Bibliografias temáticas / Germany Rohr

Literatura científica selecionada sobre o tema "Germany Rohr"

Autor: Grafiati
Publicado: 26 de julho de 2024

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Artigos de revistas sobre o assunto "Germany Rohr"

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Stanford, Charlotte A. "Theresa Earenfight, ed., Royal and Elite Households in Medieval and Early Modern Europe: More than Just a Castle. Explorations in Medieval Culture 6. Leiden and Boston: Brill, 2018. 416 pp." Mediaevistik 31, n.º 1 (1 de janeiro de 2018): 251. http://dx.doi.org/10.3726/med012018_251.

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This collection of sixteen essays examines the households of royal and aristocratic figures from the ninth through sixteenth centuries in Western Europe. Based on a variety of sources, ranging from economic records to letters, wills, legal charters, and inventories, the studies in this volume showcase the complexity of great households with their large cast of characters. While length restrictions make detailed discussion of individual essays impractical here, the different contributions complement each other along several thematic strands, notably court studies, economic history, and especially gender studies. Nine contributors focus on female households (Megan Welton, Penelope Nash, Linda E. Mitchell, Eileen Kim, Sally Fisher, Caroline Dunn, Manuela Santos Silva, Zita Rohr, and Theresa Earenfight), five on primarily male households (David McDermott, Alexander Brondarbit, Alana Lord, Audrey M. Thorstad, and Hélder Carvalhal), and one deals equally with the households of a king and queen (Isabel de Pina Baleiras). Many of the contributors focus on English material, although several essays give insights on France, Germany, Italy and the Iberian Peninsula.
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Odiņa, Indra, e Inga Zeide. "THE THEORETICAL ASPECTS OF WELL-BEING IN THE CONTEXT OF LIFELONG LEARNING". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (26 de maio de 2017): 519. http://dx.doi.org/10.17770/sie2017vol2.2376.

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In 2006 the European Parliament and European Union Council has defined eight key competences for lifelong learning, necessary for personal fulfillment and development, active citizenship, social inclusion and employment. Since the economic crisis of 2008, the world is looking for new ways and methods to ensure the well-fare and reformulate the value of human life. Currently at EU level, one of the most important debates closely connected with the basic context of lifelong learning is on the dimensions of life quality. The desk study deals with the qualitative content analysis of the documents of EU, OECD, data of the projects of Office of National Statistics in Latvia, the U.K. and Germany, research of Ruff (1995), Rath and Harter (2010), Layard (2005), Rohr (2014), etc. The dimensions of life quality in different sources and by different authors have been defined similarly indicating that the qualitative indicators are as important as the quantitative. It is clear that the quality of life cannot be measured only by quantitative indicators such as income or birth / mortality. This article discusses the theoretical aspects of such dimension of life quality as well-being in different sources, compares and analyses them in the Latvian context.
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Kelly, Joseph F. "Der Theoderich-Panegyricus des Ennodius. By Christian Rohr. Monumenta Germaniae Historiae, Studien und Texte 12. Hannover, Germany: Hahnsche Buchhandlung, 1995. xxxvii + 308 pp. DM 80." Church History 66, n.º 4 (dezembro de 1997): 786–87. http://dx.doi.org/10.2307/3169220.

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Hanenberg, Norbert, e Daniel Lohmann. "The Verseidag Silk Factory in Krefeld. Architectural History and Restoration of a much-neglected Mies van der Rohe Project". Heritage of Mies, n.º 56 (2017): 16–25. http://dx.doi.org/10.52200/56.a.3f4yitqa.

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Although the buildings for the Verseidag silk factory, in Krefeld, Germany, are the only factory buildings that Mies van der Rohe ever planned and built (1931-38), many open questions remain about the history and development of the site. The paper presents new research results on the architectural history and materiality of the site that are derived from detailed documentation on site and analysis of newly available archive material. The scientific results and the acquired knowledge directly influence the current restoration of the buildings, in which the key characteristics designed by Mies van der Rohe are preserved and restored.
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Guereñu, Laura Martinez De. "The Sequence of Mies van der Rohe in Barcelona: the German Pavilion as Part of a much Larger Industrial Presence". Heritage of Mies, n.º 56 (2017): 56–63. http://dx.doi.org/10.52200/56.a.uy5o2bw6.

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The German Pavilion for the 1929 Barcelona International Exhibition was part of a much larger exhibiting sequence, which Mies van der Rohe and Lilly Reich constructed following their main undertaking in the Barcelona industrial exhibits: to design the entire German section. By the time Mies van der Rohe started the project of the German Pavilion, he had already been working for more than 4 months on the construction of the identity and representation of the strength of the German industrial fabric, which he would architecturally express in the interior design of 8 neoclassical palaces. Hence, the two most innovative architectural elements of the German Pavilion – the milky color double-glazed wall and the chrome-plated cross-shaped posts – can be traced back to the interiors of these palaces. The 16,000 m2 of industrial exhibits, not reconstructed in 1986, form today the immaterial heritage that underpins the historical relevance of the Barcelona Pavilion. 3 documents, including a sequence from the official exhibition film, preserve the order linking the range of Mies van der Rohe’s work in Barcelona and broaden the historical meaning of one of the most important works of architectural modernism.
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Verbeek, J. W., C. S. de Leeuw, N. Parker e Th E. Wong. "Characterisation and correlation of Tertiary seismostratigraphic units in the Roer Valley Graben". Netherlands Journal of Geosciences - Geologie en Mijnbouw 81, n.º 2 (agosto de 2002): 159–66. http://dx.doi.org/10.1017/s0016774600022393.

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AbstractWithin the Cenozoic sedimentary section of the Roer Valley Graben ten seismostratigraphic units have been identified. They are closely related to the lithological framework which makes it possible to recognize diem also on well logs in this region. The Lower Tertiary seismic units, representing mainly marine sediments, have a uniform development mat can be correlated over large distances into the German part of the Roer Valley Graben. The marine to continental Upper Tertiary and Quaternary seismic units display a more complex development due to lateral facies changes (including prograding delta systems) and rift tectonics.
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Westerhoff, W. E., H. A. Kemna e W. Boenigk. "The confluence area of Rhine, Meuse, and Belgian rivers: Late Pliocene and Early Pleistocene fluvial history of the northern Lower Rhine Embayment". Netherlands Journal of Geosciences - Geologie en Mijnbouw 87, n.º 1 (março de 2008): 107–25. http://dx.doi.org/10.1017/s0016774600024070.

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AbstractThe fluvial history of the northern Lower Rhine Embayment shows interplay of three main river systems: Rhine, Meuse and smaller rivers draining the central and northern part of Belgium.The Pliocene and Early Pleistocene (pre-)Rhine and Meuse river systems had their conjunction in the southern part of the Roer Valley Graben between Aachen and Jülich. Despite slight differences in the heavy-mineral assemblages the lithological composition of the Pliocene deposits of the three river systems shows close resemblance and therefore they cannot be mapped separately. However, due to a marked change of the petrographical composition the Upper Pliocene and Lower Pleistocene deposits of the Rhine are easily recognised and as a result Rhine and Meuse deposits can be mapped separately upstream of their confluence.The Lower Pleistocene deposits of Rhine, Meuse and the Belgian rivers show a clear interrelationship. They are bounded by two regional well-mapable unconformities and are preserved in from west to east changing lithostratigraphical sequences. Revision of the lithostratigraphical schemes in Germany and the Netherlands and the better defined lithostratigraphical position of Meuse deposits in Germany now strongly constrain the correlation of the various fluvial deposits. As a result existing reconstructions of the fluvial deposition and tectonic history of the southern Roer Valley Graben can be evaluated and re-adjusted.It is concluded that the main course of the Meuse was aligned through the so-called East Meuse valley during the larger part of the Early Pleistocene. Available pollen data do not conflict with this conclusion. At the same time the Rhine ceased to enter the southern part of the Roer Valley Graben. Instead, the Meuse accumulated here a series of deposits derived from the East-Meuse valley. Simultaneously, the Belgian rivers filled available accommodation space in the Roer Valley Graben of the southern Netherlands. The conclusions are based primarily on the revised lithostratigraphical framework. In general they simplify the picture of fluvial and tectonic behaviour of the area.
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Caetano, André. "ENSAIO: 1929: Reexistência em Barcelona". Revista Prumo 4, n.º 7 (15 de novembro de 2019): 74–86. http://dx.doi.org/10.24168/revistaprumo.v4i7.1124.

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This present article is a case study that seeks to understand the multiplicity of the concept of Reexistence through the Barcelona Pavillion, by Mies van der Rohe. Through an analysis of the context in which the work was thought, of its structure and its design, it seeks to make clear the unique legacy the work has in the twentieth century and it is capable to give new meanings to the idea of Reexistence. In this sense, this notion is both applicable to the bodily experience of the individual in the city, as a work of art, and to notion had about Germany in the international artistic community in a delicate moment for the country, as a symbol of philosophical and constructive thought. Keywords: Barcelona Pavillion, Mies van der Rohe, Reexistence
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Kasse, C., R. T. Van Balen, S. J. P. Bohncke, J. Wallinga e M. Vreugdenhil. "Climate and base-level controlled fluvial system change and incision during the last glacial–interglacial transition, Roer river, the Netherlands – western Germany". Netherlands Journal of Geosciences 96, n.º 2 (19 de dezembro de 2016): 71–92. http://dx.doi.org/10.1017/njg.2016.50.

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AbstractThe fluvial development of the Roer river in the southeastern Netherlands and western Germany is presented for the Late Pleniglacial, Late-glacial and Early Holocene periods. Reconstruction of fluvial-style changes is based on geomorphological and sedimentological analysis. Time control comes from correlation to the pollen-based biochronostratigraphic framework of the Netherlands combined with independent optically stimulated luminescence (OSL) ages. At the Pleniglacial to Late-glacial transition a system and channel pattern change occurred from an aggrading braided to an incising meandering system. Rapid rates of meander migration, as established for the Late-glacial by optical dating, were likely related to the sandy nature of the substratum and the Late-glacial incision of the Meuse that resulted in a higher river gradient in the downstream part of the Roer. In the Roer valley the Younger Dryas cooling is not clearly reflected by a fluvial system response, but this may also be related to Holocene erosion of Younger Dryas fluvial forms. An important incision and terrace formation was established at the Younger Dryas to Early Holocene transition, probably related to forest recovery, reduced sediment supply and base-level lowering of the Meuse. The results of this study show a stepwise reduction in the number of channel courses from a multi-channel braided system in the Pleniglacial, to a double meander-belt system in the Late-glacial and a single-channel meandering system in the Early Holocene. The results show that the forcing factors of fluvial-system change in the Roer valley are climate change (precipitation, permafrost and vegetation) and downstream base-level control by the Meuse.
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Pireddu, Alberto. "Mies van der Rohe. Progetto per Mansion House Square a Londra". Firenze Architettura 25, n.º 1 (19 de outubro de 2021): 148–57. http://dx.doi.org/10.36253/fia-13172.

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This article is a critical essay on Mies van der Rohe’s Mansion House Square project in London. The bronze and glass tower and the stone square possess an almost iconic value in that they are a witness of a solid idea of the city, ripened through his experiences in Germany and the United States, which inevitably coincides, having contributed to determine it, with the history of the European city and its evolution during the 20th century.
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Teses / dissertações sobre o assunto "Germany Rohr"

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Schröder, Gesine. "Raffiniert ... oder lieber roh?" Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-60680.

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Neun Jahre nach der russischen und französischen Erstveröffentlichung erschien 1922 im Russischen Musikverlag neben der englischen schließlich auch eine deutsche Übersetzung von Rimsky-Korsakows berühmtem Traktat. Exemplarisch wird die Rezeption von Rimsky-Korsakows Schrift untersucht 1. in nach 1922 geschriebene deutschsprachigen Instrumentationslehren 2. in Dokumenten des hochschulischen Unterrichts 3. in der deutschsprachigen Historiographie der fraglichen musiktheoretischen Teildisziplinen 4. anhand Kompositionen aus der Zeit um 1930. Die mit dem Orchester verbundenen Klangideale hatten sich gewandelt. Man legte Wert auf Trennschärfe und erstrebte einen Klang, der ein gespaltener genannt und als Gegensatz zu einem verschmelzenden konstruiert wurde. Man suchte eine rohe, holzschnitthafte Orchestration. Den tiefen klangtechnischen Einsichten Rimsky-Korsakows und dem Raffinement des russischen Orchestrators konnten und wollten sich die Musiker dennoch nicht entziehen. Im Konflikt zwischen der Faszination durch seine Schrift und der neuen Klangmode zeichneten sich alsbald mehrere Lösungen ab. Besonders eine war erfolgreich: Rimsky-Korsakows ausdrückliche Empfehlungen ließen sich gegen den Strich bürsten oder auch allzu wörtlich nehmen; genau das verbürgte in den Dreißiger Jahren Expressivität
Nine years after the Russian and eight after the French first publications, the German, alongside the English translation of Rimsky-Korsakov’s famous treatise was eventually published by the Edition Russe de musique in 1922. In answering this question, the following has been taken into account: i) orchestration guides written in German after 1922; ii) documents from education institutions; iii) German historiography of the theoretical discipline in question; and iv) works by German composers who are known to have reacted against Rimsky-Korsakov’s model of orchestration. The sound ideal associated with the orchestra had changed. Selectivity was emphasized and composers sought to create an orchestral sound that was seen as ‘split up’ and thought of as the opposite to something merging and melting. The new composers sought a raw, woodcut-like orchestration. Some musicians nonetheless could not or did not want to escape from the deep technical insights of Rimsky-Korsakov, from the sophistication and raffinement of the Russian orchestrator. The conflict between the fascination by his writing and the new sound fashion soon offered multiple solutions. Especially one of them was successful: Rimsky-Korsakov\\\'s explicit recommendations could be understood against the grain, or could be taken too literally: in the thirties just this guaranteed expressivity
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Cooke-Plagwitz, Jessamine Penrose. "Der rohe Scherz, representation and perception of women in German comedies of the eighteenth and nineteenth centuries". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0005/NQ31920.pdf.

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Rowe, Michael. "German civil administrators and the politics of the Napoleonic State in the Department of the Roer, 1798-1815". Thesis, University of Cambridge, 1996. https://www.repository.cam.ac.uk/handle/1810/272814.

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Mena, Palacín Raúl. "Oteiza-Newman-Mies van der Rohe: espacios compartidos. Una hermenéutica de la desocupación del espacio en escultura, pintura y arquitectura". Doctoral thesis, Universitat Pompeu Fabra, 2012. http://hdl.handle.net/10803/85062.

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El propósito de este estudio es abordar el concepto de espacio y, en particular, su desocupación, a través de tres obras: Caja Vacía/Metafísica de Jorge Oteiza, Who´s afraid of red, yellow and blue de Barnett Newman y el Pabellón de Alemania de Ludwig Mies van der Rohe. El discurso se construye a través de un transitar sobre la banda de Moebius y en su vaivén y en su doblez aparecen y desparecen imágenes, ideas y textos sobre los que fluye la voluntad de construir una interpretación nueva sobre el objeto descrito. Martin Heidegger, Gilles Deleuze y Gaston Bachelard son los tres sostenes teóricos de esta estructura. Y más cerca y más lejos de este texto siempre se mantiene la difícil tarea de entender cuál es la forma de habitar y de ser (Ich bin) del hombre en la tierra.
The purpose of this study is to address the concept of space and, in particular, its disoccupation through three different pieces of work: Empty/Metaphysical Box by Jorge Oteiza, Who´s afraid of red, yellow and blue by Barnett Newman and German Pavilion by Ludwig Mies van der Rohe. The discourse is constructed through a move on the Moebius band, its swing and double apparition and disappearance of images, ideas and texts which build a new interpretation of the subject matter. Martin Heidegger, Gilles Deleuze and Gaston Bachelard are the three theorists of this structure. The difficult task of understanding what is the way of living and being of man (Ich bin) on earth always remains what is closer and further away from this text.
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Livros sobre o assunto "Germany Rohr"

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Museum für Moderne Kunst (Frankfurt am Main, Germany). Peter Roehr. Frankfurt am Main: Museum für Moderne Kunst, 1991.

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2

Andreas, Bee, Engler Martin, Denninger Daniela, Dirting Corinna, Zocher Tanja, Städtische Galerie im Städelschen Kunstinstitut Frankfurt am Main e Museum für Moderne Kunst (Frankfurt am Main, Germany), eds. Peter Roehr. Petersberg: Michael Imhof, 2009.

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Wahle, Christina, e Ray Malone. Gerold Miller: Mies van der Rohe. Editado por Verein der Freunde und Förderer des Mies van der Rohe Hauses e.V. e Mies van der Rohe Haus. Berlin]: Form + Zweck, 2014.

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Pavia, Laura. Ludwig Mies van der Rohe: Neue Nationalgalerie in Berlin 1962-1968. Bari: Ilios, 2013.

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Plüm, Kerstin, e Kerstin Meincke. Mies van der Rohe im Diskurs: Innovationen - Haltungen - Werke : aktuelle Positionen. Bielefeld: Transcript, 2013.

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1950-, Cramer Johannes, Sack Dorothée, Gaier Martin e Mies van der Rohe, Ludwig, 1886-1969., eds. Mies van der Rohe: Frühe Bauten : Probleme der Erhaltung, Probleme der Bewertung. Petersberg: M. Imhof, 2004.

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G, Miller Edward. A dark and bloody ground: The Hürtgen Forest and the Roer River dams, 1944-1945. College Station: Texas A&M University Press, 1995.

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Gosta, Francesca, Mirko Russo e Renato Capozzi. The museum of 20th century: L'ampliamento della Galleria Nazionale di Berlino di Mies van der Rohe. Canterano (RM): Aracne, 2020.

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9

Hilpert, Thilo. Mies van der Rohe im Nachkriegsdeutschland: Das Theaterprojekt : Mannheim 1953 = Mies in postwar Germany : project 5207, unbuilt : the Mannheim Theater. Editado por Mies van der Rohe, Ludwig, 1886-1969., Schulze Franz 1927-, Sablowski Anke e Meisterhaus Kandinsky-Klee (Dessau Germany). Leipzig: E.A. Seemann, 2001.

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10

A. M. P. P. Janssen. Spätmittelalterliche Holzskulptur zwischen Maas, Rur und Wurm =: Laatmiddeleeuwse houten beelden tussen Maas, Roer en Worm. 2a ed. [Heinsberg]: Kreis Heinsberg, 2001.

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Capítulos de livros sobre o assunto "Germany Rohr"

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Watson, Victoria. "Architecture and Faux-nationalism: reflections on a remark made by the British architectural historian Gavin Stamp about the German-American architect Ludwig Mies van der Rohe". In After Belonging, 123–30. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003317296-9.

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"Mies van der Rohe and Crown Hall". In German Façade Design, 319–55. Routledge, 2016. http://dx.doi.org/10.4324/9781315584621-11.

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Woodman, A. J. "Introduction: The Literature of War". In Tacitus Reviewed, 1–20. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198152583.003.0001.

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Abstract It was on the last Monday in January exactly fifty years ago that Adolf Hitler became Chancellor of Germany The event has been described by Alan Bullock in his celebrated book:1 During the morning a silent crowd filled the street between the Kaiserhof and the Chancellery ... At a window of the Kaiserhof, Rohm was keeping an anxious watch on the door from which Hitler must emerge.
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"The German Counteroffensive and the Drive to the Roer River, 16 December 1944–22 February 1945". In Normandy to Victory, 213–304. The University Press of Kentucky, 2008. http://dx.doi.org/10.2307/j.ctt2jcr3j.9.

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Sylvan, William C., e Francis G. Smith. "The German Counteroffensive and the Drive to the Roer River, 16 December 1944–22 February 1945". In Normandy to Victory, 213–303. University Press of Kentucky, 2008. http://dx.doi.org/10.5810/kentucky/9780813125251.003.0006.

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Orekhova, Polina D. "Annotations in the Margin: Thomas Mann’s Reading of Dostoevsky’s Notes from Underground". In “Notes from Underground” by F.M. Dostoevsky in the Culture of Europe and America, 407–16. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0668-0-407-416.

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The article focuses on Thomas Mann’s reception of Dostoevsky‘s Notes from Underground and is based on materials (books and annotations) from Thomas Mann’s personal library (Thomas-Mann-Archiv, ETH-Zurich). The annotated passages can be assigned to two complexes of themes: first, human nature’s inherent inclination to destruction and chaos versus the concept of civilization, second, the narrator’s self-characterization. The annotations will be compared with quotes from Mann‘s essay Dostoevsky — in Moderation, which illuminates the importance of the Notes from Underground for the reception of Dostoevsky by Mann and also shows the characteristics of its later interpretation by Mann. Features of the Underground Man he attributes himself with, Mann partially transfers onto his image of Dostoevsky by using quotes from Dostoevsky’s text to describe its author. The Underground Man’s polemic against positivsm is read as a strongly related to Mann’s contemporary historic discourses and contexts — German National Socialism, the Second World War and its consequences. Of many mediators for Dostoevsky’s reception by Mann, two will be examined in this article: Merezhkovsky, who also uses Notes from Underground to characterize Dostoevsky, and Hermann Rohl, whose translation of Dostoevsky’s novel serves Mann as a source for his essay.
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Trabalhos de conferências sobre o assunto "Germany Rohr"

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Gleeson, Andrew Ryan. "The Mies Mystique: Irreducible Opposites in the Work of Mies Van Der Rohe". In 108th Annual Meeting Proceedings. ACSA Press, 2020. http://dx.doi.org/10.35483/acsa.am.108.79.

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A chronological historiography of Mies van der Rohe’s architecture uncovers a constant reassessment of his work by critics in changing eras. By the 1990’s he was reassessed as a more complex figure than previously understood. Publications, such as, The Presence of Mies, and, Mies in Berlin/America revealed new ways to conceptualize his work. Today he’s a well-worn symbol of the elite European architect in a necessary, refresh¬ing, and fruitful landscape of broader inclusivity. However, in the canon of Western Modern Architecture Mies is the most mysterious; an architect who conceals multitudes with his silence. Mies’s works are like tofu, his buildings act as tabula rasa in which new meanings can be absorbed within the constant, restless, and shifting tastes of architectural scholarship. Mies cultivated this mystery by saying one thing and doing another. Like Andy Warhol he reduced explanations of his design process to the point of rationalist banality. But a closer understanding of Mies’s philosophy betrays a much deeper surface. A new English translation of highlighted passages in Mies’s personal copy of Romano Guardini’s “Der Gegensatz” (The Opposite), gives a clue into how mysteries within Mies’s works are cultivated. For Mies, these passages revised the understanding of dualities as laid out by classic German philosophy. Hegel supported the synthesis of contradiction through a reposed resolution, but this passage declares an irreducible simultaneity present within paradox. Architecture is a relevant discipline for exploring dualities because it is a discipline steeped in both the rational and the spiritual, serving immediate and abstract needs. Reframing a transitional period in Mies’s career—the projects for the Ulrich Lange and Hubbe House—within the context of his meditations on Guardini reveals a new complexity embedded in the work. His quest to understand the nature of dualities is the underlying flavor of his work after the 1920s.
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