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Artykuły w czasopismach na temat "1967-1971"
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Michael Hicks. "Mass Marketing the American Avant-Garde, 1967–1971". American Music 35, nr 3 (2017): 281. http://dx.doi.org/10.5406/americanmusic.35.3.0281.
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Caron, David A., Walter W. Faber i Allan W. H. Bé. "Effects of temperature and salinity on the growth and survival of the planktonic foraminiferGlobigerinoides sacculifer". Journal of the Marine Biological Association of the United Kingdom 67, nr 2 (maj 1987): 323–41. http://dx.doi.org/10.1017/s0025315400026643.
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The geographic distributions of most surface-dwelling species of planktonic Foraminifera are now well-known (Bé, 1959, 1960, 1977; Bé & Hamlin, 1967; Bé, Vilks & Lott, 1971; Bé & Tolderlund, 1971; Tolderlund & Bé, 1971; Bé & Hutson, 1977). These distributions, established from species abundance in plankton net collections, have been used to correlate abundance with physical and chemical variables (primarily temperature and salinity) in an effort to establish the factors which control the geographic range of these shelled protists. Significant correlations have been derived from these comparisons and the temperature and salinity ‘limits’ and ‘optima’ of a number of species have been reported (e.g. Bé & Tolderlund, 1971).
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Oleszczuk, Ryszard, Janusz Urbański i Monika Gąsowska. "The influence of morphological changes of small lowland river on discharge rate". Annals of Warsaw University of Life Sciences, Land Reclamation 46, nr 4 (1.12.2014): 279–90. http://dx.doi.org/10.1515/sggw-2015-0002.
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Abstract The influence of morphological changes of small lowland river on discharge rate. The aim of the study was the comparison of the changes of cross-sections and longitudinal profile of the Mała river at the distance of 600 m. The paper presents the geometry changes of the river from field measurements made in 2013 in comparison with design assumptions from 1967 which were implemented in 1971. The four (available historical) cross-sections (hm 7+700, 7+800, 7+900, 8+000) and longitudinal profile (hm 7+700÷8+300) of the river were analysed and compared. The large scale of subsidence of the land surface on both banks was observed (even to 0.5 m). Probably it is the effect of peat shrinkage and mineralization processes of organic soils. The bottom of the Mała river was still located at the same altitude in sand deposits in the analysed period 1971-2013. The designed slope of bottom of the Mała river equals 0.7‰ (1967) and present slope (2013) was estimated to be around 1‰. The subsidence of peat layers on both river banks, changes in cross-sections’ parameters (present irregular shapes in comparison with designed trapezoidal cross-sections) caused the reduction of cross-sectional area and water discharge of about 40-50% in comparison with parameters designed in 1967 and made in 1971.
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Tricaud, Sabrina. "L’amiral Chaline, collaborateur militaire de Georges Pompidou (1967-1971)". Revue Défense Nationale N° 835, nr 10 (3.12.2020): 115–18. http://dx.doi.org/10.3917/rdna.835.0115.
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Bavula, V. V. "Characterizations of left orders in left Artinian rings". Journal of Algebra and Its Applications 13, nr 07 (2.05.2014): 1450042. http://dx.doi.org/10.1142/s021949881450042x.
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Small (1966), Robson (1967), Tachikawa (1971) and Hajarnavis (1972) have given different criteria for a ring to have a left Artinian left quotient ring. In this paper, three more new criteria are given.
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Reis, Carlos F. de Sousa, i Joaquim M. Fernandes Brigas. "A publicidade nos novos media". Comunicação e Sociedade 2 (28.01.2000): 527–33. http://dx.doi.org/10.17231/comsoc.2(2000).1418.
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Desde que McLuhan (1967; 1971; 1979) demonstrou que a sociedade tem sido mais moldada pela natureza dos media do que pelo conteúdo da comunicação que não nos surpreendem as mutações verificadas em diferentes âmbitos...
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De Souza Pinto, Paulo Vitor. "As alterações políticas da Igreja Católica entre 1967 e 1971". SOCIAL REVIEW. International Social Sciences Review / Revista Internacional de Ciencias Sociales 9, nr 3 (4.01.2021): 217–34. http://dx.doi.org/10.37467/gka-revsocial.v9.2619.
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O presente artigo é resultado da pesquisa de mestrado desenvolvida no Programa de Pós-Graduação em Educação, da Universidade de São Paulo. Temos como objetivo disertar sobre as alterações políticas da Igreja Católica entre 1967-1971. Utilizamos como fonte documental os Campanhas da Fraternidade. Em um primeiro momento identificamos a Igreja como uma instituição social, em seguida desenvolvemos a divisão da Igreja em alas conservadora, progressista e libertadora. Por fim, foi possível identificar que a Igreja Católica apresentou-se em 1967 uma instituição com aspectos da ala conservadora. Entretanto com o passar dos anos, Igreja adotou uma postura mais progressista.
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Boucot, A. J., i Rong Jia-Yu. "Aenigmastrophiidae, new family (Brachiopoda, Silurian)". Journal of Paleontology 68, nr 2 (marzec 1994): 405–7. http://dx.doi.org/10.1017/s0022336000022988.
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While preparing materials for the pentameroid portion of the Treatise on Invertebrate Paleontology revision of the brachiopod volumes, problems were encountered with four enigmatic genera: Rugolepyros Lenz, 1989; Aenigmastrophia Boucot, 1971; Spondylostrophia Kulkov, 1967; and Stricklandistrophia Sapelnikov and Rukavishnikova, 1975.
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Zweiffel, Łukasz. "Transformacja społeczna i polityczna w Niderlandach w latach 1967–1971". Rocznik Administracji Publicznej 6 (2020): 225–36. http://dx.doi.org/10.4467/24497800rap.20.012.12906.
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Social and Political Transformation in the Netherlands in 1967–1971 The author deals with the subject of social and political transformation that took place in the Netherlands at the turn of the 1960s and 1970s. This was a key transformation for the existence of the now tolerant and open Netherlands. It entailed permanent changes, not only in the cultural and social spheres, but also reflected in Dutch politics.
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PLOWRIGHT, W. "Ivestigations of rinderpest antibody in East African Wildlife, 1967-1971". Revue Scientifique et Technique de l'OIE 6, nr 2 (1.06.1987): 497–513. http://dx.doi.org/10.20506/rst.6.2.296.
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Lalor, Paul. "Black September 1970 : the Palestinian resistance movement in Jordan, 1967-1971". Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356993.
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Oliveira, Nayara Alves de. "A Faculdade de Educação da Universidade Federal De Sergipe (1967-1971) : origens e contribuições". Universidade Federal de Sergipe, 2011. https://ri.ufs.br/handle/riufs/4769.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorIn this study, we selected the College of Education (Faculdade de Educação) (FACED) from Federal University of Sergipe (Universidade Federal de Sergipe) (UFS) as an object of analysis, which represents the first FACED created in the state. The study was limited in time between 1967 and 1971, once these are the years that marked the creation of the College and the graduation of the first class of the Faculty of Education. In the case of a historical research work, the institution has been analyzed by methodological procedures involving documentary analysis and bibliographic review, both anchored in the assumptions of the New Cultural History. The Oral History supports semi-structured interviews and statements from former teachers, former employees and former students of the institution. After the initial analysis, the research reveals that the Faculty of Education of Federal University of Sergipe, legally established in 1967, was only installed in 1968 through the breakup of the Catholic Faculty of Philosophy of Sergipe. The creation and association of the FACED to the cited University was a requirement of the Federal Council of Education, by the reporter of the creation of the UFS, Newton Sucupira.
Neste estudo, foi selecionado como objeto de análise a Faculdade de Educação (FACED) da Universidade Federal de Sergipe (UFS), a qual representa à primeira FACED criada no Estado. O trabalho foi delimitado temporalmente entre 1967 e 1971, por serem estes os anos que marcaram a criação da Faculdade e a colação de grau da primeira turma do curso de Pedagogia. Em se tratando de um trabalho de pesquisa histórica, a instituição foi analisada mediante procedimentos metodológicos envolvendo a análise documental e a análise bibliográfica, ambas ancoradas nos pressupostos da Nova História Cultural. A História Oral ofereceu suporte a entrevistas semi-estruturadas e depoimentos de ex-professores, ex-funcionários e ex-alunos da instituição. Diante da análise, a pesquisa revelou que a Faculdade de Educação da Universidade Federal de Sergipe, criada legalmente em 1967, só foi instalada em 1968 através do desmembramento da Faculdade Católica de Filosofia de Sergipe. A criação e a integração da FACED à Universidade citada foi uma exigência do Conselho Federal de Educação, através do relator do processo de criação da UFS, Newton Sucupira.
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Ali, Rabia Fatima. "Inheriting the earth : Pakistan People's Party, popular mobilisation and political conflict in Pakistan, 1967-1971". Thesis, University of Cambridge, 1991. https://www.repository.cam.ac.uk/handle/1810/251496.
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Détraz, Marie-Pierre. "The attrition of dogma in the legal press under Brezhnev : Literaturnaya gazeta (Second Section), 1967-1971". Thesis, University of Birmingham, 1992. http://etheses.bham.ac.uk//id/eprint/234/.
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The purpose of this thesis is to establish the contribution of the Soviet weekly, Literaturnaya gazeta, to the debunking of official dogmas during the Brezhnev years. Launched in 1967, the second section of Literaturnaya gazeta has frequently been dismissed as a mere safety valve, highly controlled by the authorities, to placate the educated middle classes demoralized by the conservative backlash. It is argued in this study that, although the paper accepted the political parameters of the post-Thaw conservative leadership, as evinced, in particular, by the extreme limitations of the economic debates and the absence of any material investigating the country’s Stalinist past, it nevertheless succeeded in promoting values which ran counter to the official ideology. The paper reflected the demoralization of Soviet society and its inability to change within the existing structures. Soviet society emerged as being morally corrupt, riddled with individualism, suspicion and petty authoritarianism. Individuals were shown at the mercy of faceless bureaucracies and overpowered by a judiciary system dominated by the state procuracy. The paper actively promoted a more individual-centred type of society by overtly challenging the collectivist ethos, campaigning for the recognition of consumer rights and arguing the case for a fairer judiciary system.
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Townsend, Rebecca Marie Hudson Fraser Berkley. "Webs of intimacy and influence unraveling writing culture at Harper's magazine during the Willie Morris years (1967-1971) /". Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/5356.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on January 19, 2010). Thesis advisor: Dr. Berkley Hudson. Includes bibliographical references.
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Duarte, Theo Costa. "O cinema de vanguarda em diálogo com as artes visuais: contrastes e paralelos em experiências brasileiras e norte-americanas (1967-1971)". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-27092017-103239/.
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O objetivo da tese é discutir e analisar filmes realizados entre 1967 e 1971 que, ainda no estrito campo do cinema, estabeleciam franco diálogo com as experiências mais recentes das vanguardas nas artes visuais. Os dois eixos da investigação se referem a produções de duas vertentes cinematográficas contemporâneas que se consolidaram em Nova York e no Rio de Janeiro sob os rótulos de \"Cinema estrutural\" e de \"Cinema marginal\", respectivamente. Ambas tendências, qualificadas como \"cinema experimental\", surgiam no rastro de vanguardas artísticas com fortes desdobramentos nas artes visuais, no que ficou conhecido como minimalismo nos Estados Unidos e o um \"pós-tropicalismo\" ou marginália no Brasil. Nos filmes que podem ser tomados como mais representativos desta relação - Wavelength (1967), de Michael Snow; Serene Velocity (1970), de Ernie Gehr; Mangue Bangue (1971), de Neville d\'Almeida e Lágrima-Pantera, a Míssil (1971), de Júlio Bressane - busca-se analisar as principais operações formais a partir de questões e posicionamentos provindos de tendências das artes visuais ao lado de discussões teóricas cinematográficas, principalmente aquelas relativas à vanguarda no cinema. No segundo eixo, aproxima-se as contemporâneas experiências de Hélio Oiticica no cinema e em demais meios audiovisuais. Acompanhada desta análise formal buscamos situar estas obras no percurso de seus autores e no contexto artístico e cultural no qual se inseriam. Propõe-se assim, ao final, observar os paralelos e contrastes entre essas experiências e as razões de suas descontinuidades.The main purpose of the thesis is to discuss and analyse films from the late 60\'s and early 70\'s that, althought in the strict field of cinema, established a frank dialogue with the most recent experiences of the avant-garde. The two axes of the investigation refer to productions of two contemporary cinematographic strands that took place in New York and Rio de Janeiro known respectively as \"Structural film\" and \"Cinema marginal\". Both tendencies, usually considered in the same field of an \"experimental cinema\", emerged after and in direct association with the artistic avant-garde tendencies with strong ramifications in visual arts, like what became known as minimalism in the US and the \"post-tropicalism\" or marginália in Brazil. In the films that can be taken as the most representatives of this link - Wavelength (1967), by Michael Snow; Serene Velocity (1970), by Ernie Gehr; Mangue Bangue (1971), by Neville d\'Almeida and Lágrima-Pantera, a Míssil (1971), by Júlio Bressane - we seek to analyse its main formal operations based on questions and standings derived from contemporary visual arts tendencies next to theoretical discussions especifically cinematografic, especially those related to avant-garde cinema. On the second axis, the closeness with the contemporary experiences of Hélio Oiticica in film and in other audiovisual media is one of the focus. Accompanied by this formal analysis we also seek to situate these works in the path of their authors and in its artistic, cultural and political context in which they were placed. It is thus proposed, at the end, to observe the parallels e contrasts between these experiences and the reasons of their discontinuities.
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Orden, Verónica Analía. "Luz del norte". Doctoral thesis, Universitat Politècnica de Catalunya, 2010. http://hdl.handle.net/10803/397716.
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An infinite gray roof with different degrees of transparency is displayed with authority on a Scandinavia made of pieces, fragmented.
However, the sky that covers these lands unifies it. The light passes through it and reaches the level of human development in an ethereal way, like an intense white mist, with an almost liquid consistency that allows it to spill on every corner, object, person or building.
These particular characteristics can be reflected through art in paintings, films, writings and architectural works. The sensitivity of some artists to this imprecise reality, this forbidden heaven and this invasive northern light was sometimes the real pattern to recreate their art.
Vilhelm Hammershøi lived among grays, in a home with stripped interiors. The succession of one gray after in his paintings and images out of focus with fuzzy boundaries constitute a constant grisaille.
This unreal light invades Hammershøi's exteriors and architectural paintings, creating a particular atmosphere that was the main inspiration for the films of Carl Theodor Dreyer.
Black and white is manipulated in Dreyer's films. White prevails over black. The scale of lighter grays is used to show neutrality, purity, reality without sieves.
The manipulation of the northern light in Dreyer's films creates oppressive or ethereal indoor spaces. It also creates backlight exterior scenes where the characters struggle against being dissolved by the intense light or quiet outdoors where the characters disintegrate and almost merge with the background.
Poul Henningsen was obsessed with the manipulation of artificial light. He searched the warmth that the Nordic daylight was deprived of. The perfect balance between light and shadow was his goal in order to achieve quiet environments and meeting places.
He searched for the vibration of fire in his lamps, longing for the colour of sunlight and feeling nostalgia for his childhood which had passed around an oil lamp light.
The search for this vibration can also be found in the Faaborg Museum, designed by Carl Petersen, and it is also mentioned in his three conferences "Textures", "Contrasts" and "Colours."
The light passes through the sieve of colour to generate a feeling of warmth characteristic of other latitudes. Red, blue and yellow invade the art galleries, and create the background where the works of art are exhibited. Petersen considers light as the source of colour, all colours are present in it.
Erik Gunnar Asplund materialized the transition between tradition and modernity, having a critical and selective look over the new trends. With a tendency to stand out the functionally most important spaces of each building, he gave them relevance morphologically and with the use of light.
Arne Jacobsen follows Asplund's steps. A distinct identity emerges and Jacobsen is one of the architects that build on an anonymous Danish architecture background and the prospects of modern architecture.
The northern light in the Scandinavian buildings is filtered through designed openings, gaps through which the light slips creating domes, walls and beams, defined by the shadow gradually gaining ground.
From light to darkness there is an innumerable range of tonalities, curves and planes, in other words, architectural forms.
The simplicity and minimalism present in these artists is unintentional. The light fills their paintings, cinematic landscapes, objects and architecture. The density of the northern light compensates the characteristic nudity of their works; emptiness does not have a place in the Nordic reality.Una cubierta en infinitos grises y con distintos grados de transparencia se despliega autoritariamente sobre una Escandinavia hecha de trozos, partida, fragmentada. Sin embargo el cielo que sobre ella se extiende la unifica. La luz la atraviesa y llega al plano del desarrollo humano de forma etérea, como una neblina de color blanco intenso, con un carácter casi líquido que le permite derramarse sobre cada rincón, objeto, persona o edificio. Estas características particulares pueden verse plasmadas a través del arte en lienzos, películas, escritos y obras arquitectónicas. La sensibilidad de algunos artistas a esta realidad imprecisa, a este cielo prohibido y a esta invasiva luz del norte, fue, en algunos casos, el motivo elegido para recrear su arte. Entre grises Vilhelm Hammershøi recorrió su hogar, vivió junto a Ida en interiores despojados. La sucesión de un gris tras otro es lo que se retrata en sus lienzos, imágenes fuera de foco con límites borrosos que constituyen una constante grisaille. La onírica luz de Hammershøi invade también sus exteriores y sus pinturas de arquitectura, creando un particular clima, que constituyó la principal inspiración para el cine de Carl Theodor Dreyer. El blanco y negro del cine de Dreyer es manipulado, el blanco está mucho más presente que el negro. La gama de grises más claros es utilizada como medio para plasmar la neutralidad, lo puro, la realidad sin tamices. La manipulación de la luz del norte en el cine de Dreyer, genera ambientes interiores oprimentes o espacios etéreos, exteriores a contraluz en los que los personajes luchan para no ser disueltos por la intensa luminosidad sobre la cual se recortan, o exteriores apacibles en los que las figuras se disgregan y casi funden con su fondo. La manipulación de la luz artificial obsesionó a Poul Henningsen, buscando en la iluminación de la noche nórdica la calidez de la cual la luz diurna estaba privada. El perfecto equilibrio entre luces y sombras era su objetivo para lograr ambientes apacibles y de reunión. Buscó la vibración del fuego en sus lámparas, añorando el color de la luz del sol, y con nostalgia de su infancia que había transcurrido alrededor de la lámpara de petróleo. Lo mismo ocurre en el Museo de Faaborg, diseñado por Carl Petersen, y en lo expuesto en sus tres conferencias "Texturas", "Contrastes" y "Colores". La luz es pasada por el tamiz del color para ser modificada, para generar una sensación de calidez propia de otras latitudes. Rojos, azules, ocres, invaden las salas de exposición y sobre ellos se recortan las obras expuestas. Para Petersen la luz es la fuente del color, en ella todos los colores están presentes. Erik Gunnar Asplund concreta la transición entre tradición y modernidad, teniendo siempre una mirada crítica y selectiva de las nuevas corrientes. Con una tendencia a resaltar los espacios, que por funcionalidad son los principales de cada obra, se los jerarquiza morfológicamente y con el uso de la luz. Arne Jacobsen sigue los pasos de Asplund. Una identidad diferenciada surge y Jacobsen es uno de los exponentes que construye con el bagaje de una arquitectura danesa anónima y las perspectivas de la arquitectura moderna. La luz del norte se filtra en las obras escandinavas a través de aberturas diseñadas, huecos por los que la luz resbala creando cúpulas, muros, jácenas, que quedan delimitadas por la sombra que gana terreno progresivamente. De la luz a la sombra hay una infinidad de tonalidades, curvas y planos; en definitiva, formas arquitectónicas. Lo sobrio y minimalista de los artistas que se han mencionado es intencionado, la luz llena sus pinturas, sus paisajes cinematográficos, sus objetos y su arquitectura. La densidad de la luz del norte compensa la desnudez que caracteriza a sus obras, la vacuidad no tiene lugar en la realidad nórdica.
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SOUZA, Flávia Roberta Menezes de. "Em busca de Luciana: um estudo das instâncias narrativas em três romances de Dalcídio Jurandir". Universidade Federal do Pará, 2016. http://repositorio.ufpa.br/jspui/handle/2011/8069.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
O presente trabalho propõe um estudo sobre uma personagem singular em toda obra de Dalcídio Jurandir (1909-1979): Luciana. A história dessa personagem é encontrada de modo fragmentado no sexto, sétimo e oitavo romances da série Extremo Norte, na ordem: Primeira manhã (1967), Ponte do Galo (1971), Os habitantes (1976). Essa fragmentação é motivada pelas mudanças das “instâncias produtivas do discurso narrativo” (GENETTE, 1995) e pela constante participação do discurso das personagens – “characters’ discourse” (SCHMID, 2010) - na constituição da história de Luciana. Por essa razão, entende-se que Luciana é uma personagem cuja configuração precisa ser melhor estudada, a fim de compreender de que maneira o discurso do narrador, dos personagens e da própria Luciana contribuem para a sua composição enquanto personagem. As teorias no campo da narratologia de Gérard Genette (1995) e Wolfgang Schmid (2010) e a teoria do romance polifônico de Mikhail Bakhtin (2010) desempenham, neste trabalho, a importância de descrever os fenômenos responsáveis pelos diferentes discursos sobre Luciana e de ajudar a pensar o status dessa personagem no discurso narrativo dos três romances.
This paper proposes a study of a singular character in every work of Dalcídio Jurandir (1909- 1979): Luciana. The story of this character is found fragmented in the sixth, seventh and eighth novels of the Extremo Norte series, following the order: Primeira manhã (1967), Ponte do Galo (1971), Os habitantes (1976). This fragmentation is driven by changes in "productive instances of narrative discourse" (GENETTE, 1995) and the constant participation of the speech of the characters - "characters' discourse" (SCHMID, 2010) – in the constitution of Luciana's story. For this reason, it is understood that Luciana is a character whose setting needs to be further studied in order to understand how the discourse of the narrator, of the characters and of Luciana herself contribute to her composition as a character. The theories in the field of narratology of Genette (1995) and Wolfgang Schmid (2010) and the polyphonic novel theory of Mikhail Bakhtin (2010) play in this work the importance of describing the phenomena responsible for the different discourses on Luciana and assist to think of the status of this character in the narrative discourse of the three novels.
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Martini, Fátima Regina Sans [UNESP]. "O 'Grupo Tapir'e a pintura de casarios (1960-1980)". Universidade Estadual Paulista (UNESP), 2004. http://hdl.handle.net/11449/86996.
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martini_frs_me_ia.pdf: 6530425 bytes, checksum: 488d5f2b90e42c9541ceaf8ee9505801 (MD5)Universidade Estadual Paulista (UNESP)
Nos anos 1960 a 1980, alguns artistas seguiram na contramão da chamada arte de vanguarda ou da arte dos ismos, pintando principalmente casarios - seqüências de casas geminadas, freqüente no estilo arquitetônico colonial brasileiro - um assunto empregado em determinadas pinturas de paisagens urbanas. O tema foi amplamente consumido, ainda que possa ter sido considerado ultrapassado no período. Os artistas viveram de sua arte e participavam ativamente das exposições promovidas pelas principais galerias e mostras oficiais, assim como dos leilões de arte fomentados pelos mais importantes leiloeiros. Até o pesente, a pintura referente à atmosfera colonial é mencionada nos cursos de arte, prossegue comercialmente viável e é explorada nas grandes mostras. A nossa investigação partiu da proposta de valorização e do resgate do tema, observando a produção de alguns artistas paulistas, os quais constituíram o 'Grupo Tapir'. Através do cenário artístico paulista, inserimos os nomes dos mestres responsáveis pela formação do grupo. Esboçamos uma biografia dos cinco integrantes do 'Grupo Tapir' e a respectiva análise de suas obras a partir dos preceitos de iconografia de Erwin Panofsky (1892-1968), em Significado das Artes Visuais. Buscamos assim definir os valores perceptivos simbólicos, expressivos e emocionais dos casarios, como obra de arte no contexto da pintura de paisagens, relecionando os devaneios e sonhos relativos aos significado das casas, segundo as obras filosóficas de Gaston Bachelard (1884-1962).
From 1960 to 1980 some artists followed the wrong way in the called vanguard art or the art of the 'ismos', painting mainly casarios - sequence of houses, constantly old a topic used in cetain urban landscape's paintings. The theme was throughly consumed, however it can be considered outdated in the period. The artists lived their art and participated actively of the exhibitions promoted by the main galleries and official shows, as well as the auctions fomented by the most important auctioneers. Until now, the painting regarding the colonial atmosphere is reference in the art courses, it continues commercially viable and it is explored in the great displays. Our investigation began with the proposal of valorization and rescue of the theme, observing some artist's production fom São Paulo production, who constitued the Group Tapir. Through the paulista artists scenery we insert the responsible masters name for the formation of gourp.Sketched a biography about the five members of Group Tapir and athe respective analysis of their works starting from the iconography deductions of Erwin Panofsky(1892-1968), in Meaning in the Visual Arts. With this, we intend to define the perceptive, symbolic, expressive and emotional values of the casarios, as work of art in the context of the landscape's painting relating the dream and the relative dreams to the meaning of the houses, according to the philosophical works of Gaston Bachelard (1884-1962).
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Lobina, Matteo. "Más allá del realismo sucio. Ruido, Nocilla, historia y puntos ciegos en la novela española contemporánea. Desde Mañas hasta Cercas, pasando por Fernández Mallo". Doctoral thesis, Universitat de Girona, 2019. http://hdl.handle.net/10803/668198.
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This doctoral study focuses on a literary and cultural analysis of contemporary Spanish literature starting from the 1990. Historias del Kronen (Mañas, 1994) and its four sequels, represent a starting point for the analysis, through punk novels that challenge the present, depicted as cyclical, outside of history. Mañas’s literary rebellion is linked to Proyecto Nocilla (Fernández Mallo, 2013) where the objects become protagonists, and in which time, the perpetual present, is filled with hypertexts. The investment in metafiction in Mañas and Fernández Mallo is linked to the aesthetics of Javier Cercas who, since Soldados de Salamina (2001), has researched the role of the past in the present and has masked the limits of biography and imagination. In this sense, Cercas’s work, extended here to include El punto ciego (2016), and the novel El impostor (2014), is bound to the concept of truth, and historical memoryEl objetivo del presente estudio es llevar a cabo un análisis sobre la novela española contemporánea a partir de los años noventa del siglo XX. La novela Historias del Kronen (Mañas, 1994) y sus cuatro secuelas representan el punto de partida de la investigación mediante textos literarios “punk” que desafían al presente retratado como cíclico. La rebelión literaria de Mañas se conecta al Proyecto Nocilla (Fernández Mallo, 2013) donde los objetos se convierten en protagonistas, y el presente perpetuo es ritmado por medio de hipertextos. El recurso metaliterario en Mañas y Mallo conecta con la estética de Javier Cercas, que, a partir de Soldados de Salamina (2001), investiga sobre el rol del pasado en el presente, confundiendo los límites entre biografía e imaginación. El análisis del trabajo de Cercas se extiende hasta El punto ciego (2016), y El impostor (2014), para acercarse a conceptos como “verdad literaria” y memoria histórica
Książki na temat "1967-1971"
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1940-, Arnold Heinz Ludwig, red. Deutschstunden 1967-1971. München: Deutscher Taschenbuch, 1997.
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Soisalon-Soininen, Marjatta. Suomen kirjallisuus 1967-1971. Helsinki: Helsingin yliopiston kirjasto, Bibliografinen osasto, Kansallisbibliografian toimisto, 1992.
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Bowling, Frank. Map Paintings, 1967-1971. [London]: Hales Gallery, 2015.
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Prebisch, Cecilia Sabaté. El Tucumán musical: 1967-1971. S. M. [San Miguel] de Tucumán: Editorial de la Universidad Nacional de Tucumán, 2011.
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Kıvılcımlı, Hikmet. Sosyalist gazetesi yazıları, 1967-1971. Taksim, İstanbul: Diyalektik Yayınları, 1995.
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Jõerüüt, Jaak. Üks ja ainus: Luuletusi 1967-1971. Tallinn, Eesti: "TUUM", 1997.
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Sígl, Miroslav. Události, pravdy, zrady a nadějí: (1967-1971). Třebíč: Akcent, 2009.
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Yoshimura, Chikai. Owari yori hajimaru gotoshi: 1967--1971 henshū shiki. Wyd. 8. Tōkyō: Merukumāru, 2009.
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Mancini, Giacomo. I socialisti al tempo della luna: (discorsi 1967-1971). Cosenza: Periferia, 2007.
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Teti, Matthew. From Minimalism to Performance Art: Chris Burden, 1967–1971. [New York, N.Y.?]: [publisher not identified], 2018.
Znajdź pełny tekst źródłaCzęści książek na temat "1967-1971"
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Yodfat, A., i M. Abir. "Anticipating a Vacuum in the Gulf (1967–1971)". W In the Direction of the Persian Gulf, 59–76. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003343189-6.
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Sakade, Takeshi. "The second jet age and the bankruptcy of Rolls-Royce, 1967–1971". W The British Aircraft Industry and American-led Globalisation, 137–75. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003127901-7.
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Rosin, Philip. "Abschied von der „Adenauer-CDU“. Innerparteiliche Veränderungen in Regierungs- und Oppositionszeit 1967–1971". W Historisch-politische Mitteilungen, 135–58. Köln: Böhlau Verlag, 2019. http://dx.doi.org/10.7788/9783412514808.135.
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Crosson, Seán. "“A Self-Interested Silence”: Silences Identified and Broken in Peter Lennon’s Rocky Road to Dublin (1967)". W New Directions in Irish and Irish American Literature, 151–66. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-30455-2_8.
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AbstractThis chapter examines Irish cinema in the first half of the twentieth century, in particular representations of the clergy, in light of the existence of Ireland’s “architecture of containment” (Smith, Éire-Ireland 36:111–130, 2001) and framed with regard to Antonio Gramsci’s conception of hegemony and “common sense” (Selections from the Prison Notebooks of Antonio Gramsci. Lawrence and Wishart, London, 1971). It considers Peter Lennon’s 1967 documentary Rocky Road to Dublin as a key text in identifying the “self-interested silence” that has prevailed with regard to clerical control in Ireland up to our contemporary moment, the structures that maintained that silence, and the film’s important role in providing one of the first forums for that silence to be broken.
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Pelt, Mogens. "The Colonels’ coup of 1967 and the military takeovers in Turkey in 1960 and 1971". W The Greek Junta and the International System, 167–78. Abingdon, Oxon; New York: Routledge, 2020. | Series: Cold War history: Routledge, 2020. http://dx.doi.org/10.4324/9780429438691-16.
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Butterwegge, Christoph, i Lüder Meier. "Bremen — das kleinste Bundesland als parlamentarisches Experimentierfeld für die extreme Rechte (1951/52, 1967–1971, 1987–1995)". W Rechtsextremisten in Parlamenten, 55–146. Wiesbaden: VS Verlag für Sozialwissenschaften, 1997. http://dx.doi.org/10.1007/978-3-322-97372-6_3.
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Bräuninger, Renate. "Anne Teresa De Keersmaeker's Choreographies to Steve Reich's Music, the Re-creation of Musical Principles through Dance". W Musik und Klangkultur, 105–18. Bielefeld, Germany: transcript Verlag, 2023. http://dx.doi.org/10.14361/9783839458914-007.
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The Belgian choreographer Anne Teresa de Keersmaeker has numerous times used the music by Steve Reich as a source for her choreographies. In her dance pieces she has transmitted the compositional principles of Reich's music into movement. She is not simply visualising or translating different musical parameters into motion, rather she is re-creating compositional principals in a different medium. De Keersmaeker used less complex pieces by Reich at the beginning of her career, for example, in her choreography Fase, Four Movements to the Music of Steve Reich (1982), she uses the following compositions by Steve Reich: Piano Phase (1967), Come Out (1966), Violin Phase (1967), Clapping Music (1972). Later she creates more complex choreography like Drumming (1998) to Drumming (1970-1971) and Rain (2001) to Music for 18 Musician (1974-76). De Keersmaeker, like Reich is influenced by the radical transformations which took place in the arts in the 1960s. Traditional strategies of composition were questioned which resulted in new approaches such as, for example, minimalism. Here the endless repetition of small cells and phrases creates an emotional potential through intensity, which replaces the representation through gesture and tone painting, but nevertheless affects us at the interface between the visual and the acoustic. The examples chosen from Drumming shall demonstrate which physical equivalents for the compositional principles of the music are found by de Keersmaeker, how are principles like phase shifting, pattern layering, and accumulation re-created in movement and made visually transparent? How close is the choreography to the music and when does the choreographer decide to allow smaller or larger discrepancies between music and movement? How does the interdependence between music and movement influence the intensities emerging through repetition?
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Needham, Duncan. "Competition and Credit Control, 1971–73". W UK Monetary Policy from Devaluation to Thatcher, 1967–82, 46–77. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137369543_3.
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Goudsouzian, Aram. "Exiles (1967–1971)". W Sidney Poitier, 315–36. University of North Carolina Press, 2004. http://dx.doi.org/10.5149/9780807875841_goudsouzian.20.
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"The Stagnation, 1967–1971". W Russian War Films, 142–63. University Press of Kansas, 2024. http://dx.doi.org/10.2307/jj.11634962.12.
Pełny tekst źródłaStreszczenia konferencji na temat "1967-1971"
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Figueroa Pereira, Erick Abdel. "Grandes eventos como oportunidades de transformación urbana: los VI Juegos Panamericanos de 1971 en Santiago de Cali". W Seminario Internacional de Investigación en Urbanismo. Barcelona: Maestría en Planeación Urbana y Regional. Pontificia Universidad Javeriana de Bogotá, 2014. http://dx.doi.org/10.5821/siiu.6021.
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En 1967 la Organización Deportiva Panamericana (ODEPA) otorgó a la ciudad de Cali (Colombia) el derecho a
organizar los VI Juegos Panamericanos de 1971, el principal evento deportivo itinerante del continente
americano. Este trabajo se propuso responder a la siguiente pregunta: ¿cómo fue la relación entre el plan de
obras para la realización del certamen y los procesos del planeamiento urbano de Cali? Para determinar hasta
qué punto el evento produjo transformación urbana significativa, se utilizaron dos enfoques: 1. el sincrónico,
aplicado a la descripción y el análisis de los distintos planes urbanos comprendidos entre 1943 y 1971; 2. el
diacrónico, que examinó las principales actuaciones en urbanismo y arquitectura realizadas desde los sectores
público y privado. In 1967 the Pan American Sports Organization (PASO) awarded the city of Cali (Colombia) the right to host the
sixth Pan American Games of 1971, the most important sporting event in the Americas. This paper aims to
answer the following question: how was the relationship between the work plan for conducting the event and the
urban planning processes in Cali? To determine the extent to which the event produced significant urban
transformation, two approaches were used. 1. Synchronous, applied to the description and analysis of different
urban plans between 1943 and 1971; 2. Diachronic, which examined the main activities in urban planning and
architecture made from the public and private sectors.
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Kaklis, P. D. "The Curve-Mesh Concept in Reconstructing Smooth Surface From Noisy Data". W ASME 1990 Design Technical Conferences. American Society of Mechanical Engineers, 1990. http://dx.doi.org/10.1115/detc1990-0007.
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Abstract This paper is concerned with the problem of filtering the noise encountered in the measurements taken from a smooth (GC2-continuous) surface in the three-dimensional space. For this purpose, the data points are firstly considered to belong to a three-dimensional entity which is drastically simpler than a surface, namely the noisy curvature-continuous quadrilateral curve-mesh connecting the data points. The curve-mesh concept, apparently introduced by Hosaka (1969), is then combined with the concept of fairing in a statistical framework introduced by Reinsen (1967; 1971), yielding a constrained minimization problem for the fairing curve-mesh. After establishing that this problem has a unique solution in an appropriate Hilbert space, a convergent Newton-Raphson-type algorithm for constructing it in a cubic-spline subspace is presented in detail. Finally, the numerical performance of this algorithm in the context of a Monte-Carlo experimentation with the so-called Franke’s principal test function (1979,1980,1982) is discussed.
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Raynsford, Anthony. "Revolution or Co-Evolution? Radical Ecology and Social Design in Berkeley, Circa 1970". W 110th ACSA Annual Meeting Paper Proceedings. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.am.110.48.
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In Berkeley, California in the late 1960s, a number of prominent architects saw it as their responsibility, not so much to serve existing social needs as to collaborate with social forces that were in the process of an entirely new world, both physically and institutionally. These architects took their cues from ecology, systems theory, and counterculture communes, theorizing a dynamic unfolding of co-evolving social subjects, within which architectural design might join together with a radical politics of egalitarian interdependence. This paper especially focuses on the research and writing of Sim van Der Ryn between 1967 and 1971, tracing his transformation from an architect primarily concerned improving the social functions of architecture to an architect most closely identified with ecology and ecological systems. These two phases of his career, I would argue, are not as separate or disjunctive as they might first appear. Rather they are the flip sides of an ecological utopianism that emerged in the work of a number of architects around 1970, but whose original problems and meanings have been obscured in subsequent decades.
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Bowyer, Stuart. "A Continuous Emission Source Covering the 50 to 300 Angstrom Band". W Soft X-Ray Projection Lithography. Washington, D.C.: Optica Publishing Group, 1992. http://dx.doi.org/10.1364/sxray.1992.mc4.
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Because of the growing importance of extreme ultraviolet radiation, there is considerable interest in high intensity laboratory sources for this spectral range. A variety of sources have been proposed for these wavelengths, and many of these are described in the classic book of Samson (1967). Most of these sources have substantial limitations, especially those that are intended for use below 1200 Å. We (Paresce et al. 1971) and others have developed continuous discharge sources which are stable and maintenance-free and which provide a large number of intense lines at wavelengths down to ~300 Å. Soft X-ray sources of the type developed and refined by Henke (1975) are capable of producing substantial amounts of soft X-ray radiation. However, these sources have severe limitations for use at wavelengths longer than ~50 Å. For example, much of the radiation produced is continuum radiation with rather low flux at any specific line. In addition, the flux is peaked at shorter wavelengths. When dispersed by a grazing incidence monochromator, wavelengths at first order and many higher orders emerge from the exit slit, rather than a true monochromatic flux which is usually desired. Essentially the only sources available that can provide reasonable flux levels at wavelengths between 50 and 300 Å are capacitive discharge sources with attendant problems of severe electromagnetic interference, and plasma discharge sources.
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Miedema, Sape A. "An Overview of Theories Describing Head Losses in Slurry Transport: A Tribute to Some of the Early Researchers". W ASME 2013 32nd International Conference on Ocean, Offshore and Arctic Engineering. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/omae2013-10521.
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In dredging, the hydraulic transport of solids is one of the most important processes. Since the 50’s many researchers have tried to create a physical mathematical model in order to predict the head losses in slurry transport. One can think of the models of Durand and Condolios (1952) and Durand (1953), Worster and Denny (1955), Newitt et al. (1955), Gibert (1960), Fuhrboter (1961), Jufin and Lopatin (1966), Zandi and Govatos (1967) and Zandi (1971), Turian and Yuan (1977), Doron et al. (1987) and Doron and Barnea (1993), Wilson et al. (1992) and Matousek (1997). Some models are based on phenomenological relations and thus result in semi empirical relations, other tried to create models based on physics, like the two and three layer models. It is however the question whether slurry transport can be modeled this way at all. Observations in our laboratory show a process which is often non-stationary with respect to time and space. Different physics occur depending on the line speed, particle diameter, concentration and pipe diameter. These physics are often named flow regimes; fixed bed, shearing bed, sliding bed, heterogeneous transport and (pseudo) homogeneous transport. It is also possible that more regimes occur at the same time, like, a fixed bed in the bottom layer with heterogeneous transport in the top layer. It is the observation of the author that researchers often focus on a detail and sub-optimize their model, which results in a model that can only be applied for the parameters used for their experiments.