated tensions come into play today, in such a striking fashion between mankind and the animal world? If animals are the off-centered witness of how our societies function, as a distorting and critical mirror, what does its figure reveal when grappling with the art of our beast-like behaviors and of the relationship that we maintain with it? Resorting to concepts emanating from different academic disciplines, in particular, the human sciences, has provided and shed light to the analyses of the works: our own, those of the past and of today. The result being, an utterance density as regards the content of the link which feeds the man-animal pair, whether the situations staged are fictitious or real. The parallel drawn between the methods of plastic expression (imitation, caricature, assemblage, staging) and stylistic devices (metonymy, metaphor, comparison, allegory) within the process listed above is aimed at highlighting the discursive nature of the selected works. Eliciting the animal world within our thesis, thus benefits from a three-fold definition. The animal’s image, which is the reflection and recollection of our humanity, accompanies mankind, as the paradigm – living model or ideal image –, of a certain identity of mankind – its weaknesses, its rebellions, its excesses, its obsessions, etc. In addition, the animal’s figure is also to be understood as a mediator, prevailing over direct criticism and dialogue, and managing to reconcile opposites. Thus invested, the animal’s ambiguous or ambivalent image gives rise to multiplicity, to an extraordinary, artistic and iconographic fertility. Its figures, which challenge the monolithic form, are rarely isolated; they cross over, are mingled, and permeate
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Malay, Michael. « The figure of the animal in modern and contemporary poetry ». Thesis, University of Bristol, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.682680.
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This study is concerned with exploring the notion that there is a special relationship between animal life and the 'poetic'. It provides close readings of modern and contemporary poetry with the aim of testing, refining and drawing out the implications of this claim. The introductory chapter briefly examines the history of the animal in Western philosophy and literature. It charts this history in order to contextualize one of the gUiding questions of this study: how have animals been seen by philosophers and poets, and what differences exist between their different 'modes' or 'disciplines'? These questions lead to a discussion of J. M. Coetzee's The Lives of Animals (1997), which dramatizes these issues in fiction. The text explores a notion central to this study - namely, that poetry has a special capacity for relating to animal others. The thesis examines the implications of this idea, asking if there is something peculiar about 'poetic' thought that enables it to cultivate connections with animal life that distinguishes it from other forms of language. The thesis pursues then these questions in relation to four poets: Marianne Moore, Elizabeth Bishop, Les Murray and Ted Hughes. It provides a formal analysis of recurring literary strategies in each poet's work - such as metaphor and similebut also offers a broader consideration of the cultural factors informing each writer's oeuvre. It asks the same question in many different guises: how do poets use language in such a way that faithfully responds to the singularity of animal life?
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Lecomte, Vincent. « Un penser animal à l'oeuvre ». Thesis, Lyon, 2017. http://www.theses.fr/2017LYSES043.
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Évoquer ou convoquer l’animal en art met en perspective et accroît l’œuvre humaine jusque dans les excès et les incohérences qu’elle peut manifester, mais rend également possible un accès à ce qui est extérieur au domaine humain. Les artistes s’inspirent de la symbolique à laquelle donne corps l’animal, de sa morphologie aussi bien que des modes d’expressions qu’il invente et déploie. Il leur arrive même de se laisser tenter par le mimétisme. Les créateurs et les poètes ne disposent-ils pas d’autres outils que les penseurs ou les scientifiques pour atteindre cette étrangeté qui semble pourtant souvent si familière ? Qu’il s’agisse d’œuvres plastiques, de performances, de créations musicales ou scéniques, y convier l’animal offre une matrice infinie de figurations et de reconfigurations. L’expression de ce répertoire corporel et comportemental s’articule comme un véritable langage structuré. Au-delà d'une transposition qui permet de donner à entrevoir l’humanité de l'homme, les artistes peuvent aussi tenter la percée vers la réalité d’autres êtres vivants. Entre confrontation, dialogue et transfert, les pratiques artistiques reflètent la diversité, le polymorphisme même du rapport humain aux animaux, et l’histoire d’une attitude foncièrement ambivalente, prise entre empathie et exploitation. L’expérience de l’animal, voire l’expérience animale, donne lieu à un partage de territoire(s) et de conscience(s), ouvrant sur le dévoilement d’un penser en imagesTo evoke or to summon the animal in art puts in perspective the work of mankind, increases its excesses and its inconsistencies as well as it makes possible to open up the door to what is outside the human reach. Artists inspire themselves from the symbolic to which the animal is giving flesh, its morphology up to the ways of communication it creates and deploys. Artists may even be tempted by mimicry. Don’t creators and poets dispose of no other means than this one to address that strangeness that seems however so familiar to them ?To invite the animal in art work, could it be plastic arts, performances, musicals works or on stage, is to offer an infinite matrix for figuring or reconfiguring. The expression of its physical and behavioral repertory is articulated as a structured language. Beyond a transposition that allows a glimpse at human kind’s humanity, artists can also try to break through the reality of other living beings. Half way through confrontation, dialogue and transference, artistic practices mirror the diversity of human relationships with animals and even its polymorphism, as well as they reflect on the history of a human attitude fundamentally ambivalent, torn between empathy and exploitation. The animal experience, the animalistic experiment even, gives rise to a territory and consciousness sharing, opening up to the unveiling of a thinking through images
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Moreau, Ronan. « Sur les chemins des terres sauvages : figures et symbolique des animaux de la forêt dans l'Inde ancienne ». Paris 3, 2008. http://www.theses.fr/2008PA030123.
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Cette étude des figures et de la symbolique des animaux sauvages dans l’Inde ancienne, repose sur une lecture des Veda et des épopées que sont le Rāmāyan_a et le Mahābhārata. Elle consiste à dresser un portrait aussi complet que possible d’animaux emblématiques de la forêt : loup, chacal, hyène, ours, lion, tigre, panthère, éléphant, rhinocéros, sanglier, et buffle. À la fois animaux vrais et conceptuels, leur image apparaît complexe et en partie attachée à la définition du milieu où ils vivent, l’aran_ya ou les « terres sauvages ». Essentiellement présents au travers de leurs relations avec l’homme, qui éprouve une fascination constante à leur égard, ils sont repoussés ou sollicités, conduisant dans ce dernier cas à une animalisation de l’individu. Avant tout lexical, le phénomène interroge sur sa nature profonde, et sur les liens entre l’homme et l’animal qui se révèlent ici par un transfert de force et de puissance. Cette relation amène logiquement à envisager l’animal sauvage cette fois dans un environnement divin et/ou démoniaque où, entre mythes et sacrifices, il apparaît tantôt comme protégé du dieu, tantôt comme l’une de ses multiples formes possibles, souventredoutableThis study about the images and the symbolism of the wild animals at ancient India is based on a reading of the Veda and the epics that are the Rāmāyan_a and the Mahābhārata. It consists in drawing up a portrait as complete as possible of emblematic animals of the forest: wolves, jackals, hyenas, bears, lions, tigers, panthers, elephants, rhinoceroses, wild boars, and buffalos. Equally real and conceptual animals, their picture seems complex and partially attached to the definition of the environment where they live, the aran_ya or the wilderness. Mainly represented through their relations with man, who is constantly fascinated by them, they are either pushed away or appealed, in that case leading to an animalisation of the individual. Primarily lexical, the phenomenon questions its deep nature and the links between man and animal, which reveal themselves by a transfer of strength and power. This relation tends logically to consider the wild animal in a divine and/or demoniac environment where, between myths and sacrifices, it appears sometimes as a protégé of the god, sometimes as one of its multiple forms, often dreadful
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Joyeux, Laure. « Les animalités de l'art : modalités et enjeux de la figure animale contemporaine et actuelle ». Phd thesis, Université Michel de Montaigne - Bordeaux III, 2013. http://tel.archives-ouvertes.fr/tel-00937248.
Texte intégralRésumé :
Ma démarche de recherche comme de création s'articule autour de l'animalité dans ses relations avec l'art d'une part et autour des notions-clés que sont l'anthropomorphisme animal, le zoomorphisme, la métamorphose, la figure animale et l'hybridation, constantes thématiques, iconiques et plastiques de mes travaux d'autre part. Comment et pourquoi l'artiste convoque-t-il l'animal de manière récurrente et diversifiée ? Comment ont pu se jouer entre l'homme et l'animal, mais aussi aujourd'hui de manière frappante, des complémentarités physiques et matérielles, des affinités mentales, des tensions exacerbées ? Si l'animal est le témoin excentré du fonctionnement de nos sociétés, tel un miroir déformant et critique, que révèle sa figure aux prises avec l'art de nos comportements de bête sociale et de la relation que nous entretenons avec lui ? Le recours à des concepts émanant de différentes disciplines, en particulier des sciences humaines, a irrigué et éclairé les analyses d'œuvres : les nôtres, celles de l'art d'hier et d'aujourd'hui. Il s'en est dégagé leur densité sémantique quant à la teneur du lien qui nourrit le binôme homme-animal, que les situations mises en scène soient fictives ou réelles. Le parallèle entre pratiques d'expression plastique (imitation, caricature, assemblage, mise en scène) et figures de style (métonymie, métaphore, comparaison, allégorie) au sein des processus cités plus haut vise à mettre en valeur le caractère discursif des œuvres choisies. La convocation de l'animal bénéficie ainsi, au sein de notre thèse, d'une triple définition. L'image de l'animal, reflet et mémoire de notre humanité, accompagne l'homme, tel le paradigme - modèle vivant ou image modèle -, d'une certaine identité de l'homme - ses fragilités, ses révoltes, ses excès, ses obsessions, etc. La figure de l'animal est aussi à entendre comme une médiation, réussissant là où l'attaque et le dialogue directs ne sont plus possibles, parvenant à concilier les contraires. Ainsi investie, l'image ambigüe ou ambivalente de l'animal donne lieu à la multiplicité, à une extraordinaire fertilité iconographique et artistique. Ses figures, au défi de la forme monolithique, sont rarement isolées ; elles se croisent, se mélangent et s'interpénètrent.
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Löfving, Axel. « The Dispersal of Gold : Material and Figural Traits of the Gold Foil Figures from Västra Vång ». Thesis, Södertörns högskola, Arkeologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-41584.
Texte intégralRésumé :
Gold Foil Figures or guldgubbar (henceforth GFFs) are precious metal artefacts from the Scandinavian Late Iron Age. This master's essay offers a new approach to GFFs. As opposed to the established understanding of GFFs as representational images with real or mythic referents, belonging to an aristocratic milieu, this essay instead attends to GFFs in terms of their material and Figural traits. The material for this study consists if 42 GFFs from the find site of Västra Vång, Blekinge, Sweden. A comprehensive presentation of this artefact material is a secondary aim of this essay. With the aid of a neomaterialist theoretical apparatus that draws heavily on the work of Gilles Deleuze, Félix Guattari, and Wilhelm Worringer, the 42 GFFs undergo two separate analyses. In the first, the material traits expressed in the sequence of GFF production and deposition is studied in terms of a chaîne opératoire. In the second, I attend to the non-significatory expressive qualities of form and expression, or Figural traits, belonging to these 42 GFFs within the wider artistic milieu of Animal Style Ornamentation. I conclude that GFFs were as a rule artefacts made for purposes of immediate disposal, not display, as a mode of dispersing gold. Västra Vång’s GFFs offer several indications that handling between the cutting operation and deposition was minimal, such as the fresh, unworn edges. The thin, brittle foils are ill suited to display. Approaching the designs on these artefacts as various sets of Figural traits being expressed allows me to contextualise the GFFs within the wider artistic milieu of Animal Style Ornamentation. New territorial rhythms can be established only as certain elements are freed from a settled state, and made to act together with new elements, in new terrains. GFFs bring about new territorial rhythms of form and expression to gold matter, gold made to circulate as it becomes deterritorialised from a monetary function within the Roman economy. A flow of gold is extended as gold is brought to Scandinavia from continental economies. The influx of this flow of gold is not contained to an élite social stratum. Individuals in possession of minute amounts of gold returned to Scandinavia, having acquired gold as payment for involvement in military operations on the continent. This ownership of gold may have hindered their harmonious reintegration into a society based on other economic principles. The GFFs emerge as a vector of dispersing gold. The artistic expression of Figural traits is equally energised by movements of de- and reterritorialisation. Understanding that the Figural traits expressed on the GFFs from Västra Vång are part of a wider artistic milieu of Animal Style Ornamentation, alongside other systematised expressions making up parts of a collective assemblage of enunciation, makes their appearance on artefacts that were deposited immediately upon their manufacture easier to grasp. The particular procedures of miniaturisation allowed for an acceleration of the expression of variation in the conjunction of a flow of artistic expression onto a flow of gold matter. The dispersive handling of gold must be traced to both the material premises and the expressive artistic ones. Gold is not chosen because it is precious, or because of what it connotes, but because it is available, because the artisan smith is attendant to its traits as a metal matter.
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Ortega, Garzón Sandra María. « De hombres y de bestias : figuras animales de lo político en el teatro colombiano contemporáneo ». Doctoral thesis, Universitat Autònoma de Barcelona, 2018. http://hdl.handle.net/10803/664099.
Texte intégralRésumé :
La presente tesis estudia el auge del imaginario animal dentro de la dramaturgia colombiana de los últimos veinte años (1996-2015), fenómeno estrechamente vinculado a la situación sociopolítica del país, en el que existe una persistencia en la figura animal como mecanismo de representación metafórica de lo político. Esta investigación tiene como marco histórico la época del conflicto armado colombiano, un periodo caracterizado por un conflicto interno que azota a Colombia desde los años cincuenta del siglo pasado hasta hoy, y que ha desatado una violencia política y social generalizada en el país. Situación que ha servido de germen escritural para un gran número de artistas colombianos que a través de la fecundidad simbólica y metafórica de sus imágenes expresan su visión del mundo.
Esta investigación se sustenta en aportaciones teóricas de ámbitos como la filosofía, la antropología, la sociología, la semiótica, la literatura y el teatro; y a nivel metodológico se acoge a las premisas “mitodológicas” de Gilbert Durand para indagar en las imágenes-texto de lo animal en la dramaturgia colombiana y en su universo como fuente de creación. Todo ello con el fin de hallar los lazos que unen la dramaturgia textual y escénica —la ficción de las obras— a la realidad colombiana y alcanzar así una interpretación profunda de las figuras animales.
El estudio sobre lo animal en esta tesis está dividido en dos partes: la primera, escrita a manera de bestiario, da cuenta de las figuras de la “bestialidad” encontradas en las obras del corpus. Allí se analizan las dos visiones de bestialidad presentes, la natural y la anormal, para hallar las figuras de la bestia y el monstruo como imágenes de otredad. La segunda parte, estructurada bajo dos temáticas principales, el cuerpo y el hábitat del animal, está dedicada a develar los mecanismos escriturales y escénicos utilizados por los dramaturgos para figurar y pensar la animalidad; figuración que llevó a concluir que, en la ficción colombiana contemporánea el lugar del animal es el del exilio y la exclusión, la visión del hombre es la de un “hommo inhumanus” y la visión del mundo es la de un mundo “cárnico”This dissertation studies the boom of animal imaginary within the last twenty years (1996-2015) of Colombian dramaturgy. This is a phenomenon closely linked to the socio-political situation in the country where animal figures persist as a mechanism of metaphorical representation of its political reality. This research has as historical background the period of the armed conflict in Colombia, an era characterized by an internal armed struggle affecting the country from the 1950s to the present day that has sparked a wave of social and political violence in the country. This situation has served as scriptural seed for many Colombian artists who have used their symbolic and metaphorical images to reflect their worldview. This research is supported by theoretical contributions from different scientific disciplines, including philosophy, anthropology, sociology, semiotics, literature and theatre studies. In terms of its methodology, it uses Gilbert Durand's myth analysis model to dive into the images-text of the animal in Colombian dramaturgy and its universe as a source of creation. And in order to find the links between text and scenic dramaturgy —the fiction of the plays— with the Colombian reality, this study offers a comprehensive interpretation of animal figures. The study on “the animal” in this thesis is divided in two parts: the first one, written as a bestiary, reflects upon the findings of “bestiality” in the work. This part discusses two visions of bestiality, a natural and an abnormal one, as a way of finding beasts characters and monsters as images of otherness. The second part is structured under two principal subjects, the animal’s body and habitat. It is focused on unveiling the textual and scenic mechanisms used by playwrights to picture and to think of animality; an imaginary that led us to conclude that, in contemporary Colombian fiction, the place of the animal is exile and exclusion, and the vision of man is that of an “hommo inhumnus” while the vision of the world is that of a “meat” world.
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ARBEID, Barbara. « Bronzi votivi etruschi a figura animale. Problemi culturali, storico-artistici e cultuali ». Doctoral thesis, Università degli studi di Ferrara, 2011. http://hdl.handle.net/11392/2388834.
Texte intégralRésumé :
This study aims to provide a catalog of Etruscan votive bronzes in animal shape already
known, published and unpublished, and to provide a proposal for typological,
chronological and cultural classification which takes into account primarily the data
provided by the original contexts. For this reason, the matter has been divided into three
parts. In the first part has been collected and discussed through the analysis of their
chronological and geographical distribution, the contexts that have returned to the
Etruscan votive bronzes in animal figure, including the bronzes with an original decorative
function which were found in votive contexts. In the second part, the catalog of Etruscan
votive bronzes in animal shape is provided, divided according to subjects and types
identified for each subject, together with a discussion of possible models, interference
between small plastic votive and decorative, and chronological development of the class in
question. Finally, the third part has attempted to propose some hypotheses about the
Etruscan votive bronzes in animal shape from the point of view of worship, investigating
the relationship between choice of subject, type of cult and gods, in search of a clue for
understanding the meaning of this class of votive objects within the Etruscan ritual
practices, and the links to the cults of fertility and sanatio on one hand, and to the animal
sacrifice in connection with the offer of bronze objects, on the other.
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TETI, Marco. « Il disegno animato giapponese di serie degli anni Ottanta. Storia, figure e linguaggio ». Doctoral thesis, Università degli studi di Ferrara, 2010. http://hdl.handle.net/11392/2389191.
Texte intégralRésumé :
This dissertation is about the Eighties’ Japanese animated series, their formal and content
characteristics will be analyzed in the following chapters.
We point out that the anime we considered most are the ones that were broadcast in Japan during
the Eighties, thus we do not refer to anime we saw on European or American television during those
years. As a matter of fact, during that decade Japan produced the worldwide largest number of
animated series as ever.
The approach we will have in this research is mainly a pragmatic way of studying.
We have to admit that we adopted the method above mentioned in a rough way. To specify,
theoretical assumptions of pragmatics are shared: for this reason we examined Japanese animated
series in concrete terms of semiotic level and psychological effects of anime on spectators.
First and foremost, this study is a reconstruction of the historical period of Eighties’ animation
production in Japan.
This thesis is divided into five chapters. In the first chapter an historical overview will be given as
exhaustive as possible; in the second one, the most common topics treated by aforementioned
production will be discussed. Recurring characters will be shown in the third chapter. The forth
chapter will be dedicated to aesthetics and formal levels and finally, in the fifth and last chapter,
some animated series are analyzed since they are considered by who wrote this dissertation, the
most significant examples of Japanese animation.
Livres sur le sujet "Figure animali"
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Animal figures. West Chester, Pa : Schiffer Pub., 1990.
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Knibbeler, Miriam. Being : Beelden van Miriam Knibbeler. Groningen : Philip Elchers, 2018.
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Biernacki, Andrzej. Human & animal figure in motion. [Poland] : Galeria Browarnia, 2000.
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Lapucci, Carlo. Dizionario delle figure fantastiche. Milano : A. Vallardi, 1991.
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Animal forms and figures. London : B.T. Batsford, 1990.
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Halls, Susan. Ceramics for beginners : Animals & figures. New York : Lark Crafts, 2011.
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Tim, Wesley, dir. Animal health facts and figures. 3e éd. Richmond : PJB Publications, 1988.
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Tim, Wesley, dir. Animal health facts and figures. 2e éd. Richmond : V & O Publications, 1987.
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Vecchi, Augusto. Disegnare la figura umana e gli animali. Sant'Arcangelo di Romagna (RN) : Idealibri, 2006.
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Tim, Wesley, dir. Animal health facts & figures, 1988-89. 3e éd. Richmond, Surrey, UK : PJB Publications, 1988.
Trouver le texte intégralChapitres de livres sur le sujet "Figure animali"
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Kisora, Yulia, et Clemens Driessen. « Interpreting the YouTube Zoo : Ethical Potential of Captive Encounters ». Dans The International Library of Environmental, Agricultural and Food Ethics, 323–40. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-63523-7_18.
Texte intégralRésumé :
AbstractYouTube hosts a vast number of videos featuring zoo animals and humans actively reacting to each other. These videos can be seen as a popular genre of online entertainment, but also as a significant visual artefact of our relations with animals in the age of humans. In this chapter we focus on two viral videos featuring captive orangutans interacting with zoo visitors. The interpretations of ape-human interactions arising from the extensive number of comments posted to the videos are ambivalent in how they see the animals and their assumed capabilities. We argue that the YouTube Zoo could figure as a snapshot of human-animal relations in late modern times: mediating artificial conditions of animals suspended between the wild and the domestic, while offering a screened account of a deeply surprising interaction. The chapter shows the potential of close interactions between humans and animals to destabilise or reinforce the neat divisions between the human and the animal. It also shows the ethical potential of these interactions to either reinforce or question common practices of dealing with wild animals.
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Kirchhelle, Claas. « From Author to Adviser : Ruth Harrison and the Animal Machines Moment ». Dans Palgrave Studies in the History of Social Movements, 95–124. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-62792-8_7.
Texte intégralRésumé :
AbstractThis chapter reconstructs the events following the publication of Animal Machines. Skilful media promotion and Animal Machines’ fusion of contemporary animal welfare, health, and environmental concerns turned it into a bestseller. Critics tried to downplay Harrison’s allegations by drawing on sexist stereotypes and characterising her as a misguided and overemotional female. However, the public outrage triggered by Animal Machines soon forced officials to convene the so-called Brambell committee to review welfare on intensive farms. The committee’s 1965 report acknowledged the importance of animals’ affective states and proposed concrete welfare improvements alongside basic animal freedoms. Officials subsequently committed to installing a dedicated Farm Animal Welfare Advisory Committee (FAWAC) but only implemented some of the other Brambell proposals. Concerned about stalling momentum, Harrison successfully used her status as a charismatic but “moderate” public figure to gain access to FAWAC and the political backstage of British welfare consultation.
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Malay, Michael. « Rhythmic Contact : Ted Hughes and Animal Life ». Dans The Figure of the Animal in Modern and Contemporary Poetry, 97–158. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70666-5_3.
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Arseneault, Jesse. « African fictions, animal figures and anthropocentric frameworks ». Dans Routledge Handbook of African Literature, 231–43. New York : Routledge, 2019. : Routledge, 2019. http://dx.doi.org/10.4324/9781315229546-16.
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Malay, Michael. « Why Look at Animals ? : Poetry and the Difficulty of Reality ». Dans The Figure of the Animal in Modern and Contemporary Poetry, 1–32. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70666-5_1.
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Mallan, Kerry. « The Wild Child : Posthumanism and the Child–Animal Figure ». Dans Ecocritical Perspectives on Children's Texts and Cultures, 225–39. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-90497-9_14.
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Burton, James. « The Animal That Laughs at Itself ». Dans Errans, 49–74. Berlin : ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-24_2.
Texte intégralRésumé :
A trio of themes recur across prominent Western theories of laughter: violence, the human/nonhuman, and error. The paper traces this trio through a series of frequently cited paradigms for understanding laughter, including superiority, incongruity and relief theories, Henri Bergson’s theory of laughter and V. S. Ramachandran’s false alarm theory; and argues that it reflects a shared, if partially submerged concern with the instability and demise of a particular figure of the human, one that is circumscribed by the culturally specific (if globally influential) values of Eurocentric/Western thought, largely corresponding to Sylvia Wynter’s ‘Man’. This suggests that laughter has an ambiguous immanent potential for both undermining and/or reasserting, de- and/or restabilising the illusion of Man’s universalizing drive to identify itself with the human per se.
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Malay, Michael. « The Homely and the Wild in Marianne Moore and Elizabeth Bishop ». Dans The Figure of the Animal in Modern and Contemporary Poetry, 33–95. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70666-5_2.
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Malay, Michael. « Presence and the Mystery of Embodiment : Les Murray’s Translations from the Natural World ». Dans The Figure of the Animal in Modern and Contemporary Poetry, 159–208. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70666-5_4.
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Malay, Michael. « Poetry’s Electric Being ». Dans The Figure of the Animal in Modern and Contemporary Poetry, 209–26. Cham : Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-70666-5_5.
Texte intégralActes de conférences sur le sujet "Figure animali"
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Sepe Camargo, Gabriel. « Garder mon aile dans ta main : The genesis of the Open Hand ». Dans LC2015 - Le Corbusier, 50 years later. Valencia : Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.938.
Texte intégralRésumé :
Abstract: The main hypothesis of this paper is that in the image of the Open Hand it is possible to find the reconciliation between two significant themes of the symbolic universe engendered by Le Corbusier: instrumentality and detachment. The genesis of the Open Hand is therefore to be seen as grounded among his late 1940s plastic works, which notably display the gradual movement of certain elements of figuration toward an iconic role. The hand appears as a crucial theme to Le Corbusier. Unlike other themes that have been set as pictograms — as the meander, the solar journey of 24 hours, and the bull figure —, the hand will not find its definitive form until very late in the architect’s work. The hand’s “other” seems to be another image from his painting: the winged figure, half woman and half animal, that appears in a wall at the Pavillion Suisse (mural, 1948) and illustrates the cover of Poésie sur Alger (1951). The image suggests an alienation from the worldly experience and the tragedy represented by the historical time, related to the volatility of natural phenomena. These two figures seem to synthesize the two attitudes governing the work of Le Corbusier thereafter. It is in Le Poème de L’Angle Droit (1947-1953) that the core of the symbolic system of Le Corbusier is found. The duality achieves its final result in the figure of the Open Hand, elected as the synthesis of the entirety of his symbolic system. Resumen: La principal hipótesis de este trabajo es que en la imagen de la Mano Abierta es posible encontrar la reconciliación entre dos temas importantes del universo simbólico engendrada por Le Corbusier: instrumentalidad y el desapego. Por tanto, la génesis de la Mano Abierta es ser visto entre sus obras plásticas finales de 1940, que sobre todo muestran el movimiento gradual de ciertos elementos de la figuración hacia un papel icónico. La mano aparece como un tema crucial para Le Corbusier. A diferencia de otros temas que se han establecido como pictogramas - como el meandro, el viaje solar de 24 horas, y la figura del toro -, la mano no encontrará su forma definitiva hasta muy tarde en la obra del arquitecto. El "otro" parece ser una imagen de su pintura: la figura alada, mitad mujer y mitad animal, que aparece en el Pabellón Suisse (mural, 1948) e ilustra la portada de Poésie sur Alger (1951). La imagen sugiere una alienación de la experiencia mundana y la tragedia representada por el tiempo histórico, relacionado con la volatilidad de los fenómenos naturales. Estas dos figuras parecen sintetizar las dos actitudes que rigen la obra de Le Corbusier a partir de entonces. Es en Le Poème L'Angle Droit de (1947-1.953) que el núcleo del sistema simbólico de Le Corbusier se encuentra. La dualidad logra su resultado final en la figura de la Mano Abierta, elegido como la síntesis de la totalidad de su sistema simbólico. Keywords: Open Hand; Le Poème de L’Angle Droit; Chandigarh; instrumentality; detachment. Palabras clave: Open Hand; Le Poème de L’Angle Droit; Chandigarh; instrumentalidade; desapego. DOI: http://dx.doi.org/10.4995/LC2015.2015.938
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Dodgson, Neil A. « Abstract depiction of human and animal figures ». Dans Expressive '18 : Joint Symposium on Computational Aesthetics and Sketch Based Interfaces and Modeling and Non-Photorealistic Animation and Rendering. New York, NY, USA : ACM, 2018. http://dx.doi.org/10.1145/3229147.3229152.
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Самашев, З. « SHIMAILY – A NEW LOCATION OF PETROGLYPHS IN EASTERN KAZAKHSTAN ». Dans Труды Сибирской Ассоциации исследователей первобытного искусства. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-202-01433-8.301-315.
Texte intégralRésumé :
В статье приводятся сведения о петроглифах урочища Шимайлы на территории Тарбагатайского района Восточно-Казахстанской области Республики Казахстан. Наскальное искусство этого памятника охватывает время от эпохи бронзы до раннего средневековья. Основные мотивы изображений бронзового века антропоморфная фигура, зооморфные изображения, колесница, знаки-символы и предметы вооружения. Основу звериного образа наскальных изображений Шимайлы бронзового века составляет триада рогатых животных: бык, горный козел/архар, олень. В репертуар петроглифов эпохи бронзы входят также и другие травоядные животные, хищные звери и птицы. Последние представлены изображениями дрофы, которые чаще всего включены в состав многофигурных композиций. Хищники представлены фигурами волков, которые преследуют или терзают парнокопытных. К переходному периоду от эпохи бронзы к раннему железному веку в Шимайлы относятся образы птицеголовых или клювастых оленей, идентичные фигурам на так называемых оленных камнях. К раннесакскому и развитому сакскому периодам относятся изображения оленей поджарых, в летящей позе и/или стоящих на кончиках копыт, с большими глазами, ветвистыми откинутыми назад рогами. Зафиксированы тамги средневековых народов. The article includes new information on the petroglyphs of the Shimaily (Tarbagatai district of the East Kazakhstan region of the Republic of Kazakhstan). The imagery of this rock art site is related to the period from the Bronze Age to the Early Middle Ages. The main images of the Bronze Age are an anthropomorphic figure, numerous zoomorphic images, a chariot, depictions of weapons, signs and symbols. Animal images are basically represented by the figures of bulls, mountain goats and deer. Other herbivores are also depicted as well as predators and birds. The latter are represented by images of bustards, which are most often included in the multi-figure compositions. Predators are mostly wolves that shown in the scenes of pursuing or tormenting the artiodactyls. Another series of images in Shimaily refers to the transitional period from the Bronze Age to the Early Iron Age. These are birdheaded or beaked deer, identical to the figures depicted on the so-called deer stones. The Early Saka and developed Saka periods include a series of typical deer figures: theiy are lean, flying and/or standing on the tips of the hoofs, with large eyes, with branchy antlers thrown back. The tamga-signs of the medieval peoples are also recorded in Shimaily.
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Liu, Yiwen, et Yu Sun. « An Simulation and Survival Based Mobile Game for Players Developing a Sense of Environmental Preservation using Modeling and Manual Manipulation Programming ». Dans 9th International Conference on Artificial Intelligence and Applications (AIAP 2022). Academy and Industry Research Collaboration Center (AIRCC), 2022. http://dx.doi.org/10.5121/csit.2022.120407.
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The citizens nowadays are often born and raised in well developed urban areas and have rarely, even never experienced the difficulties that wildlife are suffering from due to human actions. They are likely to possess sympathy, but never do these individuals are aware of how their deeds may affect the living of other species on planet Earth [1]. However, if someone reveals the bloody truth to the people, they are likely to change for the greater good. In this paper, we mainly used unity modeling and java programming skills to develop an animal simulation game in order to show the damage done by mankind and resonate the feeling of empathy so the players may alter their actions to preserve the environment [2][3]. The player starts the game as an animal figure in a randomly generated map. The player will control the animal to move around to consume water and food for survival. Meanwhile, the animal must avoid the invasion of human poison lands closing in on the habitats for this figure. Eventually, the player will starve or be poisoned and fail to survive. By setting this result, we hope to arouse the sympathy in hearts and lead to some alteration to a person’s habits.
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Birch, David G., Eileen E. Birch, Dennis R. Hoffman et Ricardo D. Uauy. « Effects of Dietary Omega-3 Fatty Acids on Rod ERG Function in Very-Low-Birth-Weight Neonates ». Dans Noninvasive Assessment of the Visual System. Washington, D.C. : Optica Publishing Group, 1991. http://dx.doi.org/10.1364/navs.1991.mb4.
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Linoleic acid (18:2 ϖ6) and alpha-linolenic acid (18:3 ϖ3) are considered essential fatty acids (EFA) for mammals because of the inability of animal tissues to synthesize them and the resulting deficiency syndromes when they are removed from the diet. Animal tissues, especially the liver, have the necessary enzymes for EFA elongation and desaturation. As shown in Figure 1, these enzymes generate a family of compounds for each EFA: ϖ6 derivatives from linoleic acid (18: ϖ6) and ϖ3 derivatives from alpha-linolenic acid (18:3 ϖ3).
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Семёнов, Вл А., et М. Е. Килуновская. « ROCK ART OF TUVA : IMAGES, SUBJECTS, COMPOSITIONS ». Dans Труды Сибирской Ассоциации исследователей первобытного искусства. Crossref, 2019. http://dx.doi.org/10.25681/iaras.2019.978-5-202-01433-8.131-157.
Texte intégralRésumé :
В наскальном искусстве Тувы представлен определенный набор образов, сюжетов и композиций, характерный для каждого хронологического периода, который придает определенное своеобразие данному региону Центральной Азии. Безусловно, есть много общего с соседними регионами. Для образов и сюжетов есть определенные иконографические схемы, а в композициях устойчивая встречаемость отдельных элементов. Это позволяет говорить об их определенной семантической значимости, а значит, о возможности интерпретации, используя древние нарративные источники, этнографические параллели и аллюзии из других изобразительных текстов. Образы это козлы, олени, кони/лошади, кабаны, хищники, быки, антропоморфные фигуры, колесницы. Сюжеты сочетания олень и оленуха , олень и охотник , козлы идут по дороге и т.п. Композиции сочетание нескольких сюжетов на одной плоскости: сцены терзания, преследования, охоты, шествия животных и т.д. Rock art of Tuva is featured with a specific set of images, subjects and compositions, typical for each chronological period which gives a certain identity to this part of Central Asian region. Of course there are a lot of similarities with neighboring rock art areas. Images and subjects follow to the certain iconographic schemes. Constant occurrence of details presents in compositions. This allows us to speak about certain semantic meaning of those compositions and due to that about possible interpretations, using ancient narrative sources, ethnographic parallels and allusions from another graphic texts. Most common images include animal figures such as goats, deer, horses, wild boars, predators and bulls, as well as anthropomorphic figures and chariots. Subjects are like stag and fawn, deer and a hunter, goats walking by the path and others. Compositions mean conjunction of several subjects within a single rock panel scenes of torment, chasing, hunting, processions of walking animals, etc.
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Declerck, D., F. Vinckier et J. Vermylen. « DURATION OF BLEEDING FOLLOWING DENTAL EXTRACTION IN RABBITS:IN FLUENCE OF PLATELET DYSFUNCTION ». Dans XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1644226.
Texte intégralRésumé :
Clinical experience suggests that acetylsalicylic acid prolongs bleeding after dental extraction, but objective evidence is lacking. We have studied the influence of platelet dysfunction on haemostasis following dental extraction in rabbits. Platelet defects were induced by oral administration of acetylsalicylic acid (ASA) or ticlopidine (T). Duration of bleeding was measured in following groups of Dutch rabbits:(A) control animals (n = 32),animals who received (B) ASA 100 mg/kg/day (n = 31), (C) ASA 300 mg/kg/day (n = 12)(D) T 60 mg/kg/day (n = 8) and (E) T 125 mg/kg/day (n = 12). Inhibition of thromboxane B2-formation was more than 99% in animals receiving ASA. ADP-induced platelet aggregation was inhibited in animals receiving T. Four front teeth were extracted on day 7 and tooth socket bleeding times were determined by inspecting the wounds at 5 min intervals. Oozing sockets were counted. The figure below shows the results.It is concluded that ASA or T prolong bleeding following dental extraction in rabbits. The effect appears to be dose-dependent for T. This model may be useful for evaluating haemostatic procedures applicable to patients with platelet disorders.
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West, Jennifer L. « Near Infrared Absorbing Nanoparticles for Photothermal Cancer Therapy ». Dans ASME 2008 Summer Bioengineering Conference. American Society of Mechanical Engineers, 2008. http://dx.doi.org/10.1115/sbc2008-192982.
Texte intégralRésumé :
Advances in nanotechnology are expected to lead to the development of new and improved therapeutic strategies, amenable to targeting, that may ultimately revolutionize cancer treatment. For example, we have developed a nanoparticle-based photothermal cancer therapy that has shown high efficacy with virtually no damage to normal tissues (Hirsch et al., 2003, O’Neal et al., 2004, Lowery et al., 2006). This therapeutic strategy employs nanoparticles called nanoshells that are designed to strongly absorb near infrared (NIR) light. Metal nanoshells are a new type of nanoparticle composed of a dielectric (for instance, silica) core coated with an ultrathin metallic (for instance, gold) layer. Gold nanoshells possess physical properties similar to gold colloid, in particular, a strong optical absorption due to the collective electronic response of the metal to light. The optical absorption of gold colloid yields a brilliant red color that has been of considerable utility in consumer-related medical products, such as home pregnancy tests. In contrast, the optical response of gold nanoshells depends dramatically on the relative size of the nanoparticle core and the thickness of the gold shell. By varying the relative core and shell thicknesses, the color of gold nanoshells can be varied across a broad range of the optical spectrum that spans the visible and the near infrared spectral regions (Oldenburg et al., 1999). Gold nanoshells can be made to either preferentially absorb or scatter light at their plasmon resonance by varying the size of the particle relative to the wavelength of the light at their optical resonance. For cancer therapy, nanoshells are injected intravenously and allowed to accumulate in tumor sites due to the leakiness of the vasculature (EPR) and/or molecular targeting. Accumulation in the tumor sites peaks after several hours, at which time the tissue region is illuminated with NIR light for several minutes. NIR light is not absorbed to a significant extent by tissue components, but is strongly absorbed by nanoshells within the tumor. This leads to rapid heating of the tumor tissue without damage to adjacent normal tissues. In preliminary studies, complete tumor regression and 100% survival with no regrowth has been achieved. Mice with CT26 colon carcinoma tumors (4 mm diameter) were injected intravenously with NIR absorbing nanoshells that were coated with PEG-SH. 6 hr following nanoshell injection, the tumor sites were illuminated with light from a 820 nm diode laser (4 W/cm2) for 4 min. Animals in a sham group received a saline injection instead of nanoshells prior to NIR treatment, while a control group was untreated. Tumor size and animal survival were then tracked. As shown in Figure 1, all tumors treated with nanoshells had completely regressed within 10 days of treatment, while sham and control tumors had grown dramatically. Furthermore, all sham and control animals died within 20 days of treatment, while all nanoshell-treated mice continue to live (+12 months) with no tumor regrowth (Figure 2, O’Neal et al., 2004). Excellent nanoshell biocompatibility has been observed.
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Erhan, Dumitru, et Elena Gherasim. « Parametrii morfometrici ai speciei Acanthocephalus Ranae Schrank, 1788 (Acanthocephala) depistată la specimenele complexului Pelophylax Esculenta (Amphibia) ». Dans International symposium ”Functional ecology of animals” dedicated to the 70th anniversary from the birth of academician Ion Toderas. Institute of Zoology, Republic of Moldova, 2019. http://dx.doi.org/10.53937/9789975315975.39.
Texte intégralRésumé :
The article describes the results of the parasitological investigations of Pelophylax esculenta complex (Amphibia). A total number of 360 individuals have been subjects of parasitological study. A new species of Acanthocephala for the Republic of Moldova have been identified - Acanthocephalus ranae. In the paper there are presented the results regarding the infestation of complex Pelophylax esculenta by the acanthocephala species from Echinorhynchidae. For each species there were established: taxonomic status, including the hosts, the location in organs, the geographic spreading, etiology and biologic cycle. There are also mentioned the amount of collected material, the morphologic description of the species, original figures and pictures.
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Bashkov, G., T. Kalishevekaya et S. Strukova. « ALTERED INTERACTION OF THROMBIN AND ANTITHROMBIN III WITH THE VASCULAR WALL ». Dans XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1643344.
Texte intégralRésumé :
The role of the endothelial injury in the development of the thrombophylic state was studied in rats with nephrotic syndrome (NS,Heymann nephritis).There were a 6-fold increase of the soluble fibrin concentration and a 30% decrease of plasma antithrombin III (AT) activity in the NSIt was found that the plasma half-life of 125 J-labelled α-thrombin (10-7 M) is 3,0 ± 0,6 min in control animals and 4,0 ± 0,1 min in NS rats. At 20 min following the administration of bovine 125J-thrombin it was observed that in normal animals 84% of the radiolabelled enzyme was bound with vessel wall.while in NS rats the figure was only 63% (p< 0,05). The alteration of thrombin binding to the vascular wall lead to an increase in the amount of soluble fibrin-monomer and AT-proteinase complexes.AT-thrombin complexes and a proteolytically modified form of AT (Mr<68 kDa) were isolated from NS rats plasma by affinity chromatography on heparin-sepharose and chromatofocusing.At 3 min following injection of a 100-fold molar excess of bovine AT (1,7 .10-5 M) it was observed that 35% of thrombin reversibly bound to the endothelium could be detected in the circulation of normal rats. The same excess of AT induced only a 10% (p<0,001) release of 125J-thrombin to the blood stream in the NS rats through the formation of 125 J-thrombin complexes with Mr≥100 kDa.It is being proposed that injury of the vascular wall in the NS animals facilitated the interaction of the enzyme with the substrate (fibrinogen) and inhibitor (AT), and leads to ineffective inactivation of thrombin bound to the endothelium by AT.
Rapports d'organisations sur le sujet "Figure animali"
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Koziel, Jacek, Yael Laor, Jeffrey Zimmerman, Robert Armon, Steven Hoff et Uzi Ravid. Simultaneous Treatment of Odorants and Pathogens Emitted from Confined Animal Feeding Operations (CAFOs) by Advanced Oxidation Technologies. United States Department of Agriculture, janvier 2009. http://dx.doi.org/10.32747/2009.7592646.bard.
Texte intégralRésumé :
A feasibility study was conducted, aiming to explore the potential effectiveness of UV/TiO2/O3 photooxidation technologies for simultaneous treatment of odorant and pathogen emissions from livestock and poultry operations. Several key parameters were tested in laboratory (US) and semi-pilot (Israel) scale conditions including: the effects of light energy dose (treatment time and light intensity), relative humidity and air temperature, UV wavelength, presence of photocatalyst (TiO2) and the presence of ozone. Removal and conversion of odor, target gases (sulfur-containing volatile organic compounds S-VOCs, volatile fatty acids (VFAs), phenolics, and ammonia), and airborne pathogens was tested. Up to 100% removal (below method detection level) of S-VOCs, VFAs, and phenolics, the overall odor, and up to 64.5% of ammonia was achieved with optimized treatment. Treatments involving deep UV band (185 nm) and photocatalyst (TiO2) were more efficient in removal/conversion of odorous gases and odor. The estimate of the operational cost of treatment was based on measured emissions of several odorous VOCs from full scale, commercial swine farm ranges from $0.15 to $0.59 per finisher pig. This figure represents significantly lower cost compared with the cost of biofiltration or air scrubbing.
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Homan, H. Jeffrey, Ron J. Johnson, James R. Thiele et George M. Linz. European Starlings. U.S. Department of Agriculture, Animal and Plant Health Inspection Service, septembre 2017. http://dx.doi.org/10.32747/2017.7207737.ws.
Texte intégralRésumé :
European starlings (Sturnus vulgaris, Figure 1)are an invasive species in the United States. The first recorded release of the birds was in 1890 in New York City’s Central Park. Because starlings easily adapt to a variety of habitats, nest sites and food sources, the birds spread quickly across the country. Today, there are about 150 million starlings in North America. Conflicts between people and starlings occur mostly in agricultural settings. Starlings damage apples, blueberries, cherries, figs, grapes, peaches, and strawberries. Starlings gather at concentrated animal feeding operations (CAFOs) during late fall and winter. Starlings also cause human health problem, airplane hazards, and nuisance problems. European starlings are not protected by the Migratory Bird Treaty Act (MBTA).
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de Marcellis-Warin, Nathalie, et Ingrid Peignier. BAROMÈTRE DE LA CONFIANCE DES CONSOMMATEURS QUÉBÉCOIS À L’EGARD DES ALIMENTS -2e édition-. CIRANO, octobre 2022. http://dx.doi.org/10.54932/jgoa6889.
Texte intégralRésumé :
La Politique bioalimentaire du gouvernement du Québec place les attentes des consommateurs et leur santé au cœur des priorités pour les prochaines années. Offrir des produits répondants aux besoins des consommateurs figure parmi les principales orientations définies pour atteindre les ambitions et les cibles de cette politique. Dans ce contexte, le Baromètre de la confiance des consommateurs québécois à l’égard des aliments du CIRANO est un outil important et très utile à la prise de décisions pour les différentes directions du ministère de l’Agriculture, des Pêcheries et de l’Alimentation du Québec (MAPAQ), mais aussi pour l’ensemble des parties prenantes du secteur bioalimentaire. Réalisé sur une base régulière, le Baromètre permet de bien cerner les tendances et de tenir compte de l’évolution du contexte dans lequel les Québécoises et Québécois font des choix en matière d’alimentation. Comme c’était le cas de la première édition en 2019, le Baromètre de 2021 fournit des informations riches, opportunes et inédites sur un ensemble d’enjeux reliés au niveau de confiance des consommateurs à l’égard des aliments. Il permet aussi d’identifier des actions à privilégier pour le gouvernement, incluant des leviers pour augmenter la consommation d’aliments biologiques ou d’aliments du Québec, s’attaquer au gaspillage alimentaire ou encore encourager les pratiques d’affaires responsables comme le bienêtre animal ou le respect de l’environnement. Cette deuxième édition du Baromètre est fondée sur une enquête administrée du 8 au 11 février 2021 auprès d’un échantillon représentatif de 1005 personnes. Le rapport présente des statistiques descriptives très détaillées, mais aussi les résultats d’analyses multivariées et tests statistiques afin de déterminer si les résultats varient significativement en fonction de certaines caractéristiques sociodémographiques des personnes interrogées comme le sexe, l’âge, la région de résidence, le revenu. Les analyses multivariées permettent aussi de déterminer si certains comportements, contextes, aptitudes ou attitudes ont un impact sur diverses variables d’intérêt, toutes choses égales par ailleurs. Quelques faits saillants
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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, février 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.
Texte intégralRésumé :
The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.