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Articoli di riviste sul tema "Bernard 1941-"
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Baldwin, Thomas. "Jean-Paul Sartre". Royal Institute of Philosophy Lecture Series 20 (marzo 1986): 285. http://dx.doi.org/10.1017/s0957042x00004193.
Testo completoAbstract (sommario):
Jean-Paul Sartre (1905–1980), nephew of the Alsatian theologian, Albert Schweitzer, was born in Paris, passed his agrégation at the Ecole Normale Superieure in 1929, and was a lycée teacher between 1931 and 1945. He was called up to the French Army in 1939, captured by the Germans in 1940 and released after the armistice. In 1938 he published a novel, La Nausée, translated by Robert Baldick as Nausea (Harmondsworth: Penguin, 1965), and in 1940, L'Imaginaire: Psychologie phénoménologique de l'imagination, translated by Bernard Frechtman as The Psychology of Imagination (London: Methuen, 1972). His major philosophical work, L'Etre et le Neant, was published in 1943, and translated by Hazel E. Barnes as Being and Nothingness (London: Methuen, 1957). As a novelist he is best known for a trilogy, Chemins de la Liberté (Roads to Freedom), comprising L'Age de raison (1945) translated by E. Sutton as The Age of Reason (Harmondsworth: Penguin, 1961), Le Sursis (1945), translated by E. Sutton as The Reprieve (Harmondsworth: Penguin, 1963) and La Mort dans l'āme (1949), translated by G. Hopkins as Iron in the Soul (Harmondsworth: Penguin, 1965). His main work of literary criticism is Qu'est-ce que la littérature? (1947), translated by B. Frechtman as What is Literature? (London: Methuen, 1950). Plays includeLes Mouches (1943) and Huis Clos (1944), both translated by S. Gilbert and published in one volume, as The Flies and In Camera (London: Hamish Hamilton, 1965).
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Beckman, Gary. "Unknown Benno Landsberger: A Biographical Sketch of an Assyriological Altmeister’s Development, Exile, and Personal Life; and Bernard V. Bothmer, Egyptologist in the Making, 1912 through July 1946: With Bothmer’s Own Account of His Escape from Central Eur". Journal of the American Oriental Society 141, n. 2 (27 agosto 2021): 502. http://dx.doi.org/10.7817/jaos.141.2.2021.brev007.
Testo completoAbstract (sommario):
The Unknown Benno Landsberger: A Biographical Sketch of an Assyriological Altmeister’s Develop- ment, Exile, and Personal Life. By Ludĕk Vacín. Leipziger Altorientalische Studien, vol. 10. Wiesbaden: Harrassowitz Verlag, 2018. Pp. xvi + 132, illus. €39 (paper). And:
Bernard V. Bothmer, Egyptologist in the Making, 1912 through July 1946: With Bothmer’s Own Account of His Escape from Central Europe in October 1941. By Marianne Eaton-Krauss. Investgatio Orientis, vol. 3. Münster: Zaphon, 2019. Pp. 174, illus. €59.
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Wegele, Peter. "Jezebel (1938) and Citizen Kane (1941)". Journal of Film Music 10, n. 2 (16 dicembre 2022): 179–93. http://dx.doi.org/10.1558/jfm.24725.
Testo completoAbstract (sommario):
One of Max Steiner’s most famous film themes is the waltz for Jezebel (1938). In this article, the Jezebel waltz will be analyzed and juxtaposed with Bernard Herrmann’s waltz for the marriage scene in Citizen Kane (1941). This comparison, between two composers of completely different styles, will exemplify the features of the music of the Golden Age of Hollywood, as represented by Steiner, in contrast to the newer aesthetic ideas represented by Herrmann.
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Andreev, Alexander Alekceevich, e Anton Petrovich Ostroushko. "PETROVSKY Boris Vasilievich – academician of RAS and RAMS, the Minister of health of the USSR, Director of all-Union scientific center of surgery, AMS USSR (to the 110 anniversary from the birthday)". Vestnik of Experimental and Clinical Surgery 11, n. 2 (30 giugno 2018): 150. http://dx.doi.org/10.18499/2070-478x-2018-11-2-150.
Testo completoAbstract (sommario):
Petrovsky Boris Vasilievich (1908-2004) - Doctor of Medicine, Professor, Honored Scientist of the RSFSR (1957), Academician of the Russian Academy of Sciences (1966) and RAMS (1957), Minister of Health of the USSR (1965-1980), Director of the All-Union Scientific Center for Surgery Academy of Medical Sciences of the USSR, Hero of Socialist Labor (1968), laureate of Lenin (1960) and State Prizes of the USSR (1971).He was born in 1908 in the city of Essentuki. In the years 1916-1924.He studied at the second stage school in Kislovodsk. After graduating from the Medical Faculty of Moscow State University. M.V. Lomonosov worked as a surgeon in the district hospital, the head of the health center of the plant in Podolsk (1931), the junior doctor of the tank brigade and infirmary in Naro-Fominsk (1932), an intern, an assistant, a senior research fellow at the Moscow Oncology Institute and a clinic general surgery at Moscow State University (since 1938). In 1937 he defended his thesis. In 1938, Mr .. B.V. Petrovsky was given the title of senior research fellow (assistant professor). Boris Vasilievich was the deputy head of the field hospital, the leading surgeon of the Karelian Front (1939-1940), a senior researcher at the Moscow Oncological Institute (1940-1941), assistant professor of general surgery at the 2 nd Moscow Medical Institute. N.I. Pirogov (1941). From the first days of WWII BV. Petrovsky is the leading surgeon of hospitals in the Western, Bryansk and the 2 nd Baltic fronts. In the years 1944-1945. B.V. Petrovsky works as a senior lecturer in the Department of Faculty Surgery of the Military Medical Academy. CM. Kirov in Leningrad. In 1945-1948 years. - Deputy Director for Scientific Research Institute of Clinical and Experimental Surgery of the USSR Academy of Medical Sciences. In 1946 he was the first in the USSR to perform successful operations for esophageal cancer with its one-horn intrathoracic plasty. In 1947, Mr .. B.V. Petrovsky defended his doctoral dissertation. In the years 1948-1949. - Professor of the Department of General Surgery 2nd Moscow Medical Institute. N.I. Pirogov. In 1949-1951 years. B.V. Petrovsky - Director of the Department of Hospital Surgery, Head of the 3rd Surgical Clinic of the University of Budapest. In the years 1951-1956. - Head of the Department of Faculty Surgery of the 2 nd Moscow Medical Institute. N.I. Pirogov. In 1953 he was elected a corresponding member of the Academy of Medical Sciences of the USSR. In the years 1953-1965. - Chief Surgeon of the 4th Main Directorate of the Ministry of Health of the USSR. Since 1955, B.V. Petrovsky - deputy chairman, since 1965 - chairman of the All-Union Scientific Society of Surgeons. Since 1956 - Head of the Department of Hospital Surgery and Director of the State Hospital Surgical Clinic of the Medical Faculty of the 1 st Moscow Medical Institute. THEM. Sechenov. In 1957, Mr .. B.V. Petrovsky was elected a full member of the Academy of Medical Sciences of the USSR and he was awarded the honorary title of Honored Worker of Science of the RSFSR and Azerbaijan SSR. In 1960 he was awarded the Lenin Prize for the development and implementation of new operations on the heart and large vessels. 1963 - Organizer and Director (1963-1988), since 1989 - Honorary Director of the All-Union Scientific Center of Surgery of the USSR Academy of Medical Sciences All-Union Scientific Center of Surgery of the USSR Academy of Medical Sciences. In 1964, Mr .. B.V. Petrovsky performed the first successful operation for prosthetics of the mitral valve of the heart with a mechanical (seamless) fixation. In 1965, for the first time in the USSR, he successfully performed kidney transplantation to man. In the years 1965-1980. - Minister of Health of the USSR. In 1966 he was elected a full member of the USSR Academy of Sciences. In 1968, B.V. Petrovsky - privedovo-but the title of Hero of Socialist Labor (1968). In 1971 he was awarded the State Prize of the USSR for the development and introduction into clinical practice of kidney transplantation. In 1979 he was chairman of the Scientific Surgical Council under the Presidium of the Academy of Medical Sciences of the USSR. B.V. Petrovsky was a delegate to the XXII, XXIII, XXIV and XXV Congresses of the CPSU (1961, 1966, 1971, 1976), Deputy of the Supreme Soviet of the USSR (1962-1984), candidate member of the Central Committee of the CPSU (1966, 1971, 1976). He died on May 4, 2004, at the 96th year of his life. Buried at the Novodevichy Cemetery in Moscow.B.V. Petrovsky - honorary member of 14 foreign scientific medical societies, honorary doctor of 8 universities. He was awarded 16 orders and 8 medals, including the Orders of the Red Star (1942), Lenin (1961, 1965, 1968, 1978), the Second World War (1943, 1985), the October Revolution (1971), Friendship of Peoples 1993), "For Services to the Fatherland" II degree (1998), St. Andrew the Apostle (2003). Laureate of the Lenin (1960) and State Prizes of the USSR (1971), the International Leonard Bernard Prize (1975), the im. NI Pirogova RAMS (1998), the N.N. Burdenko of the Academy of Medical Sciences of the USSR (1953) and A.N. Bakuleva (2003). B.V. Petrovsky owns more than 500 scientific works, including 40 monographs. He created one of the largest scientific surgical schools (more than 150 doctors of sciences, of which more than 70 are the heads of clinics and large hospitals).
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Denevan, William M. "Bernard Q. Nietschmann, 1941-2000: Mr. Barney, Geographer and Humanist". Geographical Review 92, n. 1 (gennaio 2002): 104. http://dx.doi.org/10.2307/4140956.
Testo completo
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Denevan, William M. "Bernard Q. Nietschmann, 1941–2000 Mr. Barney, Geographer and Humanist". Geographical Review 92, n. 1 (1 gennaio 2002): 104–9. http://dx.doi.org/10.1111/j.1931-0846.2002.tb00139.x.
Testo completo
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Teixeira, Rafael Henrique. "CLAUDE BERNARD, BERGSON E O CONHECIMENTO DA VIDA COMO PROBLEMA". Kriterion: Revista de Filosofia 61, n. 146 (agosto 2020): 501–22. http://dx.doi.org/10.1590/0100-512x2020n14611rht.
Testo completoAbstract (sommario):
RESUMO O objetivo deste artigo é apresentar, tomando por referência a filosofia de Henri Bergson (1859-1941) e a fisiologia experimental de Claude Bernard (1813-1878), dois esforços análogos, ainda que sem relação direta em suas origens, em face de imperativos que se colocam ao sujeito do conhecimento que se ocupa da vida. Tentaremos mostrar, autorizados pelo próprio Bergson, no interior de determinada prática científica representada pela fisiologia experimental de Claude Bernard, uma atitude diante dos fatos orgânicos que não é o monopólio de uma filosofia que se ocupa da verificação das condições e dos limites do conhecimento da vida, problemática que, na filosofia francesa do século XX, encontra em L’Évolution créatrice (1907) uma expressão incontornável.
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Rusu, Iris. "Bridging the Gap between Cultures: The Translation of Cockney and Slang in G. B. Shaw’s “Pygmalion”". East-West Cultural Passage 21, n. 2 (1 dicembre 2021): 105–32. http://dx.doi.org/10.2478/ewcp-2021-0016.
Testo completoAbstract (sommario):
Abstract This article analyses the main drama translation strategies pertaining to the rendering of dialect and slang from English into Romanian with practical emphasis on “Pygmalion” (1914; 1941) by George Bernard Shaw. Moreover, it aims to review translation techniques and strategies which facilitate the translation of slang and dialect, more precisely Cockney, from English into Romanian. Amongst the strategies discussed here are: the application of a cultural filter and of local adaptation, the use of dialect compilation, pseudo-dialect translation, parallel dialect translation, dialect localization, and standardisation. The second half of this article scrutinises a selection of lines extracted from G. B. Shaw’s “Pygmalion,” comparing and contrasting the existing Romanian translations and suggesting new solutions to rendering culture-specific terms into Romanian.
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Sweet, William. "A. R. Lord and Later Idealist Political Philosophy". British Journal of Politics and International Relations 7, n. 1 (febbraio 2005): 48–66. http://dx.doi.org/10.1111/j.1467-856x.2005.00166.x.
Testo completoAbstract (sommario):
This essay introduces and discusses some central themes in the political philosophy of the British/South African idealist, Arthur Ritchie Lord (1880–1941). Lord was the author of the most substantial text of third generation ‘British idealist’ political thought, The Principles of Politics (1921) , but many of his manuscripts from the 1920s to early 1940s have only recently been prepared for publication. I argue that Lord's work provides valuable insights into the development of later idealist political philosophy, particularly on two themes that distinguish it from that of Lord's idealist predecessors, T. H. Green and Bernard Bosanquet—namely, democracy and freedom. This study also raises the question of whether the distinctively pluralistic context of South Africa had an influence on Lord's analysis of these themes.
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Tomson, Earl. "GERARD SCHURMANN IN INTERVIEW". Tempo 59, n. 231 (gennaio 2005): 17–28. http://dx.doi.org/10.1017/s0040298205000033.
Testo completoAbstract (sommario):
Gerard Schurmann was born of Dutch parents in the former Dutch East Indies in 1924, but spent more than 40 years, including the most formative period of his musical life, in England before moving to the US in 1981. Even during his years in the Netherlands as orchestral conductor with the Dutch Radio in his early twenties, he maintained an apartment in London, sometimes commuting to his place of work in Hilversum. His experience was similar to Bernard van Dieren, another Dutch-born composer who lived in England, although not for as many years as Schurmann: Holland has made no particular move to claim either as a Dutch composer. It was in England that Schurmann developed his skills and persona as a musician, after arriving as a teenager in 1941.
Tesi sul tema "Bernard 1941-"
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Piantoni, Antoine. "Les Poètes fantaisistes, un renouveau de la poésie française au début du XXe siècle ?" Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040217.
Testo completoAbstract (sommario):
Parmi les réponses apportées à la crise du langage définie par Mallarmé, quelle importance peut être accordée à celle des poètes fantaisistes du début du XXe siècle ? Cette thèse propose de réinterroger à nouveaux frais les apports esthétiques d’un groupe pour le moins hétérogène dans le concert des avant-gardes. Il s’agit dans un premier temps de retracer les étapes de la constitution d’une entité collective à l’existence fugace, car la trajectoire du groupe fantaisiste l’apparente à une comète engloutie par le cataclysme de la Grande Guerre. L’approche sociologique, étayée par des archives encore peu exploitées, nous renseigne à la fois sur les prolégomènes d’une expérience commune et les ramifications du souvenir nostalgique longtemps après que le groupe aura cessé d’exister sous sa forme première. Il convient ensuite d’examiner le contenu notionnel de la fantaisie en tant qu’élément fondateur d’une poétique polymorphe qui joint à un respect de la tradition poétique française le refus du dogmatisme et de la théorie. On constate que la fantaisie fonctionne comme un espace vacant qui accueille les spéculations de la critique s’efforçant de pallier le défaut de définition assumé par le groupe, dont la production reste marquée par une indécision entre mélancolie élégiaque et dissonance humoristique. Les poètes fantaisistes proposent-ils une solution à la menace d’obsolescence qui pèse sur la notion de fantaisie ou ne représentent-ils que l’écho d’un phénomène transséculaire dont le dernier avatar se dilue dans le goût du pastiche et de la forgerie ?Among the answers given to the language crisis triggered by Mallarmé, what consideration can we show to the one promoted by the fantaisist poets of early 20th century? This thesis proposes a new reflection on the aesthetical input from a group nothing short of heterogeneous in its composition amid the emergence of literary avant-gardes. First of all, we will recount the steps of the constitution of a short-lived collective entity, as the group’s trajectory is much alike a comet lost in the cataclysm of the Great War. A sociological approach based on seldom browsed archives informs us both about the prolegomena of a collective experience and the ramifications of nostalgic memories long after the group had ceased to exist in its primitive form. We shall then examine the notional content of fantaisie as the primary element of polymorphous poetics which combine respect for the French literary tradition with the rejection of any dogmatism or theory. We observe that fantaisie works as a vacant slate set to welcome speculations from critics who try and compensate the lack of definition claimed by the group, whose production is branded by the hesitation between elegiac melancholy and humoristic dissonance. Do fantaisist poets offer propose a rebuttal to the threat of obsolescence surrounding the very notion of fantaisie or are they only the echo of a centuries-old phenomenon whose last incarnation melts with the appetence for pastiche and forgery?
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Jamet, Stéphanie. "Catalogue raisonné de l'oeuvre sculpté de Bernard Pagès (1966-1984) : entre assemblage et fragmentation". Paris 4, 2001. http://www.theses.fr/2001PA040212.
Testo completoAbstract (sommario):
Cette étude monographique de l'oeuvre sculpté de Bernard Pagès est accompagnée d'un catalogue raisonné des travaux que le sculpteur français a réalisé entre 1964 et 1984. Elle s'appuie sur des entretiens personnels de l'auteur avec l'artiste et les différentes personnes qui ont suivi et soutenu son travail durant cette période. L'évolution de l'oeuvre de Pagès est symptomatique des redéfinitions que subit la sculpture en tant que genre au cours du XXe siècle et plus particulièrement dans les années soixante. Ce travail propose d'appréhender la sculpture de Pagès entre assemblage et fragmentation, principes qui dirigent les réflexions de l'artiste. Il analyse les rapprochements avec d'autres démarches de sculpteurs de cette génération et les liens forts qui unissent l'oeuvre de Pagès avec le monde de la peinture et notamment par son association à la fin des années soixante avec le groupe Supports/Surfaces, dans une atmosphère baignée par la pensée structuraliste. Etudiant les incidences de ce contexte sur l'oeuvre de Pagès, ce mémoire en questionne la logique de déconstruction et le renouvellement du vocabulaire et de la gestuelle que l'artiste met en place. Il entend montrer les conséquences de cette logique dans la perspective d'une reconstruction singulière de la sculpture de Pagès, au cours des années soixante-dix et au début des années quatre-vingtThis study is a monograph with a catalog raisonné of Bernard Pagès' sculpture created between 1966 and 1984. It bases on the author's personal interviews with the artist and people who followed and supported Pagès during this period. .
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Dhouib, Morabito Hounaïda. "La reconstruction en Tunisie de 1943 à 1947". Paris 1, 2009. http://www.theses.fr/2010PA010525.
Testo completoAbstract (sommario):
Cette étude sur la reconstruction tunisienne après la seconde guerre mondiale comprend trois parties. La première présente la situation de la Régence vis-à-vis de la puissance protectrice et son organisation administrative au lendemain de la Libération. Parmi les nouvelles créations figuraient les services d'Architecture et d'urbanisme, dirigés par Bernard Zehrfuss. La deuxième partie tend à reconstituer I'historique de sa collaboration avec I'administration du protectorat, en commençant par sa convention. Celle-ci lui permit de créer une équipe jeune et enthousiaste dont I’œuvre marqua I'histoire de I'architecture en Tunisie. La troisième partie développe son rapport dialectique avec les typo-morphologies locales. Elle vise à expliciter son fondement idéologique qui n'est pas à rechercher uniquement dans la pénurie de matériaux et de main d’œuvre, mais aussi dans la formation des concepteurs et leurs aspirations.
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Weishard, Hélène. "Thomas bernhard et l'Autriche : analyse d'une relation problematique". Metz, 1997. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1997/Weishard.Helene.LMZ9707_1.pdf.
Testo completoAbstract (sommario):
Pendant plus de deux décennies, l'écrivain autrichien Thomas Bernhard (1931-1989) n'a cessé de donner de son pays une représentation essentiellement négative en se livrant à une critique caustique du consensus national et de tous les domaines de la vie publique. En s'inspirant des acquis de la recherche menée dans le domaine de l'imagologie, cette étude se propose d'analyser le réseau d'images et de clichés récurrents dans les discours de Bernhard sur l’Autriche. En premier lieu, nous nous proposons de définir le contexte général de la critique de Bernhard et les points névralgiques de sa biographie susceptibles de nous éclairer sur la genèse probable de sa représentation de l’Autriche. Dans un second temps, nous étudierons les discours de Bernhard sur l’Autriche ainsi que les différentes stratégies de provocation qu'il a mises en place. Le troisième volet de notre enquête a pour objet de mettre en lumière la quête identitaire de Bernhard à travers "l'austriacité" complexe et paradoxale que révèle son œuvre. Ceci nous amènera à évoquer les différents scandales qui ont marqué sa carrière, ainsi que les prises de position de l'opinion publique, de la classe politique et de ses confrères écrivains à son sujet. Enfin, le quatrième volet de notre étude est une tentative de mise en perspective des discours de Bernhard sur l’Autriche. Nous nous attacherons à montrer que son pays sert en fin de compte à l'écrivain de paradigme pour exercer une critique générale du monde contemporain, englobant à la fois la société, l'art, l'homme en général et Bernhard lui-mêmeFor over two decades austrian writer thomas bernhard (1931-1989) relentlessly showed a mostly bleak picture of his country, lampooning its heavy reliance on generally agreed opinion along with all fields of public life there. My purpose here is to analyse the network of recurring images and cliches that permeate bernhard's discourse on austria, in the light of imagology (i. E. The interpretative theory based on writer's imagery and imagination). First and foremost, this study will be aimed at delineating the broad historical context of bernhard's critical writings and the landmarks of his life that are likely to have fostered his outlook on austria. Then insight will be given into bernhard's discourse on austria and specifically his manifold rhetoric devices. The third part of this study will focus on bernhard's quest of the self through the complex and paradoxical austrianness that emerges from his works. That will lead me to both refer to the various scandals that seared his career and broach the stands taken on him by public opinion, political classes and his fellow writers. In the fourth and last part, i will attempt to define the general background against which bernhard's critical texts on austria must be seen. I will therefore set myself the task of showing how his country turned out to be a springboard for general criticism of the contemporary world, which embraces society, art, mankind and bernhard himself
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WEISHARD, HELENE Grunewald Michel. "THOMAS BERNHARD ET L'AUTRICHE. ANALYSE D'UNE RELATION PROBLEMATIQUE /". [S.l.] : [s.n.], 1997. ftp://ftp.scd.univ-metz.fr/pub/Theses/1997/Weishard.Helene.LMZ9707_1.pdf.
Testo completo
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Wehner, Dieter Tino. "Bernard Hoetger : das Bildwerk 1905 bis 1914 und das Gesamtkunstwerk Platanenhain /". Zürich, 1993. http://catalogue.bnf.fr/ark:/12148/cb39127631t.
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Pochelu, Joana. "Etude d'un dossier génétique fragmentaire : Réécriture. Ecriture. Désécriture dans "Le fils de l'accordéoniste de Bernado [i.e. Bernardo]Atxaga". Bordeaux 3, 2010. http://www.theses.fr/2010BOR30069.
Testo completoAbstract (sommario):
Dans la méthode critique du domaine littéraire, la génétique textuelle est l'un des seuls mouvements novateurs ds trente dernières années, et reste méconnue dans le domaine de la recherche en littérature d'expression basque. Dans ce sens, nos recherches génétiques entreprises en DEA et qui aboutissent dans la présente thèse sont inédites quant à l'application de cette nouvelle méthodologie critique au texte basque. Notre thèse porte sur le dossier génétique informatique du roman "Le fils de l'accordéoniste" de Bernardo Atxaga. Nous montrons en quoi consiste l'étude des documents de genèse, et nous nous penchons plus précisément sur "Medite", logiciel informatique qui à travers son interface, compare deux états successifs d'un même texte. Grâce au logiciel, nous analysons des versions différentes de textes du roman étudié, pour comprendre comment l'écriture s'est construite à un stade donné de la genèse. Nous rendons également compte des oeuvres antérieures de Bernardo Atxaga reprises ici, notamment un récit publié dix-huit ans plus tôt, réécrit et intégré ici. Composé de multiples notes de régie, notes scénariques et début de textualisation, le dossier informatique primaire a aussi fait l'objet de toute notre attention au moment d'observer comment l'écriture commence à prendre forme. Enfin, nous nous sommes intéressés à la désécriture de ce roman, en cherchant pourquoi deux textes pourtant rédigés n'ont pas pu trouver leur place dans le roman. Nous démontrons par là comment Bernardo Atxaga a voulu boucler un cycle littéraire avec "Le fils de l'accordéoniste", en tuant l'auteur qu'il a été jusque-là, pour pouvoir dans une future étape littéraire, en devenir un autre.
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Bernard, Florence. "Bernard-Marie Koltès : la poétique des contraires". Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10098.
Testo completoAbstract (sommario):
Le principe qui régit l'écriture de Bernard-Marie Koltès fait se côtoyer les extrêmes. Pour dégager les différents aspects que revêt cette "poétique des contraires", nous nous attachons dans la pemière partie de notre étude à la confusion qui affecte les données spatiales et temporellels de l'action : en effet, les indices historiques et géographiques de l'intrigue, le lieu, la durée et la chronologie de l'action ne se laissent pas appréhender aisément, au point de jeter le doute sur la réalité des faits. Ce processus n'épargne pas le personnage, comme le montre notre seconde partie. Sa corporéité, les relations qu'il entretient avec autrui et les valeurs qui sont les siennes empêchent que nous arrêtions tout jugement à son sujet. Ce jeu avec les catégories s'exerce enfin à l'échelle du texte même. L'intergénéricité, qui se traduit notamment par la dramatisation, rend compte de la capacité de l'oeuvre à déborder toutes les frontières. Les modifications parfois radicales que l'hypotexte subit lors de sa transposition à la scène ne laissent pas son sens indemne et posent indirectement deux questions : celle du statut que l'auteur accorde au langage et celle de l'enjeu qu'il attribue à l'écriture.
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Ayres, Didier. "De l'étrangèreté dans le théâtre de B. -M. Koltès". Paris 8, 2003. http://www.theses.fr/2003PA082381.
Testo completoAbstract (sommario):
Aborder le théâtre de Koltès ne va pas de soi. C'est un massif textuel varié qui a souvent été conçu de manière homogène. Pour notre compte, et pour tenir compte du fluage de la dramaturgie koltésienne, nous avons parlé au sujet de son théâtre d'étrangèreté. Ce concept qui jouait sur les notions d'étrange, d'étranger, d'étrangeté, était assez souple pour ne pas faire acte de réification des notions d'identité, de groupe ou d'espace. En effet, ce qui importait, c'était de parler des liens plutôt que des frontières. Ainsi, nous avons nous-mêmes fluer du clos à l'ouvert au gré du fluage des notions de personnage, lequel tremblait à la fois dans son identité, dans son groupe et dans son espace. Nous avons pour cela utilisé le champ des sciences humaines et parfois des sciences exactes.
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Ohana, Yolande. "Initiation et narration dans l'oeuvre romanesque de Bernard Malamud". Paris 7, 1992. http://www.theses.fr/1992PA070013.
Testo completoAbstract (sommario):
Le propos de cette these est de montrer que certains romans et certaines nouvelles de malamud se lisent comme des oeuvres initiatiques comportant trois phases: chute, expiation et reintegration. Bernard malamud a exploite la trame initiatique dans le but de denoncer la faillite des grands mythes fondateurs et justificateurs de la nation americaine tels le mythe de l'ouest, le mythe du heros, le mythe de l'amerique innocente et celui de l'europe decadente; enfin, le mythe du reve americain, omnipresent dans toute son oeuvre. Dans the fixer, malamud reactualise le mythe du juif persecute. Il s'attache a demontrer l'absurdite de certaines croyances concernant les meurtres rituels. L'auteur reinterprete le mythe cosmogonique de l'histoire juive, celui de l'exode. Dans le roman malamudien, la femme constitue l'initiatrice revee pour le jeune heros inexperimente. Raisi, helen, isabella sont les mediatrices qui revelent a l'homme sa nature. La femme devient le moyen privilegie de connaissance. L'aimee est la seule mediatrice, le guide qui permet de passer de l'ici a l'ailleurs. Le dernier ouvrage de malamud god's grace peut se lire comme une interrogation anxieuse sur l'avenir de l'humanite. Toute l'oeuvre de malamud souligne ainsi l'absolue necessite d'une ethique, d'une moraleThe purpose of this thesis is to show that certain of malamud's novels and short stories can be read as initiation pieces composed of three phases: fall, expiation and reintegration. Bernard malamud exploited the initiative structure in order to denounce the downfall of the great myths which founded the american nation; for example the myth of the west, the myth of the hero, the myth of the virgin america and of the decadent europe; and finally the myth of the american dream, omnipresent in all of his works. In the fixer, malamud reactivates the myth of the persecuted jew. He shows the absurdity of certain beliefs concerning the ritual crimes. He shows the absurdity of certain beliefs concerning the ritual crimes. The author reinterprets the cosmogonic myth of the jewish history, the one of exodus. In the malamudian novel, the woman is the ideal initiator for the young inexperimented hero. Raisi, helen, isabella are the mediators who reveal to the man his nature. The woman becomes the priviledged way of self-discovery. The beloved is the only adviser, the guide who permits one to find one's real identity. In his last book, god's grace, malamud shows concerns about the future of humanity. All his work underlines the absolute necessity of morals and ethics
Libri sul tema "Bernard 1941-"
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Fred, Leeman, Rapetti Rodolphe, Vial Marie-Paule e Musée de l'Orangerie, a cura di. Émile Bernard: 1868-1941. Paris: Flammarion, 2014.
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éd, Puget François, a cura di. Emile Bernard, 1868-1941. Morlaix: Le Télégramme Editions, 2001.
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Neil, McWilliam, Harscoët-Maire Laure e Welsh-Ovcharov Bogomila, a cura di. Émile Bernard: Les lettres d'un artiste, 1884-1941. [Dijon]: Presses du réel, 2012.
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Morane, Daniel. Emile Bernard, 1868-1941: Catalogue raisonné de l'oeuvre gravé. Pont-Aven: Musée de Pont-aven, 2000.
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Emile, Bernard. Emile Bernard, 1868-1941: A pioneer of modern art. Mannheim: Städtische Kunsthalle, 1990.
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Emile, Bernard. Emile Bernard: Lille, 1868-Parigi, 1941 : opere dal 1898 al 1938. Bergamo: Galleria Michelangelo, 2002.
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Emile, Bernard. Emile Bernard: Lille, 1868-Parigi, 1941 : opere dal 1898 al 1938. Bergamo: Galleria Michelangelo, 2002.
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Soifer, Steven. The socialist mayor: Bernard Sanders in Burlington, Vermont. New York: Bergin & Garvey, 1991.
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Luthi, Jean-Jacques. Emile Bernard, 1868-1941: Fondateur de l'école de Pont-Aven et précurseur de l'art moderne. Paris: Editions de l'Amateur, 2003.
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Kantyka, Jan. Bernard Świerczyna, ps. "Max": 1914-1944. Katowice: Tow. Opieki nad Oświęcimiem, 1994.
Cerca il testo completoCapitoli di libri sul tema "Bernard 1941-"
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Wickens, Andrew P. "Bernard Katz (1911–2003)". In Key Thinkers in Neuroscience, 107–13. Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2018. http://dx.doi.org/10.4324/9781351271042-16.
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Hessler, Ulrike. "Bernard von Brentano (1901–1964)". In Geist und Macht: Die Brentanos, 197–232. Wiesbaden: VS Verlag für Sozialwissenschaften, 2000. http://dx.doi.org/10.1007/978-3-322-83347-1_11.
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Mehlhorn, Heinz. "Nocht, Bernhard (1857–1945)". In Encyclopedia of Parasitology, 1–3. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-642-27769-6_2142-2.
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Mehlhorn, Heinz. "Nocht, Bernhard (1857–1945)". In Encyclopedia of Parasitology, 1950–52. Berlin, Heidelberg: Springer Berlin Heidelberg, 2016. http://dx.doi.org/10.1007/978-3-662-43978-4_2142.
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Zlobin, Alexander, Valeriy Inozemcev, Sergey Komissarenko, Igor Medveckiy, Igor Nelga, Sergey Tretyakov e Artem Sherstyuk. "Main steps of developing chemical organophosphorus agents abroad". In ORGANOPHOSPHORUS NEUROTOXINS, 17–34. ru: Publishing Center RIOR, 2020. http://dx.doi.org/10.29039/11_017-034.
Testo completoAbstract (sommario):
Organophosphorus compounds (OPC) occupy a special place among chemical warfare agents (CWA). High level of toxicity, a wide range of physicochemical properties, polyapplication of action already in the 1930s attracted the close attention of foreign military experts. In 1936, the German chemist Gerhard Schrader for the first time synthesized O-ethyl-dimethylamidocyanophosphate, known today as a herd. By the beginning of the Second World War, the staff of his laboratory synthesized over two thousand new OPC. Some of these compounds were selected for further study as CW agents and subsequently were adopted as weapons by the German army. In 1938 the same Gerhard Schrader have synthesized the organophosphorus compound, closed to tabun, but more toxic: O-isopropyl methyl fluorophosphate, called sarin. In 1944 the German chemist, the 1938 Nobel laureate in chemistry Richard Kuhn synthesized soman and revealed the damaging effect of organophosphorus CWA’s. In 1941 the British chemist Bernard Saunders synthesized diisopropyl fluorophosphate. During World War II the industrial production of organophosphorus CWA’s was organized in Germany, Great Britain and in the USA. Germany produced tabun, sarin and soman, the western allies: diisopropyl fluorophosphate. Till the end of World War II the leadership in the sphere of the development of nerve agents belonged to Nazi Germany. After the end of the war the German scientists, many of whom were devoted Nazis, continued their work under the auspices of military departments of the USA and Great Britain. Subsequently phosphorylated thiocholine esters: V-series substances (VG, VM, VR, VX, EA 3148, EA3317 agents etc.) were synthesized with their participation. The wide range of organophosphorus compounds was tested on volunteers in Porton Down (Great Britain) and in the Edgewood arsenal (USA). But after the synthesis of V-series agents the work on organophosphorus CWA’s did not stop. In recent years there appeared the tendency of the transformation of real threats connected with the chemical weapons use, to propaganda sphere. In recent years, there has been a tendency toward the transformation of real threats associated with the use of chemical weapons into provocation and an advocacy field, but this does not mean that the search for new CWA in Western countries has been stopped.
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Zlobin, Alexander, Valeriy Inozemcev, Sergey Komissarenko, Igor Medveckiy, Igor Nelga e Sergey Tretyakov. "Main steps of developing chemical organophosphorus agents abroad". In Organophosphorous Neurotoxins, 11–28. ru: Publishing Center RIOR, 2020. http://dx.doi.org/10.29039/chapter_5e4132b5e7e856.69190447.
Testo completoAbstract (sommario):
Organophosphorus compounds (OPC) occupy a special place among chemical warfare agents (CWA). High level of toxicity, a wide range of physicochemical properties, polyapplication of action already in the 1930s attracted the close attention of foreign military experts. In 1936, the German chemist Gerhard Schrader for the first time synthesized O-ethyl-dimethylamidocyanophosphate, known today as a herd. By the beginning of the Second World War, the staff of his laboratory synthesized over two thousand new OPC. Some of these compounds were selected for further study as CW agents and subsequently were adopted as weapons by the German army. In 1938 the same Gerhard Schrader have synthesized the organophosphorus compound, closed to tabun, but more toxic: O-isopropyl methyl fluorophosphate, called sarin. In 1944 the German chemist, the 1938 Nobel laureate in chemistry Richard Kuhn synthesized soman and revealed the damaging effect of organophosphorus CWA’s. In 1941 the British chemist Bernard Saunders synthesized diisopropyl fluorophosphate. During World War II the industrial production of organophosphorus CWA’s was organized in Germany, Great Britain and in the USA. Germany produced tabun, sarin and soman, the western allies: diisopropyl fluorophosphate. Till the end of world war ii the leadership in the sphere of the development of nerve agents belonged to Nazi Germany. After the end of the war the German scientists, many of whom were devoted Nazis, continued their work under the auspices of military departments of the USA and Great Britain. Sub consequently phosphorylated thiocholine esters: V-series substances (VG, VM, VR, VX, EA 3148, EA3317 agents etc.) were synthesized with their participation. The wide range of organophosphorus compounds was tested on volunteers in Porton Down (Great Britain) and in the Edgewood arsenal (USA). But after the synthesis of V-series agents the work on organophosphorus CWA’s did not stop. In recent years there appeared the tendency of the transformation of real threats connected with the chemical weapons use, to propaganda sphere. In recent years, there has been a tendency toward the transformation of real threats associated with the use of chemical weapons into provocation and an advocacy field, but this does not mean that the search for new CWA in Western countries has been stopped.
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Gahan, Peter. "Marriage and Mating in the Plays of Bernard Shaw and Granville Barker, 1908–1911". In Bernard Shaw's Marriages and Misalliances, 105–23. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-349-95170-3_7.
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Dolgin, Ellen Ecker. "Ruled by Autonomy: Women’s Evolving Marital Choices from the Doctor’s Dilemma (1906) to Pygmalion (1914)". In Bernard Shaw's Marriages and Misalliances, 125–42. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-349-95170-3_8.
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Lauermann, Manfred. "Editorische Nachbemerkung zu: Bernard Willms, Die politische Theorie von Carl Schmitt". In Politisches Denken Jahrbuch 1991, 142–46. Stuttgart: J.B. Metzler, 1992. http://dx.doi.org/10.1007/978-3-476-03368-0_8.
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Gagel, Walter. "Drei Stile politischer Didaktik: Ernst-August Roloff, Bernhard Sutor, Bernhard Claußen". In Geschichte der politischen Bildung in der Bundesrepublik Deutschland 1945–1989, 247–80. Wiesbaden: VS Verlag für Sozialwissenschaften, 1994. http://dx.doi.org/10.1007/978-3-663-10155-0_11.
Testo completoAtti di convegni sul tema "Bernard 1941-"
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Fortier, Renald. "A Design Worthy of Success: Bernard W. Sznycer, Selma G. Gottlieb and the Intercity SG-VI". In Vertical Flight Society 76th Annual Forum & Technology Display. The Vertical Flight Society, 2020. http://dx.doi.org/10.4050/f-0076-2020-16265.
Testo completoAbstract (sommario):
As imbedded as it is in technology, the history of flight is also chock full of people stories. The history of the helicopter, one of the most versatile flying machines ever designed, abounds in such stories. This text looks at the development of Intercity Airlines Company's SG Mark VI by a unique team based for a time in Montreal, Quebec. Bernard W. Sznycer and Selma G. Gottlieb conceived one of the most advanced and innovative helicopter of its day. Designed to minimize vibrations and facilitate production, the SG Mark VI first flew in July 1947. Canada's Department of Transport awarded a Certificate of Airworthiness to a second prototype, in April 1951. The SG Mark VI was the first helicopter designed within the British Commonwealth of Nations to be so honored. Sadly, by then, American helicopters all but dominated the civilian and military markets. The SG Mark VI was abandoned during the winter of 1953-54 and both Sznycer and Gottlieb returned to the United States.
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Sieradzan, Wiesław. "Bernharda Schmida (1872–1947) zasługi dla ziemi chełmińskiej". In Studia i materiały z dziedzictwa kulturowego Torunia i regionu. Tom 2. Wydział Sztuk Pięknych UMK w Toruniu, 2018. http://dx.doi.org/10.12775/simdzktir_t2.2018.003.
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Piroux, Cyril. "Aux Abois de Tristan Bernard. Genèse d’une écriture de l’absurde". In Les écrivains théoriciens de la littérature (1920-1945). Fabula, 2013. http://dx.doi.org/10.58282/colloques.1845.
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Fowler, C. W., e E. S. Pateras. "Some Non-Conventional Types of Varifocal Spectacle Lens". In Ophthalmic and Visual Optics. Washington, D.C.: Optica Publishing Group, 1991. http://dx.doi.org/10.1364/ovo.1991.fa3.
Testo completoAbstract (sommario):
The origins of varifocal spectacle lenses go hack a long way, the patent of Aves (1907) Being generally accepted, as the first practical design of lens. Varifocals as we know them today Began with the Varilux design from Bernard Maitenaz in the late nineteen-fifties. The original Varilux demonstrated three main features: 1) Stable distance power over the upper half of the lens. 2) Starting near the mid point of the lens, a narrow central progressive power corridor leads into a stable reading area at the bottom of the lens. 3) Complete 'invisibility' of the power zones giving rise to a single vision type appearance.
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Yasunaga, K. "HEREDITARY PLATELET FUNCTION DISORDERS IN JAPAN". In XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1644876.
Testo completoAbstract (sommario):
Nationwide surveys of hereditary platelet function disorders in Japan were carried out in 1976, 1981, and 1986. Information on 271 cases received in the 1986 survey was analyzed with that for 103 other cases reported in earlier surveys but not in 1986, making a total of 374 cases. The mortality rate was 6.8% of 162 cases in 1976, 6.6% of 213 cases in 1981, and 5.9% of 374 cases in 1986. Bleeding symptoms appeared at age 12 years in 56.8% of patients and the most common were epistaxis and purpura. Of the 295 cases 49.5% were isolated cases, 20.3% had siblings with confirmed bleeding tendencies, and 30.2% had other kin with bleeding tendencies, suggestings autosomal tnansmission. Consanguineous marriage was reported by 11.9% of patients.Of the 374 cases in 1986, 59.4% were thrombasthenia (TA), 11.5% Bernard-Soulier symdrome (BSS), 22.5% release abnormalities (PRA), 1.3% other, and 5.3% unclassified. Of the 84 cases of PRA, 60 were storage pool deficiency, 18 release mechanism abnormalities, and 6 undecided between the two types. The resultsof laboratory tests were as follows .
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Bosch Reig, Ignacio, Luis Bosch Roig, Valeria Marcenac e Nuria Salvador Luján. "Linear parks understood as vertebration instruments of the city". In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6136.
Testo completoAbstract (sommario):
This research raises as thesis the idea that Linear Park is an urban instrument capable of vertebrate the city and, consequently, of regenerate it. To this end, ten parks strategically located in big cities such as Rio de Janeiro, London, Paris, Madrid, Barcelona, or in medium or small cities such as Valencia, Castellón or Figueres, have been analyzed. Of this analysis we have deduced some characteristics that are considered key in the linear and transversal vertebration of the city, such as: - Green axis-corridor approach - Sequence of events with integration of public buildings - Continuity derived from the union of different areas - Promotion of active leisure activities, individual or collective: sports, cultural, .... - Capability of relation and regeneration of ecosystems: forest, meadow, orchard, nurseries, water, city, .... - Capability to restore environment, with reduction in CO2, in noise pollution, ... - Establish relations between the city and the territory with definition of natural parks - Contribute to prevent thermal inversion in the city - Establish a beginning and an end as recognizable elements in city. - Confrontation of opposites: static or dynamic; soft (green) or hard (pavement); unitary or fragmentary, cartesian or organic, ... The parks thus understood can be organized in diverse typologies, such us: classic order; in net; upholstery-continuos map; linear order with grooves, tapes or bands; landscaper and naturalist; ... .. The work delves into these themes by recognizing tools of interest such as: harmonic relationship; human scale; non-guided tours; sensory experimentation: spaces, sights, aromas, sounds, colorful, ...; unexpected and random; pragmatic and passionate; order within disorder; activation of spaces without hierarchies or apriorisms; flee from monotony; evocations; ... KEY WORDS: linear park, green corridor, city vertebrador, urban regeneration, sensorial experimentation, harmonious relationship, ... REFERENCES: Referred to the following urban parks: Paseo de Copacabana, 1979 Burle Max; La Vilette project 1975, León Krier; La Vilette 1981-87, Bernard Tschumi; Turia Park, 1981, Ricardo Bofill; Botanic Garden, Barcelona, 2002, Carlos Ferrater; Thames Barrier Park, London, 2000, Signes Group; Garden of the senses, Castellón, Del Rey-Magro; Park of the Manzanares, Madrid, Burgos-Garrido; Les Aigües Park, Figueres, Oliac-Batle; Parque Cabecera, Valencia, De Miguel-Corell-Muñoz
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Suzuki, Sozo, Kazuo Mori, Koji Sugai, Yasuyuki Akutsu, Masaaki Ishikawa, Hideaki Sakai e Katsuhide Hiwatashi. "ELECTRONMICROSCOPIC STUDIES ON PLATELETS AND MEGAKARYOCYTES IN GIANT PLATELET SYNDROME". In XIth International Congress on Thrombosis and Haemostasis. Schattauer GmbH, 1987. http://dx.doi.org/10.1055/s-0038-1644560.
Testo completoAbstract (sommario):
Giant platelet syndrome are characterized morphologically by many giant platelets associated with several functional abnormalities in the peripheral blood. However, the mechanism of large platelet production has not yet been clarified. In 1981, we reported acase with Bernard-Soulier syndrome(BSS) in whom giant platelets were considered to be formed by fusion of two or three platelets in the circulating blood. We examined the ultrastructure of platelets and megakaryocytes in another case with BSS (29 year-old female) and a case with May-Hegglin anomaly (31 year-old male). Whole blood and bone marrow specimens were fixed with glutaraldehyde-osmium solution. Thin sections were prepared and stained with uranyl acetate and lead cytrate. Membrane systems of platelets and megakaryocytes in a case with BSS was investigated by staining of surface coating with ruthenium red.In a case with BSS, most platelets were very large and similar in morphology to those in formerly reported case. Giant platelets contained several-fold increased number of α-granules and mitochondria. Typical dense bodies were also observed. Contents of ATP/ADP, platelet factor-4(PF-4), B-thromboglobulin(B-TG) and platelet factor-3 availability(PF-3) were increased. Disorganization of microtubules was recognized. Some giant platelet contained membrane systems similar to demarcation membranes(DM) in megakaryocytes, characteristically. In mature megakaryocytes, areas divided by DM similar in size to those in normal megakaryocytes were observed. Several of these areas appeared to fuse together to form the giant platelets containing many granules and remnants of DM. In a case with May-Hegglin anomaly, typical Dohle’s bodies were shown in neutrophilic granulocytes. Giant platelets in this case also contained large number of α-granules and some of them contained membrane systems similar to DM. Areas similar in morphology to these giant platelets were clearly noted in the cytoplasm of mature megakaryocytes.In these cases, most giant platelets in the peripheral blood may be formed in the cytoplasm of megakaryocytes by fusion of several areas divided by DM, each of which may become normal sized platelets in normal megakaryocytes.
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DASGUPTA, SOUMYA. "Digital Encounters in a Postcolonial Frame: Mnemotechnics and Mimicry in Architectural Productions". In 111th ACSA Annual Meeting Proceedings. ACSA Press, 2023. http://dx.doi.org/10.35483/acsa.am.111.34.
Testo completoAbstract (sommario):
My paper provides a theoretically situated framing of the global deployment of digital design tools vis-à-vis globalization of architectural productions in the context of rapidly transforming urban India in the 21st century. Following the economic liberalization of 1991, globalized architectural typologies such as shopping malls, residential enclaves, luxury hotels, and Information Technology (IT) hubs mushroomed throughout India’s urban spaces, changing its material and visual fabric.1 The digital revolution played a crucial role in this transformation, both through the systemic processes of global informatization and through the relatively less interrogated paradigmatic shift within architectural production techniques from analog to digital modalities.2 In the last two decades, emerging scholarship on Global South’s particular urbanities focused on the symptoms of these co-proliferating socio-spatial transformations, one emerging from the studies on the effects of neoliberalism and the second on informatization. Reacting to the shifting terrains of the architectural industry, design scholarship focused on the exigencies of architects acquiring advanced digital skill sets to meet market demands of efficiency, aptly captured as “innovate or perish.”3 Historians and urban scholars have extensively deliberated on the chronologies of India’s evolving IT landscape from the 1950s to the turn of the millennium and the digitization of urban governance and citizenship in the last decade.4,5 However, little theoretical deliberation exists to date on what software does to design in a postcolonial setting. Addressing this gap, I problematize the supposedly neutral front of digital design packages and argue that they reproduce the geo-architectural surroundings of their origins and aid in advancing globalized norms and techniques that homogenize architectural modus operandi. In lieu of focussing on the substantive dimensionalities of urban India’s architectural transformations with its specificities, I refer to ‘urban India’ as a site of a critical inquiry.6 To this end, I weave together theoretical concepts of global mnemotechnical systems and mimicry from the works of Bernard Stiegler and Homi Bhabha that can help explicate the encounter of the global deployment of architectural software as the industry standard in the arena of Global South’s architectural productions.7,8
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Jalobeanu, Mihai stanislav. "A 43 YEARS HISTORY, PASSING FROM THE GUTENBERG PROJECT INITIATIVE TO THE OPEN EDUCATIONAL RESOURCES MOVEMENT ." In eLSE 2014. Editura Universitatii Nationale de Aparare "Carol I", 2014. http://dx.doi.org/10.12753/2066-026x-14-298.
Testo completoAbstract (sommario):
When Michael Hart initiated his ambitious Gutenberg project of computer re-writing essential literature books, in 1971, sure it was very difficult to imagine our today dependency of digital devices and social media. To type on the those time typewriter devices the basic scholarly novels it was a difficult option for a 24 years man, proven a visionary thinking to the people future access. It was ten years before the lunching the IBM PC's, and Internet Protocols, in a time of the firsts text editors... Twenty years before the first World Wide Web real demo ... But Michael Hart succeeded to build a community of volunteers, delivering free the project results, digital books (through floppies, diskettes, tapes, and later on CD-ROM, or DVDs. Gutenberg project arrived as a model for many libraries to save their depots and manuscripts. Networking and Internet services (email and FTP) already gave new solutions for distribution and visibility of Gutenberg project, for access to digital books. For scientists it was another need, the better access to the scientific publications, an easier way to publish their results. Consequently, quite in the same time when CERN accepted to finance the Tim Berners Lee proposal, the firsts signs of a movement for open access publications are registered. As a nice example, PACS Review (Public Access Computer Science Review), at the Houston University, prepared and announced in 1989, with its first 3 numbers in 1990. A journal delivered as ASCII file, by email, later through a Gopher server, and finally-from 1995 on-line, through the Houston University Web server (HTML, or ASCII format). PACS Review publication stops in 2000. Since 1995 a really peer revue, quality, open journal was launched by Cristian Calude, Herman Maurer, Arto Salomaa at Graz University, called JUCS - ,,Journal of Universal Computer Science". A journal with very regular publication till now. There are, of course, a lot of other interesting examples of electronic (digital) open access journals, in different fields. A new step in this evolution was done through the development of the open source tools for the management of such digital journals into the Web server infrastructure. It was done by the initiative and efforts of John Willinsky, through his PKP - Public Knowledge Project - a multi-university initiative developing free open source software and conducting research to improve the quality and reach of scholarly publishing. PKP was founded in 1998 at the Education Faculty of UBC, with the aim to improve the research quality. Another important steps necessary to count of are the 2002 Budapest Open Access Initiative, and the MIT university decision to publish their course materials, generating the corresponding consortium. As an answer to Budapest Open Access Initiative, it is the developing of an on-line catalog of Open Access Journals - DOAJ (build and maintained by Lars Bjornshauge from 2003 until 2013 at the Lund University, recently moved at Open Access Scholarly Publishers Association - OASPA. Into this catalog there are included now about 10.000 Open Access Journals. Of course that in such a paper it isn't possible to escape the competition, more a less a battle between Online Open-Access journals and traditional ones. As well to discus the issue of fake publishers or publishers not living up to reasonable standards both in terms of content and of business behavior. Does all this Open Access movement change a bit the perspectives concerning the transformation of the teachers role in the "Web 2.0 Era" ?
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n. v. santos, pedro henrique, e Regina Maria Prosperi Meyer. "LONGE DO EQUILÍBRIO". In Seminario Internacional de Investigación en Urbanismo. Bogotá: Universidad Piloto de Colombia, 2022. http://dx.doi.org/10.5821/siiu.10154.
Testo completoAbstract (sommario):
The present article aims to explore some assumptions about how complexity operates more flexible approaches to urbanism. To this end, were analyzed theoretical productions and contemporary design strategies that eschew very deterministic and generalizing logics, thus admitting the possibility of characterizing cities as a system far-from-equilibrium. After characterizing such condition, some properties inherent to the complex nature of cities were defined, without very clear outlines. An indication – or arrangement - that makes possible to understand some alternatives of acting in the city, not in an imperative way, but recognizing its indeterminacies as project tools. They are: Interactions, which operate and engender dynamics, establishing constructive relations of new realities; Becoming, as an expression of the creative force, the possibilities of multiple and mutual fecundations; and Entropy, which reveals our ability to recognize the possibilities of a system facing off unpredictability and new arrangements.
Keywords: Complexity, Urban Design, Cities.
O urbanista italiano Bernardo Secchi (1934-2014), em diversas ocasiões, enfatiza sua preocupação com a simplificação do funcionamento urbano própria do Movimento Moderno e levanta a necessidade sobre um novo olhar para a cidade contemporânea que, ao mesmo tempo, opera maiores níveis de abstração e de precisão (SECCHI, 2006). As questões que orientam essa pesquisa estão relacionadas às contribuições das teorias sobre Complexidade, que, assim como para as ciências exatas e biológicas, apresentam para o campo das sociais um importante ferramental para a revisão de paradigmas deterministas e que enriquece as concepções de fenômenos considerados caóticos ou aleatórios. Buscamos investigar com quais pressupostos a Complexidade opera, analisando abordagens mais flexíveis, produções teóricas e estratégias projetuais contemporâneas que escampam das lógicas muito deterministas e generalizantes, admitindo assim a possibilidade de caracterizar as cidades como um sistema que não tende ao equilíbrio.
A noção de equilíbrio e a imagem da cidade-máquina e do planejamento controlador, desviaram o debate sobre as questões críticas essenciais e ajudou a manter a ilusão de um falso controle sobre a morfologia urbana e suas dinâmicas. A imagem de uma “boa” cidade – equilibrada – era, nessa ilusão, aquela que se apresentava homogênea, onde todas suas variações e diversidades pudessem ser controladas através, por exemplo, do zoneamento e da hipercodificação, ideia também refutada por Jane Jacobs em 1961. Com isso, a percepção de que o Planejamento Urbano deveria trabalhar buscando uma cidade estável e funcional começou a sobrecarregar não só sua teoria e prática, mas também a noção de que as cidades eram compreensíveis através de analogias com a ciência reducionista e as tecnologias industriais do passado. Após os anos 70, quando os objetivos do Planejamento Urbano passaram a ser refutados e as incertezas sobre as possíveis transformações teóricas e práticas que deveriam ser propostas para pensar as cidades, o mundo mudou (BATTY, 2012).
O químico Ilya Prigogine, ao propor sua tese sobre estruturas dissipativas e auto-organização de sistemas longe do equilíbrio, indica os problemas relacionados ao reducionismo, abrindo possibilidades para novos níveis de descrição e análise de diversos fenômenos do universo, chama a responsabilidade da física para além de comportamentos analisados em ambientes perfeitamente controlados, estáveis e previsíveis. Anuncia assim uma “nova ciência” capaz de interpretar os comportamentos evolutivos que escorregam entre as “malhas da rede científica” e leva em conta as incertezas e diversidades da natureza e seus eventos complexos, por vezes considerados, aos olhos deterministas, transitórios e sem importância. Interessa então entender concepções teóricas que permitem possibilidades menos duras, fechadas e estáticas de percepção dos espaços e suas dinâmicas.
Para tal, é preciso considerar que, em sistemas longe do equilíbrio como as cidades, sua evolução apresenta comportamentos e estados variados, de previsibilidade limitada. Como Prigogine insiste em dizer, nada mais natural, uma vez que estamos falando de um mundo real onde a “natureza apresenta-nos, de fato, a imagem da criação, da imprevisível novidade. Nosso universo seguiu um caminho de ramificações sucessivas: poderia ter seguido outros” (PRIGOGINE, 1996). Dada a impossibilidade de controlar seus desdobramentos, nos é disponível entender tal sistema através de seus “eventos e qualidades – transições de fase – resultantes de fluxos de matéria e energia que passam por eles. ” (BRISSAC, 2010).
Para a análise das estratégias projetuais proposta nessa pesquisa, viu-se a necessidade de definir algumas propriedades que oferecessem bases comparativas, reconhecer indícios pela qual algo prova pertencer a categorias não estabelecidas aqui. Tal definição não pretendem ter um contorno muito claro com função de predicados para esses projetos, muito menos uma lista fechada, mas uma indicação, um certo agenciamento/ agrupamento ou um reconhecimento de como “ se relacionar com a matéria - através de suas próprias tendências e não pela imposição de uma forma preestabelecida. ” (BRISSAC, 2010).
Considerando as características atribuídas aos sistemas complexos, definimos as seguintes propriedades: Interações, que operam, engendram – e são engendradas por – dinâmicas, influencias, perturbações, disputas e articulações, estabelecem relações construtivas de novas realidades, são linhas de forças que agem como combustível para trajetórias não-lineares de futuros incertos, trata-se, portanto de estratégias que entendam o projeto como síntese resultante das interações de múltiplos fatores, internos e externo; Devir, o "jorro efetivo de novidade imprevisível” (PRIGOGINE, 2009), de força criativa, o que está em vias de ser (vínculo com o futuro incerto), estratégias que, de uma forma ou de outra, tem como pressupostos a função de palco (que também faz parte do espetáculo) para possibilidades de fecundações múltiplas e mutuas, da força “comunicativa e contagiosa” – colocada por Deleuze e Guattari – que, sem códigos precedentes, constrói; e Entropia, a medida da probabilidade da ocorrência de eventos e da nossa habilidade em reconhecer possibilidades de determinado sistema face à imprevisibilidade de interações e novos arranjos resultantes, estratégias que assumem o carácter evolutivo das cidades, de configurações de “ajustes soltos” (ALLEN, 1999), menos codificada – ou de codificações muito abstratas – mas que de certa maneira apresentam condições para assimilar eventos, transformando-se, que assumem como premissa a tensão entre ordem e desordem e seu “ caráter provisório, instável e de sobreposições contínuas” (MEYER, 2003).
Palavras-chave: Complexidade, Projeto Urbano, Cidades.
Rapporti di organizzazioni sul tema "Bernard 1941-"
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Water resources data Texas, water year 1991, volume 2. San Jacinto River basin, Brazos River basin, San Bernard River basin, and intervening coastal basins. US Geological Survey, 1992. http://dx.doi.org/10.3133/wdrtx912.
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