Bibliografie tematiche / 1867-1936

Letteratura scientifica selezionata sul tema "1867-1936"

Autore: Grafiati
Pubblicato: 4 giugno 2021
Ultima modifica: 3 marzo 2023

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Articoli di riviste sul tema "1867-1936"

1

Malkiel, Yakov, e Keith E. Karlsson. "Erik Staaff (1867–1936) — portrait rétrospectif". Studia Neophilologica 59, n. 1 (gennaio 1987): 81–98. http://dx.doi.org/10.1080/00393278708587962.

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KUHLMANN, MICHAEL, e MAXIM YU. PROSHCHALYKIN. "Bees of the genus Colletes Latreille 1802 of the Asian part of Russia, with keys to species (Hymenoptera: Apoidea: Colletidae)". Zootaxa 3068, n. 1 (26 ottobre 2011): 1. http://dx.doi.org/10.11646/zootaxa.3068.1.1.

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Abstract (sommario):
For the Asian part of Russia 27 species of the bee genus Colletes are recorded. Colletes ravulus Noskiewicz 1936 is recorded for the first time from Russia. Colletes fodiens (Fourcroy 1785), C. similis Schenck 1853, and C. marginatus Smith 1846 are newly recorded from the Asian part of Russia. Colletes kirgisica Radoszkowski 1867 syn. nov. (= Colletes fodiens kirgisicus Radoszkowski 1867) and Colletes fodiens hispanicus Noskiewicz 1936 syn. nov. are recognized as synonyms of Colletes fodiens (Fourcroy 1785). The female of C. ravulus is here described for the first time. Additionally C. edentuloides Kuhlmann sp. nov. is described from neighbouring Mongolia as it hitherto has been thought to be the female of C. ravulus. Illustrated keys to males and females of all species known from the Asian part of Russia are provided.
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3

Szabóky, Csaba, e Attila Takács. "New data to the Microlepidoptera fauna of Hungary, part XIX (Lepidoptera: Batrachedridae, Coleophoridae, Gracillariidae, Tortricidae)". Folia Entomologica Hungarica 82 (2021): 43–53. http://dx.doi.org/10.17112/foliaenthung.2021.82.43.

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Batrachedra parvulipunctella Chrétien, 1915 (Batrachedridae), Coleophora jaernaensis Björklund & Palmqvist, 2002, Coleophora caucasica Stainton, 1867, Coleophora solenella Staudinger, 1859, (Coleophoridae), Phyllocnistis valentinensis M. Hering, 1936 (Gracillariidae), and Eucosma tetraplana (Möschler, 1866) (Tortricidae) are recorded from Hungary for the first time.
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4

Hennepe, Mieneke te. "Jan Gerard de Lint (1867–1936): medische geschiedenis voor iedereen". Studium 6, n. 3 (1 dicembre 2013): 232. http://dx.doi.org/10.18352/studium.9280.

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5

HAAS, L. "Jean Martin Charcot (1825-93) and Jean Baptiste Charcot (1867-1936)". Journal of Neurology, Neurosurgery & Psychiatry 71, n. 4 (1 ottobre 2001): 524. http://dx.doi.org/10.1136/jnnp.71.4.524.

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6

Mielke, Olaf H. H. "Notas sinonímicas sobre Hesperiidae neotropicais, com descrições de novos gêneros, espécies e subespécies (Lepidoptera)". Revista Brasileira de Zoologia 7, n. 4 (1990): 503–24. http://dx.doi.org/10.1590/s0101-81751990000400009.

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Celaenorrhinus shema mercedensis, ssp. n. de La Mercede e Rio Colorado, Peru e Cochabamba, Bolívia; Phocides pialia intermedia, ssp. n. de Minas Gerais, Brasil; Corticea diamantina, sp. n. de Minas Gerais, Brasil; Artines tobiasi sp. n. de Minas Gerais, Brasil; Cymaenes albiventris albiventris, sp. n. do Maranhão, Brasil; Cymaenes albiventris capixaba, ssp. n. do Espirito Santo, Brasil; Papias cascatona, sp. n. de Minas Geras, Brasil; Lerema caraca, sp. n. de Minas Gerais e Espirito Santo, Brasil; Vettius ploetzii morretesi, ssp. n. do Paraná e Rio Grande do Sul, Brasil Propapias, gen. n., tipo: Rhinthon proximus Bell, 1934, única espécie incluída. Celaenorrhinus songoensis saroma Evans, 1952, comb. n.; Celaenorrhinus songoensis tonio Evans, 1952, comb. n. Lerema duroca duroca (Ploetz, 1883), comb. n. e sp. rev. Lerema duroca lenta Evans, 1955, stat. n. Eumesia eburones inornata (Bell, 1937), comb. n. e stat. n., Eprius veleda obrepta (Kivirikko, 1936), comb. n. e stat. n., Phocides zancleius 1932 syn. n. de Phocides pialia (Hewitson, 1857); Dalla eburones elna Evans, 1955 syn. n. de Eumesia eburones inornata (Bell, 1937); Staphylus holaphegges Dyar, 1913 syn. n. de Eprius veleda veleda (Godman, 1901); Eprius veleda palta Evans, 1955 syn. n. de Eprius veleda obrepta (Kivirikko, 1936); Lerema elgina Schaus, 1902 syn. n. de Lerema duroca duroca (Ploetz, 1883). Dalla Mabille, 1904 syn. n. de Eumesia Felder &. Felder, 1867, n. rev, Eumesiinae Felder & Felder, 1867, n. rev.
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7

Baran, Tomasz. "New faunistic and host records of Lepidoptera from Poland, with Stigmella naturnella (KLIMESCH, 1936) reported for the first time". Polish Journal of Entomology / Polskie Pismo Entomologiczne 82, n. 1 (1 marzo 2013): 25–33. http://dx.doi.org/10.2478/v10200-012-0020-0.

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Abstract New records of eleven rare species of Lepidoptera are given from Poland. Stigmella naturnella (KLIMESCH, 1936) (Nepticulidae) has been recorded in Poland for the first time. Surprisingly, this nepticulid was found in an artificial ecosystem - a city park. The occurrence of Scrobipalpula tussilaginis (FREY, 1867) and Ephysteris inustella (ZELLER, 1847) in Poland has been confirmed after over a century. Salix caprea L. is given as the first reliable record of a host plant for the larva of Teleiodes flavimaculella, and Betula pubescens EHRH. is found to be a new host plant of Stigmella naturnella.
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SOUMYA, PULIYAKODE, e PURAYIDATHKANDY SUNOJKUMAR. "Justicia barapaniensis, a new name for Justicia salicifolia T. Anderson (Acanthaceae)". Phytotaxa 332, n. 1 (15 dicembre 2017): 98. http://dx.doi.org/10.11646/phytotaxa.332.1.12.

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Justicia salicifolia Anderson (1867: 514) was originally described based on specimens collected from Khasia hills of Meghalaya, India. It was used in many floras for more than a century (e.g. Clarke 1885, Perkins 1904, Gamble 1921, Merrill 1923, Benoist 1936, Graham 1988, Kartikeyan et al. 2009). However, the Anderson’s name is a later homonym of Justicia salicifolia Blume (1826: 787) and hence illegitimate. Studies in consultation with both the type materials revealed that the name Justicia salicifolia was applied to two different taxa. Therefore, a new name is proposed here for the later homonym.
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Cristina Díaz, M., Belinda Alvarez e R. W. M. van Soest. "New Species of Demospongiae (Porifera) from the National Park “Archipiélago de los Roques”, Venezuela". Bijdragen tot de Dierkunde 57, n. 1 (1987): 31–41. http://dx.doi.org/10.1163/26660644-05701003.

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Three new species of Demospongiae from coral reefs of the Archipiélago de Los Roques National Park (Venezuelan Caribbean) and Curaçao (Netherlands Antilles) are described, viz. Eurypon laughlini n. sp., Topsentia roquensis n. sp., and Epipolasis reiswigi n. sp. The new species and the genera to which they have been assigned are discussed, as a result of which the genus Fasubera De Laubenfels, 1936, is synonymized with Eurypon Gray, 1867, and the genus Epipolasis is redefined based on characters of its typespecies. Extensive ecological data are provided for each species.
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SHEN, SHUI-FA, XIU-JIE WANG, TING-TAI WANG, TING-DUN WEN, JIAN-ZHONG GU, ZHONG-DONG LIU, ZE-SHENG ZHANG, FU-RONG XU, SHI-JIE ZHENG e JING-YI LIU. "DECAY OF 188Re AND TRS CALCULATIONS FOR ITS DAUGHTER NUCLIDE 188Os". International Journal of Modern Physics E 18, n. 07 (agosto 2009): 1603–14. http://dx.doi.org/10.1142/s0218301309013762.

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Abstract (sommario):
The γ-ray spectra of 188 Re decay have been studied by using a Compton-suppressed spectrometer and a three parameters γ-γ- T list coincidence system. Experimental data analysis demonstrated that six γ-rays at 557, 810, 1463, 1867, 1936 and 2022 keV and three levels at 1443, 1936 and 2022 keV are confirmed again. Seven new γ-rays at 309.60±0.04, 826.90±0.02, 979.29±0.08, 1103.7±0.4, 1828.2±0.1, 1842.5±0.2 and 1982.5±0.2 keV have been identified, three new levels at 309.60, 1828.2 and 1982.5 keV are assigned. The β- decay branching ratio is deduced. In addition, in order to study this γ-unstable nucleus, shape calculations using the Hartree–Fock–Bogoliubov-like formalism were carried out for positive-parity states in 188 Os . The TRS plots reveal that, as the spin increases up the band, the triaxiality parameter γ changes.
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Più fonti

Tesi sul tema "1867-1936"

1

Dfouni, Ralph. "Les hommes ne pleurent pas, et Illuminations : de Pirandello vers Kaos". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0022/MQ50511.pdf.

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2

Dfouni, Ralph. "Les hommes ne pleurent pas, et, Illuminations : de Pirandello vers Kaos". Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21208.

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Abstract (sommario):
Men don't cry (creation). In a neighborhood of a large North American city, a loaf of rye bread brings back adolescent memories to a middle-aged man. Bill remembers his College friends, Nick, Jack and Alec. They will all pass through the same Diner, the same evening, 20 years later without recognizing each other. Those of them who will cross paths will die that same night. It's a story about chance. It's a free cinematographic adaptation of four short stories from three different authors: The Rye Bread by Ray Bradbury, Continuite des parcs and N'accusez personne by Julio Cortazar as well as Fat by Raymond Carver.
Illuminations: From Pirandello toward Kaos ( criticism). When the filmmakers the brothers Taviani decide to undertake their adaptation of Luigi Pirandello's four short stories for the screen, they choose Kaos for the title of their film. Through the study of two of the four adapted short stories, this thesis tries to demonstrate that the adaptation of a literary work or a written text to a filmic text necessarily passes through a chaos that separates the two very different languages. The interpretative work consists of passing through this same chaos using different writing and mise en scene techniques. The aim of this short study is to dissect the links that exist between the two very distinct entities, the written text and the filmic text, through a magisterial and concrete example.
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3

Budor, Dominique. "Les raisons de l'ecriture : analyse de l'oeuvre romanesque de luigi pirandello". Paris 3, 1987. http://www.theses.fr/1987PA030144.

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Abstract (sommario):
Fortement signifiante quant a l'histoire du sujet-scripteur et lourde des effets ideologiques de l'apparition de chaque texte au sein du texte general, l'oeuvre romanesque de luigi pirandello se caracterise par le jeu en elle d'une combinatoire qui situe la force productrice du sens - au-dela des configurations des enonces - dans l'enonciation meme. La tension phatique s'accentue au fil des romans : l'ecriture devoile sa fonction primordiale de mise en scene du probleme d'iden- tite tandis que le lecteur, enferme dans le texte, devient le parte- naire necessaire et soumis du dialogue avec lui-meme par lequel l'auteur se tend vers l'espoir d'une semiose illimitee. L'ecriture se heurte neanmoins aux formes de spectacle (le theatre et le cinema) qui, au detour du siecle, inscrivent l'oeuvre d'art dans le marche sous le signe du travail et de l'argent, et revelent les insuffisances de l'ecrit dans ces conditions modifiees d'emission et surtout de recep- tion. La litterature ne peut restaurer son pouvoir qu'en faisant du verbe un instrument vengeur et de l'acces au theatre l'occasion d'offrir a l'imaginaire l'espace de sa mise en scene. Enfin, dans une ecriture mue par les urgences de la compensation et du defoulement, s'inscrivent les dechirements du vecu. Des procedures de detournement exhibent plus qu'elles ne cachent l'impossible accord entre la ten- sion erotique qui pousse vers l'autre et la ferveur d'ecriture qui fait du moi son propre objet de desir : seule l'actrice, en tant qu'elle se constitue en "corps" de l'ecriture, remedie a cette divi- sion du moi et fonde le pouvoir du poete, refusant la traumatisante naissance et la douleur d'etre homme, pirandello se construit ecrivain
Rich in significance as far as the story of the subject of writing is concerned and replete with the ideological effects entailed by the emergence of each text within the general text, the prose work of luigi pirandello is characterized by a combinatory system which places the process of signification beyond the configurations of the utterances and within enunciation itself. Novel after novel, the phatic tension becomes more strongly marked : the writing unveils its main function which is that of staging the identity problem, while the reader, prisoner of the text, becomes the indispensable and submissive partner of the writer who tries to reach an unlimited semiosis through a dialogue with himself. The writing, though, comes up against the various forms of spectacle (theatre and cinema) which, at the turn of the century, make of the work of art a marketable product and reveal the inadequacies of the written work in those modified conditions of emission and especially reception. Literature can only recover its power through making of the word a tool of revenge and of the theatre an opportunity for the imaginary to stage itself. Lastly, pirandello's writing, actuated by the urges of compensation and release, also reflects the wrenching conflicts of experience. Procedures of indirection reveal more than they hide the impossible harmony between the erotic tension which drives towards the other and the fervour of writing which makes of the ego its own object of desire : the actress alone, in so far as she becomes the "body" of the writing, remedies this splitting of the ego and founds the power of the poet. Refusing both the trauma of birth and the pain of being a man, pirandello thus comes into being as a writer
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4

Mastrogianakos, John. "The role-within-the-role : two Pirandellian novellas and their dramatic adaptation". Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68118.

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Abstract (sommario):
Luigi Pirandello's two short stories La verita and Certi obblighi and the play derived from them Il berretto a sonagli seem to be, at least on the surface, about adultery. The three male protagonists' dilemmas come about as a result of their wives' sexual transgressions, which consequently impose certain "obligations" upon them. The themes of adultery and betrayal, however, are merely surface elements, used to explore the theatrical nature of identity and of all social experience. Specifically, the three works show how role-playing-within-roles safeguards the identity of the betrayed husbands, by protecting them from social humiliation.
Since all Pirandellian characters role-play, and as a consequence portray and assume multiple identities, this thesis examines the function and significance of this technique in both narrative and theatrical contexts. It attempts to show that while the device is a feature common to all three works, it is in the dramatic adaptation that role-playing in relation to identity acquires its more visible and effective treatment.
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Sarrinikolaou, Irene School of Media Film &amp Theatre UNSW. "The ontological status of Pirandello???s metacharacters: six characters in search of a Platonic author". Awarded by:University of New South Wales. School of Media, Film & Theatre, 2006. http://handle.unsw.edu.au/1959.4/25974.

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Abstract (sommario):
This thesis proposes that a defining feature of Pirandello???s 1921 play ??? Six Characters in Search of an Author, is a relentless transcendentalism. It argues that the play embodies a fascination with existential and conceptual ???occult???, and my hypothesis is that by exploring Pirandello's transcendentalism we may enhance our understanding of how and why Pirandello's play points a mirror up to the invisible and suggests that we could be a reflection of that. Pirandello's drama alludes to some of the most convoluted and enduring debates in western philosophy. However, there is very little English-language material on Pirandello???s relation to philosophy or the relevance of analytical philosophy, metaphysics or epistemology to Pirandello???s playwriting. Even foreign-language studies focus on existentialism, phenomenology and other Continental traditions of philosophy. My contribution is to craft a subjective response to Six Characters in accordance with the methods of analytical philosophy, making use of paradigms and techniques that stem from aesthetics and metaphysics to elucidate a complex self-reflexive play. Chapter One presents analytical philosophy as a potential interpretative framework for the play, whereas chapters two and three explore the metacharacters specifically. This thesis does not seek to offer conclusive assertions about the peculiar ontological status of Pirandello???s metacharacters, rather, it introduces some frameworks and conceptual tools for better approaching their ontolo
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Olive-Lalanne, Annie. "La condition féminine dans l'œuvre narrative et théâtrale de Luigi Pirandello". Paris 4, 1995. http://www.theses.fr/1995PA040238.

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Pour une étude de la condition féminine et de l'image de la femme dans l'œuvre de Luigi Pirandello, un rappel historique de la condition féminine en Italie, et principalement en Sicile, et un rapide aperçu des mouvements féministes dans la première moitié du XXème siècle, nous ont paru nécessaires. Nous avons, ensuite, analysé comment Luigi Pirandello présente le personnage féminin. Nous avons mis en évidence une évolution de ce personnage : la femme destructrice et funeste se transforme progressivement en une femme sublime, idéalisée dans le mythe de la maternité. Nous avons dressé une typologie des caractères féminins dans l'œuvre narrative et théâtrale, en fonction de l'influence qu'ont pu avoir sur eux la misogynie typiquement méditerranéenne, la jalousie, le rôle néfaste joue par la belle-mère, la solitude pathétique de la femme seule, laide ou veuve par exemple. Nous nous sommes livrés enfin à une étude détaillée des personnages féminins dans les pièces du théâtre pirandellien tels qu'ils apparaissent par ordre chronologique. Tout d'abord, dans les pièces écrites avant 1925 : depuis les premiers succès jusqu'à l'apogée des Six personnages en quête d'auteur et d'Henri IV. Puis, dans une deuxième partie, nous avons déterminé comment la rencontre de l'actrice Marta Abba a pu profondément modifier la conception pirandellienne du caractère féminin
For the study of the condition and image of women in the work of Luigi Pirandello, an historical survey of the women's condition in Italy, and more precisely in Sicily, as well as a rapid study of the feminist movements in the early part of the XXth century, have seemed compulsory. A further analysis of how Pirandello introduced the female characters was made. An evolution of these characters emerged: the funest, destructive female progressively turns into a sublime woman, idealized in the maternity myth a typology of female characters in Pirandello’s narrative and theater works, has been made, regarding the influence which could have on them, the typically Mediterranean misogyny, jealousy, the often tragic misunderstanding between spouses, the harmful role played by the mother in law; the pathetic solitude of a sole woman, perhaps ugly or widowed. Finally a detailed survey, following the chronological order of appearance, of female characters in Pirandello’s theater pieces was made; first in the pieces written before 1925 : from the early successes to the apogeum of "Six personnages en quête d'auteur", and "Henry IV". And, in a second part, we have determined how had the encounter of the author with the actor Marta Abba deeply changed his conception of the female characters
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7

Vittori, Gérard. "Sujet, réel et signes dans l'oeuvre de Pirandello". Nice, 1990. http://www.theses.fr/1990NICE2006.

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Dans l'accés à la vérité, le corps n'est pas un lieu privilégié de connaissance, ni pour le sujet, ni pour les autres. Le corps est au contraire le lieu de l'équivoque du sens. Seule la volonté fournit le sens authentique : mais les signes naturels et les signes verbaux livrent le sujet à la distorsion du sens. Dieu est pour les autres la garantie de l'adéquation du langage au réel. En vérité, l'autorité, subsititut de la transcendance vraie, établit la transparence du langage parce qu'elle institute le réel par le langage. Le réel est fondé par le "texte" social. Le "texte" des autres aliène le sujet, et l'exclut de sa vérité. Le nom (avec l'histoire qu'il porte), les actes, sont autant de prises que les autres ont sur le sujet. Celui qui veut faire advenir la vérité dans le discours est réputé fou, par la production de soi (sociale : la logique ou la folie feinte - artistique : comme auteur ou comme spectateur) le sujet peur avoir une maitrise des signes. Le retour du réel des autres, même s'il est possible, à contre lui le temps, par lequel toute nouvelle expression de soi sera possible. Il est une possibilité que la vérité du sujet s'exprime, sans subir le "texte" aliénant des autres : dans la relation fusionnelle, dont le prototype est la relation à la mère. Dans la religion éthique que propose Lucio dans Lazare, cette relation fusionnelle semble pouvoir donner lieu à une intersubjectivité ouverte à tous
To know the truth, the human body is not a privileged point of knowledge, neither for the subject, nor for the others. On the contrary, the body is the point of the ambiguity of sense. Only will gives the authentic sense ; but the natural and the verbal signs give the subject to the distorsion of sense. God is for the others the guarantee of "adaquatio rei et intellectus". In fact, the authority, subsititute of true transcendence, establishes the transarentness of the language because it instaurates realty in the language. Reality is founded by the "text". This "text" alienates the subject, and removes him from his own truth. The name (with the story it brings), the actions, give the subject to the others. Th eone who wants to make truth appear is said to be mad. The return of the reality of the others, event if it is possible, has against itself the time, by which any expression of oneself is possible. The truth of the subject can express itself, without suffering the alienating "text" of the others in the fusional relation, the pattern of which is the relation to the mother. This type of relation can become an universal intersubjectiveness
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Chiappero, Francine. "Recherche sur : la nature, cadre et miroir de la destinée humaine, dans les nouvelles de Luigi Pirandello". Nice, 1985. http://www.theses.fr/1985NICE2035.

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Abstract (sommario):
Le thème de la nature représente un aspect positif dans l'oeuvre de Pirandello et particulièrement dans les nouvelles, un thème moins connu, moins mis en évidence par les critiques. La nature qui domine la plupart des oeuvres de Pirandello est ouverte et ensoleillée. Elle s'oppose aux personnages repliés sur eux-mêmes, au caractère ferme, à la fatalité qui les oppresse, une fatalité sicilienne. L'auteur n'a pas fait exception. Il dit lui-même que sa vie, il ne l'a pas vécue, il l'a écrite. La nature, c'est alors l'évasion pour tous ses personnages qui lui ressemblent comme l'auteur, mais elle est aussi le rappel de son enfance à Agrigente où il naquit le 28 juin 1867. Et ce sont en partie les paysages de sa Sicile natale qui l'on retrouve dans son oeuvre, sans oublier la sécheresse naturelle ou provoquée par le soufre. Ses nouvelles portent l'empreinte de sa nostalgie de la nature et ses personnages en ressentiront aussi les effets. Pour eux, comme pour l'auteur, la nature devient le synonyme de l'évasion. Les personnages luttent pour la vie ou pour la protéger. Ce symbole de vie, c'est le brin d'herbe qui le représente avec la mano del malato povero, canta l'epistola ou "Requiem aeternam dona eis domine", où le renouveau, la vie c'est l'herbe verte du printemps. L'étude sur l'aspect symbolique des nouvelles, particulièrement en ce qui concerne le symbole de la vie aérienne, revèle un élément intéressant : l'immersion du personnage dans la nature, son désir de s'élever vers les éléments. A l'issue de ce travail de recherche, apparait une autre thèmatique de Pirandello, celle où il est différent, plus optimiste que pessimiste. La partie catalogue permet au lecteur d'avoir sous les yeux les divers aspects du paysage plus ensolleillé que sombre, car il s'agit presque toujours du ciel sicilien
Nature is a positive look in Pirandello's novels ; it's a less known subject too. The landscape of the novels is often open and sunny. It's different from the protagonists who are uncommunicative, oppressed by the mischance, a sicilian fatality, like the writer who says about it, he has writtent his life instead of living it. The landscape is an evasion for the protagonists and the author himself who feels a great ankering about it. He always remembers his Agrigente where he was born on June 28th of 1867. His novels are the proof of this nostalgia of the writer and his protagonists. So, Nature becomes the synonym of escape. More, the protagonists fight for life and the symbol of life is represented by the importance taken by the grass for them : la mano del malato povero, canta l'epistola, "Aeternam donaies domine". The first part of our research offers the different appearences of the landscape to the raeder, a weather sunnier than unhappy, because it's quite always quastion of sicilian sky in Pirandello's novels
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Poitras, Louise. "L'évolution des conditions de travail des députés d'arrière-ban de l'assemblée législative de la province de Québec entre 1867 et 1936". Master's thesis, Université Laval, 1993. http://hdl.handle.net/20.500.11794/29165.

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Marotta, Antonella. "Pirandello nel teatro di Eduardo". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79793.

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The subject of this thesis is an intertextual and psycho-analytic study of the relationship between two major dramatists of twentieth century Italian Theatre, Luigi Pirandello and Eduardo De Filippo. The analysis is in part conducted according to the concept of influence developed by Harold Bloom in The Anxiety Of Influence and expressed in "Freudian" terms, in which one poet, the later (Eduardo De Filippo), is presumed to "struggle" with or try to surpass his precursor (Luigi Pirandello).
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Libri sul tema "1867-1936"

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1968-, Botsiou Konstantina, a cura di. Panagēs Tsaldarēs (1867-1936). Athēna: Hidryma tēs Voulēs tōn Hellēnōn gia ton Koinovouleutismo kai tē Dēmokratia, 2014.

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Panzetta, Alfonso. Arturo Stagliano: 1867-1936 : sculture e disegni. Moncalieri (Torino): Renaissance, 1999.

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Panzetta, Alfonso. Arturo Stagliano: 1867-1936 : sculture e disegni. Moncalieri (Torino): Renaissance, 1999.

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Pirandello, Luigi. Luigi Pirandello, 1867-1936: His plays in Sicilian. Lewiston, N.Y: Edwin Mellen Press, 1998.

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Walters, Susan Pauline. Emma Sproson (1867-1936): A Black Country suffragette. Northampton: Nene College, 1993.

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Sciaky, Roberto. Ethiopia, 1867-1936: History, stamps and postal history : addendum. Vignola (Mo), Italy: Vaccari, 2001.

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Her maestro's echo: Pirandello and the actress who conquered Broadway in one evening. Leicester: Troubador Pub., 2010.

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Characters and authors in Luigi Pirandello. Oxford: Clarendon Press, 1998.

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Robert, Yves. Henry Chéron: 1867-1936 : un grand nom de l'histoire normande. Cabourg: Cahiers du temps, 2010.

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1943-, DiGaetani John Louis, a cura di. A Companion to Pirandello studies. New York: Greenwood Press, 1991.

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Capitoli di libri sul tema "1867-1936"

1

Mehlhorn, Heinz. "Theiler, Arnold (1867–1936)". In Encyclopedia of Parasitology, 2650. Berlin, Heidelberg: Springer Berlin Heidelberg, 2016. http://dx.doi.org/10.1007/978-3-662-43978-4_3145.

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Mehlhorn, Heinz. "Theiler, Arnold (1867–1936)". In Encyclopedia of Parasitology, 1. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-642-27769-6_3145-2.

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Gaudillière, Jean-Max. "Luigi Pirandello (1867–1936)". In Madness and the Social Link, 42–65. Routledge, 2020. http://dx.doi.org/10.4324/9781003057468-3.

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"Thomas Birch, in 1758 by Ralph Church with brief Johns Hopkins Variorum edition of Spenser’s col-annotations, and in the same year by John Upton lected works, The Faerie Queene was edited by Edwin ‘with a glossary, and notes explanatory and critical’ Greenlaw, Charles Grosvenor Osgood, Frederick of over 350 pages. In 1805 Henry John Todd pro-Morgan Padelford, and Ray Heffner (1932–38). It duced the first variorum edition. In 1897–1900 Kate sought to establish an accurate text, and cited extens-M. Warren edited the poem with brief notes. On the ively from earlier historical commentary, but by earlier editions, see Wurtsbaugh 1936 and ‘biblio-deliberate policy omitted all annotation except for a graphy, critical’ in the SEnc. few critical cruxes. Since then Books I and II and the Beginning in the nineteenth century, separate Cantos of Mutabilitie have been edited with substan-books were published for school-children, most with tial annotation by Robert Kellogg and Oliver Steele the poem carefully expurgated and notes heavily in 1965; Books I and II with excellent critical com-philological. The most valuable are editions of Books mentary by Douglas Brooks-Davies in 1977; selec-I and II in 1867 and 1872 by G.W. Kitchin; Book I tions with annotations by Frank Kermode in 1965, by H.M. Percival in 1893 and by Lilian Winstanley by A.C. Hamilton in 1966, and by Hugh Maclean in in 1914–15; Book V by Alfred B. Gough in 1968, 1982, and (with Anne Lake Prescott) 1993; 1918/21; and Books I and II in 1966 and 1965 by the whole poem in the Longman Annotated Poets P.C. Bayley. For a list of early editions, see Carpenter series by A.C. Hamilton in 1977, and with minimal 1923:115–18; for an analysis of their contribution to annotation by Thomas P. Roche, Jr, assisted by English studies, see Radcliffe 1996:104–14. The C. Patrick O’Donnell, Jr, in 1978. Oxford edition of The Faerie Queene by J.C. Smith in My frequent references to The Spenser Encyclope-1909, which collated the first two quartos and the dia, published now over a decade ago, indicate the first folio, was used in the edition of Spenser’s poet-continuing excellence of the entries by its distin-ical works by Smith and E. de Selincourt, 1912, with guished contributors." In Spenser: The Faerie Queene, 42. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-40.

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Atti di convegni sul tema "1867-1936"

1

Shoup, Terry E., e Lilia Sanchez. "A Least-Squared Optimization Approach to the Design of Belleville Springs". In ASME 1991 International Computers in Engineering Conference and Exposition. American Society of Mechanical Engineers, 1991. http://dx.doi.org/10.1115/cie1991-0143.

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Abstract Belleville spring washers, also known as coned-disk springs were patented in France by Julien Belleville in 1867 and were the topic of a fundamental engineering study by Almen and Laszlo in 1936. The main advantage to these devices is their compactness and their ability to handle large loads. The deflection of these springs has been found to be nonlinear and stiffening springs have been shown to be quite useful for the design of vibration isolation mounts where combined vibration and shock loading are present. It is the purpose of this investigation to demonstrate the use of the method of least-squares optimization to design Belleville springs having prescribed load-vs-deflection performance behavior.
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