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Статті в журналах з теми "Bernard (1936-....)"
1
Stefańska, Dorota. "Katolickie Stowarzyszenie Młodzieży w Szadku w latach 1934–1939." Biuletyn Szadkowski 15 (December 30, 2015): 205–23. http://dx.doi.org/10.18778/1643-0700.15.10.
Повний текст джерелаАнотація:
Katolickie Stowarzyszenie Młodzieży w Szadku powstało w 1934 r. w wyniku reorganizacji istniejącego od 1919 r. Stowarzyszenia Młodzieży Polskiej i prowadziło aktywność religijną oraz społeczną pod kierunkiem duchowieństwa w ramach Akcji Katolickiej aż do chwili napaści na Polskę Niemiec hitlerowskich.
W Szadku patronem Stowarzyszenia w latach 1934–1939 był proboszcz parafii ks. Edward Lidtke, a asystentami kościelnymi stowarzyszenia: ks. Stefan Flisiak (1934–1936), ks. Bernard Głoskowski (1936–1939).
Szadkowskie oddziały młodzieży męskiej i żeńskiej wraz z oddziałami w Małyniu, Zygrach, Zadzimiu i Korczewie tworzyły podokręg szadkowski wchodzący w skład okręgu sieradzkiego, podległemu diecezjalnemu stowarzyszeniu we Włocławku kierowanemu przez ks. Stefana Pietruszkę.
Celem organizacji było wychowanie młodzieży pozaszkolnej w duchu wiary katolickiej i narodowym. Służyły temu organizowane przez duchowieństwo centrali włocławskiej rekolekcje, dni społeczne, manifestacje katolickie: kongresy, zloty, igrzyska sportowe, pielgrzymki. Oddziały z Szadku uczestniczyły: w Kongresie Eucharystycznym Ziemi Sieradzkiej w Sieradzu (czerwiec 1934 r.); w okręgowych zlotach i igrzyskach sportowych w Zduńskiej Woli, Sieradzu i Złoczewie; w zlotach diecezjalnych w Charłupi Małej i we Włocławku oraz w ogólnopolskim w Częstochowie we wrześniu 1938 r.
Zdobyte przez młodzież doświadczenie organizacyjne oraz poczucie godności katolickiej i narodowej zaowocowało podczas 6 lat okupacji hitlerowskiej, kiedy to młodzież zaangażowała się w tworzenie struktur organizacyjnych Polski Podziemnej, a silna wiara w Boga i rodzinę ułatwiała pokonanie trudów codziennego życia.
Po 1945 r. w Szadku Katolickie Stowarzyszenie nie wznowiło działalności ze względu na restrykcyjne rozporządzenia władz komunistycznych, również po 1989 r. mimo sprzyjającej sytuacji politycznej nie odnowiono struktur.
2
Weyers, Wolfgang. "A. Bernard Ackerman—1936–2008." American Journal of Dermatopathology 31, no. 8 (December 2009): 740–61. http://dx.doi.org/10.1097/dad.0b013e3181b7cab5.
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Davies, Hywel. "Bernard van Dieren (1887 - 1936)." Musical Times 128, no. 1738 (December 1987): 675. http://dx.doi.org/10.2307/964804.
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Tafani, Vilma. "Rruga për në Elbasan, Bernard Newman, 1936." Revista Albanon 1, no. 1 (May 22, 2020): 28–37. http://dx.doi.org/10.54273/ra.v1i1.52.
Повний текст джерелаАнотація:
Ky fragment përfshin kapitullin X të librit “Dera e pasme e Shqipërisë”, shkruar nga Bernard Njuman, më 1936. I gjithë kapitulli, që titullohet “Rruga për në Elbasan”, është në vetën e parë. Autori përshkruan udhëtimin e tij dhe vizitat në Elbasan në formën e përshtypjeve dhe mbresave të tij për Elbasanin dhe elbasanasit. Bernard Njuman njihet si njeriu që shëtiti nëpër Shqipëri kryesisht me biçikletë.
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Tafani, Vilma. "Rruga për në Elbasan, Bernard Newman, 1936." Revista Albanon 2, no. 1 (October 18, 2021): 28–37. http://dx.doi.org/10.54273/ra.v2i1.139.
Повний текст джерелаАнотація:
Ky fragment përfshin kapitullin X të librit “Dera e pasme e Shqipërisë”, shkruar nga Bernard Njuman, më 1936. I gjithë kapitulli, që titullohet “Rruga për në Elbasan”, është në vetën e parë. Autori përshkruan udhëtimin e tij dhe vizitat në Elbasan në formën e përshtypjeve dhe mbresave të tij për Elbasanin dhe elbasanasit. Bernard Njuman njihet si njeriu që shëtiti nëpër Shqipëri kryesisht me biçikletë.
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Bernard, Enrico. "1927–1932 Il lustro che cambiò la letteratura italiana." Forum Italicum: A Journal of Italian Studies 52, no. 2 (April 22, 2018): 282–300. http://dx.doi.org/10.1177/0014585818757479.
Повний текст джерелаАнотація:
Il neorealismo viene comunemente datato, ma è una concezione alquanto approssimativa, a partire dal secondo dopoguerra. Si è naturalmente tenuto conto dei vari “laboratori” e delle fermentazioni letterarie del primo ‘900, in particolare gli anni Venti e Trenta, che hanno gettato le basi del “nuovo” realismo successivamente affermatosi nel cinema e nella narrativa. Tuttavia, l’approfondimento di questa determinante “eredità”, sia pur individuata, è stata scandagliata solo in parte. Esempio delle lacune nella ricerca è rappresentato dall’attività del giovane Carlo Bernari tra il 1927 e il 1932, un quinquennio preparatorio non solo del suo capolavoro—nel senso letterale di “origine” di una nuova concezione artistica— Tre operai (Rizzoli, 1934), ma da riconsiderare, sulla scia delle interpretazioni di Remo Cantoni e Eugenio Montale, come fulcro dei successivi sviluppi della letteratura italiana. Con le lettere manoscritte inedite di Breton e Ribemont Dessaignes a Carlo Bernari (pseudonimo di Carlo Bernard dal 1938).
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Burkholder, David B., and Christopher J. Boes. "Robert Wartenberg and the American Academy of Neurology." Neurology 97, no. 6 (April 21, 2021): 268–72. http://dx.doi.org/10.1212/wnl.0000000000012104.
Повний текст джерелаАнотація:
Robert Wartenberg (1887–1956) was born in Grodno (in present-day Belarus) and received his medical degree in Germany in 1919. He enjoyed a productive career at the University of Freiburg until 1935, when he fled Nazi Germany for the United States. Bernard Sachs, with whom he had worked during a Rockefeller fellowship in 1926, helped him secure a position at the University of California Medical Center in San Francisco in 1936. He was popular with students there as his sizeable personality translated into an engaging classroom style, but that same personality could create friction with colleagues. Following World War II, neurology as a specialty was growing and establishing its place in the medical landscape. With this goal in mind, A.B. Baker and other young neurologic leaders formed the American Academy of Neurology (AAN) in 1948 as an inclusive professional society. Baker recruited Wartenberg to join, he agreed, and immediately provided his own critiques on the organization. Wartenberg's standing in the academic community combined with his strong personality would serve Baker well as Wartenberg shielded the young AAN leadership from potential retribution. He was especially invested in ensuring the Academy had a journal as a means of development, and the journal Neurology® was born. Wartenberg died on November 16, 1956, and was honored for his service to the Academy with the Robert Wartenberg Memorial Lecture, which stands today as one of the principal events at the Annual Meeting.
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Waldman, David A. "Quality is Personal: A Foundationfor Total Quality Management Harry V. Roberts and Bernard E Sergesketter." Canadian Journal of Administrative Sciences / Revue Canadienne des Sciences de l'Administration 11, no. 4 (April 8, 2009): 346–47. http://dx.doi.org/10.1111/j.1936-4490.1994.tb00074.x.
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Le Bras, Stéphane, Miguel Cabo Villaverde, Bruno Esperante, Pablo F. Luna, Ana Cabana Iglesia, Francisco J. Medina-Albaladejo, Salvador Calatayud, and Óscar Bascuñán Añover. "Book reviews - Crítica de libros - Crítica de livros (Historia Agraria, 86)." Historia Agraria Revista de agricultura e historia rural, no. 86 (March 28, 2022): 313–45. http://dx.doi.org/10.26882/histagrar.086r10b.
Повний текст джерелаАнотація:
Book reviews - Crítica de libros - Crítica de livros Stéphanie Lachaud-Martin, Corinne Marache, Julie McIntyre, Mikaël Pierre (Eds.): Wine, Networks and Scales: Intermediation in the Production, Distribution and Consumption of Wine Carin Martiin Stéphane Le Bras Emanuele Bernardi: La Coldiretti e la storia d’Italia. Rappresentanza e partecipazione dal dopoguerra agli anni ottanta Miguel Cabo Villaverde Margot Lyautey, Léna Humbert, Christophe Bonneuil (Eds.): Histoire des modernisations agricoles au XXe siècle Bruno Esperante Pegerto Saavedra: La opulencia de los hijos de san Bernardo. El Císter en Galicia, c. 1480-1835 Pablo F. Luna Gloria Román Ruiz: El franquismo de carne y hueso. Entre el consentimiento y las resistencias cotidianas (1939-1975) Ana Cabana Iglesia Josep M. Feliu Roca y Raimon Soler-Becerro: Celler Cooperatiu de la Granada (1920-2020). Cent anys de vitivinicultura al cor del Penedès Francisco J. Medina Albaladejo Alba Díaz-Geada y Lourenzo Fernández Prieto (Coords.): Senderos de la historia. Miradas y actores en medio siglo de historia rural Salvador Calatayud Francisco Cobo Romero y Francisco de Paula Garrido Rodríguez: La República en los pueblos. Conflicto, radicalización y exclusión en la vida política local durante la Segunda República española (1931-1936) Óscar Bascuñán Añover
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Kostyuchenko I.V, Nelga I. A. "Chemical Weapons: History of the Study of Organophosphorus Toxic Agents Abroad." Journal of NBC Protection Corps 3, no. 2 (2019): 175–93. http://dx.doi.org/10.35825/2587-5728-2019-3-2-175-193.
Повний текст джерелаАнотація:
Organophosphorus compounds occupy a unique positon among all chemical warfare agents (CWA's). Since the 1930-s their high toxicity, wide range of physical-chemical properties and complex action attracted close attention of foreign military experts. In 1936 a German chemist, Dr. Gerhard Schrader, synthesized O-ethyl-dimethyl amidocyanophosphate, known as tabun, for the first time. By the beginning of World War II, more than two thousand new organophosphorus and phosphorus containing compounds were synthesized by his laboratory's stuff. 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: О-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. The provocation which the «Novichok» agent, arranged primitively by the British intelligence, is the perfect example of such a transformation. But it does not mean that the research in the sphere of new organophosphorus CWA's in the West is stopped
Дисертації з теми "Bernard (1936-....)"
1
Valette, Mathieu. "Les linguistiques énonciatives et cognitives françaises : de Gustave Guillaume à Bernard Pottier, Maurice Toussaint et Antoine Culioli." Paris 10, 2001. http://www.theses.fr/2001PA100180.
Повний текст джерелаАнотація:
Si l'on trace à grands traits l'histoire des linguistiques ayant pour objet l'énonciation, on distinque deux faits marquants: en premier lieu, on songe à la publication en 1916 du "Cours de linguistique générale", où il est arrêté que la langue est le seul et unique objet de la nouvelle science, au détriment de la parole, mais aussi de la pensée, objet de la psychologie. Les théories de l'énonciation sont nées d'une critique de cette position. Puis, au tout début des années 60, la problématique est réévaluée à l'aune de nouvelles conceptions issues des travaux cybernétiques. Il s'agit alors de modéliser et de simuler l'acte de langage, et non plus de le décrire. En distrayant de la pensée sa dimension proprement cognitive pour la reverser à la langue et en articulant énonciation et cognition en un système homogène, la "psychomécanique du langage" élaborée par Gustave Guillaume (1883-1960) dans les années 40 préfigure cette rupture paradigmatique, tout en faisant le lien avec l'ancienne tradition. .The history of enunciative theories of language is marked by two major events. On the one hand, the publication of the "Cours de linguistique générale", by which the sole object of linguistics is to be "langue", allowed for alternative critical views of the linguistic role of "parole" and thought to be developped. On the other hand, the critics of the Saussurean view intensify with the cybernetics model of communication and simulation at the beginning of the 1960's. Between these, the paradigmatic shift toward enunciation is announced by the Phychomecanics of Language elaborated by Gustave Guillaume (1883-1960) during the 1940's, which aims at creating a homogeneous system of the relation between throught is language and enunciation. .
2
Favero, Ebel Armelle. "Bernard Lallement, diplomate et musicien : les chorales franco-allemandes et le traité de l'Élysée." Thesis, Littoral, 2022. https://documents.univ-littoral.fr/access/content/group/50b76a52-4e4b-4ade-a198-f84bc4e1bc3c/BULCO/Th%C3%A8ses/HLLI/119725_FAVERO_2022_archivage.pdf.
Повний текст джерелаАнотація:
Bernard Lallement, chef de choeur et diplomate français, passe toute sa carrière professionnelle au service du ministère des Affaires étrangères. Nommé en 1965 à Berlin dans le climat de la guerre froide et la dynamique du traité de l'Élysée signée deux années plus tôt, par Charles de Gaulle et Konrad Adenauer, il use de sa qualité de diplomate pour développer la coopération entre Allemands et Français autour du chant choral. En l'espace de quinze ans, il crée les quatre premières chorales franco-allemandes (CFAs) dans les villes où il exerce ses fonctions : Berlin, Munich, Paris et Bonn. En 1982, il fonde la Fédération des CFAs qui compte aujourd'hui dix chorales en Allemagne et sept en France. Sa ténacité fait de lui un des maillons incontournables de la société civile engagée dans les relations amicales et humaines. Convaincu, tout comme les signataires du traité, que la réconciliation et la coopération passent par la jeunesse, il occupe de 1979 à 1983 le poste de secrétaire général adjoint de l'Office Franco-Allemand pour la Jeunesse (OFAJ). La musique jalonne le parcours professionnel de Bernard Lallement, que compositions et direction accompagnent. Musique et Politique se croisent lors des concerts franco-allemands commémoratifs. Et depuis la signature du traité en 1963 jusqu'à sa plus récente actualisation à Aix-la Chapelle en 2019, le diplomate musicien oeuvre à la coopération, à l'approfondissement des relations et à l'intégration des peuples français, allemands et européens. Si l'OFAJ est une référence pour la jeunesse d'autres pays, le chant choral est devenu quant à lui, et grâce à Bernard Lallement, le vecteur d'une amitié franco-allemande durable dont les CFAs sont les ambassadricesBernard Lallement, French choir director and diplomat, spent his entire professional career in the service of the Ministry of Foreign Affairs. He was the first posted to Berlin in 1965 at the time of the Cold War. In the framework of the Élysée Treaty signed two years earlier by Charles de Gaulle and Konrad Adenauer, he used his diplomatic skills to develop cooperation between the Germans and the French around choral singing. In fifteen years, he created the first four Franco-German choirs (CFAs) in the cities where he was in office : Berlin, Munich, Paris and Bonn. In 1982, he founded the Federation of CFAs, which includes today ten choirs in Germany and seven choirs in France. His tenacity has made him a key player in civil society engaged in cultural and human relations. Bernard Lallement has always been convinced, together with the signatories of the treaty that young people have a major to play in reconciliation and cooperation. He worked as Deputy Secretary General of the Franco-German Youth Office (OFAJ) from 1979 to 1983. Alongside his professional career, music has been an integral part of his life, both with his composing and direction of choirs. Music and Politics come together on the occasion of the Franco-German commemorative concerts. From the singing of the Treaty in 1963 until its most recent update in Aachen in 2019, the musician diplomat has promoted the cooperation and the deepening of integration between French, German and wider European citizens. OFAJ has become the reference for the youth of other countries. Thanks to Bernard Lallement, the choirshave become the best ambassadors from promoting lasting franco-german relationships
3
Mbah, Jean Bernard [Verfasser]. "Deutsche Essayistik der Kriegs- und Zwischenkriegszeit (1916 - 1946) : Dekonstruktion des Nationalismus zu Visionen kultureller Identität Europas / Jean Bernard Mbah." Halle, 2018. http://d-nb.info/1166140601/34.
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Bergeron, Yves. "In Memoriam- Bernhard Denneler (1963-2007)." Tree-Ring Society, 2007. http://hdl.handle.net/10150/622544.
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Ohana, Yolande. "Initiation et narration dans l'oeuvre romanesque de Bernard Malamud." Paris 7, 1992. http://www.theses.fr/1992PA070013.
Повний текст джерелаАнотація:
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
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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.
Повний текст джерелаАнотація:
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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Tschiedel, Joachim. "Bernhard Sekles 1872-1934 : Leben und Werk des Frankfurter Komponisten und Pädagogen /." Schneverdingen : K. D. Wagner, 2005. http://catalogue.bnf.fr/ark:/12148/cb39964215z.
Повний текст джерелаАнотація:
Texte remanié de: Arbeit--Musicologie--Frankfurt am Main--Hochschule für Musik und darstellende Kunst, 1990.Quelques ex. musicaux en fin de volume. Liste des oeuvres de B. Sekles p. 102-116. Bibliogr. p. 117-120.
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Borrell, Escudé Mariola. "Bernardí Martorell i Puig, arquitecte (1877-1937)." Doctoral thesis, Universitat Internacional de Catalunya, 2020. http://hdl.handle.net/10803/670081.
Повний текст джерелаАнотація:
La present tesi doctoral és una monografia que recull tota la vida i obra de Bernardí Martorell i
Puig (1877-1937), un arquitecte amb activitat professional durant el primer terç del segle XX a
Catalunya que no té el reconeixement que la seva abundant i interessant obra mereix. Nebot-
nét del conegut arquitecte Joan Martorell, i admirador i aprenent d’Antoni Gaudí, la seva
producció arquitectònica es podria anomenar eclèctica, ja que barreja elements neogòtics i
neoclàssics amb altres modernistes, en molts casos amb un ús magistral del totxo, que fa que
els seus projectes tinguin un segell molt personal.
La producció arquitectònica de Martorell es pot classificar en tres grans grups: arquitectura
religiosa, arquitectura d’habitatge i arquitectura variada. Dins d’arquitectura religiosa cal
destacar que va ser arquitecte diocesà de Solsona, Tarragona i Barcelona, on va realitzar obres
de tot tipus, esdevenint un arquitecte molt polifacètic: des la custòdia de la catedral de
Tarragona i objectes litúrgics fins a grans edificis, reformes i cementiris. Per altra banda,
algunes comunitats religioses van comptar amb Bernardí Martorell per construir els seus
monestirs i esglésies, i aquests projectes han estat, entre altres, les seves obres més
reconegudes: el monestir de Valldonzella, el monestir de les oblates del Santíssim Redemptor,
l’escola-convent de les teresianes de Tarragona i l’església de l’Escola Pia de Sabadell. Quant a
arquitectura domèstica trobem edificis d’habitatge unifamiliar per tot Catalunya i alguns
edificis de pisos, principalment a Barcelona, a part de nombroses reformes i obres menors. Per
últim, a l’apartat d’arquitectura variada trobem tot tipus de construccions: des de la reforma
d’un gran sanatori, Torrebonica, fins la construcció d’un celler per a la cooperativa agrícola de
Cambrils, entre altres.
L’anàlisi de la seva producció permet veure diferents influències, no només de corrents
artístics i arquitectònics, sinó també de característiques apreses de Gaudí, com els arcs
parabòlics, presents en moltes de les seves obres; i de nombrosos viatges a l’estranger, on
l’arquitecte coneix tècniques i estils que marquen l’estètica de les seves obres. En aquesta tesi
estudiem cada projecte, a nivell històric i descriptiu, i analitzem també el conjunt, intentant
entendre les relacions entre elles i les influències que va tenir l’arquitecte. Al final de la tesi, hi
ha el catàleg de tota la seva producció ordenat cronològicament.
Per estudiar l’obra de Martorell s’han recorregut tots els llocs de Catalunya on hi havia indicis
de possibles intervencions i s’han buidat els arxius corresponents, així doncs la major part del
material citat en aquesta tesi doctoral és inèdit, com també algunes de les obres que
esmentem, que s’han trobat gràcies a aquesta recerca.
En resum, aquesta tesi pretén donar visibilitat a un arquitecte certament desconegut, amb
l’objectiu de donar una mica més de llum a tota una generació de professionals que han
quedat amagats a l’ombra dels grans mestres del modernisme català.
9
Carn, Hervé. "Bernard Noël et la question du roman." Rennes 2, 1996. http://www.theses.fr/1996REN20019.
Повний текст джерелаАнотація:
L'auteur montre que les romans de Bernard Noël ont été souvent occultés au profit de ses poèmes et de ses écrits sur les artistes. La thèse consiste à en montrer l'importance et la cohésion. Apres avoir étudié dans une première partie comment se construit dans l'oeuvre romanesque un espace signifiant qui recouvre un espace de parole, un espace visuel et un espace ontologique, l'auteur montre que la figure de l'autre est résolument présente dans la poétique du roman comme elle se pose en tant que destinateur dans une problématique qui épouse successivement la modernité, la postmodernité et ce qu'il désigne par surmodernité facette (dernière notion étant plus intuitivement posée que démontrée. ) Refusant toute grille de lecture coercitive, il fait un usage discret et ponctuel des théories littéraires et a plutôt recours, pour construire sa réflexion, aux écrivains qui ont pu s'inscrire dans le terreau culturel de Bernard Noël (Blanchot, Bataille, Klossowski, Artaud, Gracq, Pieyre de Mandiargues, Aragon. . . ,)The author demonstrates that Bernard Noël's novels have often been eclipsed by his poems and other writings about artists. The purpose of his thesis is to demonstrate their importance and cohesion. After a first part devoted to the study of how a sphere of significance, encompsing discourse, visual and ontological spheres, builds up in fictional writing, the author demonstrates that the other is thoroughly present in the poetics of the novel, as this figure identifies with the narratee in issues that deal successively with modernism, postmodernism and what he calls "surmodernism" - that notion being more intuitive than rational. Rejecting any kind of coercitive reading method, he makes little and discreet use of literary theories but, to build up his reflection, he prefers to refer to such writers as Artaud, Blanchot, Bataille, Klossowski, Gracq, Pieyre de Mandiargues, Aragon. . . , who have grown out of Bernard Noel's cultural background
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Clément, Sarah. "Ecritures avides : Beckett, Des Forêts, Bernhard." Paris 7, 2013. http://www.theses.fr/2013PA070078.
Повний текст джерелаАнотація:
À travers une lecture transversale de trois soliloques, Molloy, Le Bavard et Béton, cette thèse analyse la notion d'avidité, intrinsèquement liée à celles de copia rhétorique, d'abondance et de prolixité, comme un principe essentiel du travail de l'écriture de Beckett, des Forêts et Bernhard. Que l'avidité se manifeste sous la forme d'une compulsion de répétition ou d'un bavardage comme excès du dire, elle révèle la vacuité du sujet impuissant, incarne la trace de son sentiment de médiocrité, mais le pousse aussi en avant de lui-même. Pris dans une tension entre le délitement du personnage et sa logorrhée frénétique, le récit avide manifeste un goût pour l'usage de la répétition, pour la phrase longue et asyntaxique, mais aussi une propension à l'invective et l'agressivité, à la fragmentation de la prose, tout comme à la multiplication des oralitèmes et des pratiques intertextuelles. Ces modalités variées que décline le discours copieux témoignent tant d'un appétit pour les mots, que d'une volonté de déconstruire les fondements traditionnels du récit. Par leur force de déflagration, elles peuvent produire un effet d'absorption du lecteur, dont le rapport hors-norme, excessif au texte repose sur un mélange d'affects parfois contradictoires — fascination, attraction, contamination ou, à l'inverse, dégoût, nausée, détestation. Inflation des jeux métatextuels, propagation diffuse d'une ironie prophylactique, ou encore inclusion et rejet agressifs du lecteur, constituent autant de processus de métabolisation du texte qui nous engagent dans une expérience-limite, dont la puissance repose en grande partie sur la déstabilisation des interprétationsThrough a cross-reading of three soliloquies, Molloy, Le Bavard and Béton, I propose to analyse the notion of « avidity » -quintessentially linked to those of rhetorical copia, abundance and verbosity- as an essential principle in the writing of Beckett, des Forêts and Bernhard. Whether avidity appears in the forms of compulsive repetition or of chatter as a mariner of overexpression, it reveals the vacuity of the powerless subjects, it embodies the lingering mediocrity which they feel, while it also pushes them forward, beyond the self. In the grasp of tensions between the crumbling characters and their frenzied logorrhea, the avid narrative demonstrates a taste for the use of repetitions and for long and asyntactic sentences, as well as it displays a strong tendency towards abuse and aggressiveness, a fragmented prose, an abundance of personal oral structures, and intertextual practices. These diverse modes, recurrent in the copious discourse, indicate an appetite for words, as well as a will to deconstruct the traditional foundations of narratives. Their strong blast can induce the absorption of these readers, whose abnormal, excessive relation to the text relies on a mixture of somehow contradictory affects —fascination, attraction, contamination, or, conversely, disgust, nausea, hatred. The text is metabolized through a series of processes such as the inflation of metatextual play, a diffusely propagated prophylactic irony, or an aggressive inclusion and rejection of the reader. Such processes invest readers in a borderline experience, the might of which mainly relies on unsettled interpretations
Книги з теми "Bernard (1936-....)"
1
1860-1936, Bernard Valère, ed. Valère Bernard, 1860-1936. [Marseille]: Editions J. Laffitte, 1988.
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Nougier, Paul. Valère Bernard, 1860-1936: Approche de l'artiste et de son œuvre. Marseille: Comité Valère Bernard, 1987.
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Bernardo: Bernardo Escliar, 1900 -1933. Buenos Aires, Argentina: Acervo Cultural Editores, 2010.
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4
Fotohof, Galerie, ed. Bernard Plossu, 1963-1993. [Paris]: Association Franc̜aise d'Action Artistique, Ministére des Affaires Etrangères, 1994.
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Fasseur, C. Juliana & Bernhard: Het verhaal van een huwelijk : de jaren 1936-1956. [Amsterdam, Netherlands]: Balans, 2009.
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Hoetger, Bernhard. Bernhard Hoetger: Bildwerke 1902-1936. Hannover: Niedersächsisches Landesmuseum, 1994.
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Plossu, Bernard. Bernard Plossu: Rétrospective 1963-2006. Paris: Editions des 2 terres, 2006.
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De, Grada Raffaele. Emile Bernard: Opere 1898-1938. Milano: Compagnia del disegno, 2003.
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Venet, Bernar. Bernar Venet, 1963-1993. [Bogotá]: Museo de Arte Moderno de Bogotá, 1994.
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10
István, Pálffy. George Bernard Shaw Magyarországon, 1904-1956. Budapest: Akadémiai Kiadó, 1987.
Знайти повний текст джерелаЧастини книг з теми "Bernard (1936-....)"
1
Picciotti, Elizabeth Raphaela. "Ackerman, Albert Bernard (1936–2008)." In Encyclopedia of Pathology, 7–11. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-41995-4_4082.
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Picciotti, Elizabeth Raphaela. "Ackerman, Albert Bernard (1936–2008)." In Encyclopedia of Pathology, 1–5. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-28845-1_4082-1.
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Graser, Léonor. "Bernard Lahire (*1963)." In Klassiker der Soziologie der Künste, 1061–79. Wiesbaden: Springer Fachmedien Wiesbaden, 2016. http://dx.doi.org/10.1007/978-3-658-01455-1_43.
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Gibbs, A. M. "Chronology Part III 1926–50." In A Bernard Shaw Chronology, 257–338. London: Palgrave Macmillan UK, 2001. http://dx.doi.org/10.1057/9780230599581_5.
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Reifer, Thomas. "Magubane, Bernard Makhosezwe (1930–2013)." In The Palgrave Encyclopedia of Imperialism and Anti-Imperialism, 1–6. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-91206-6_294-1.
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Reifer, Thomas. "Magubane, Bernard Makhosezwe (1930–2013)." In The Palgrave Encyclopedia of Imperialism and Anti-Imperialism, 1675–80. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-29901-9_294.
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Zlobin, Alexander, Valeriy Inozemcev, Sergey Komissarenko, Igor Medveckiy, Igor Nelga, Sergey Tretyakov, and 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.
Повний текст джерелаАнотація:
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.
8
Zlobin, Alexander, Valeriy Inozemcev, Sergey Komissarenko, Igor Medveckiy, Igor Nelga, and 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.
Повний текст джерелаАнотація:
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.
9
Mondino, Cecilia Pérez. "Bernard Shaw’s Theatre in Uruguay (1930–1960)." In Bernard Shaw and His Contemporaries, 165–85. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-97423-7_9.
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Winkler, Jean-Marie. "Todesengel, Nihilist und Prophet Die Rezeption der Bühnenwerke in Frankreich 1986–1991." In Kontinent Bernhard, 269–96. Wien: Böhlau Verlag, 1995. http://dx.doi.org/10.7767/9783205122067-016.
Повний текст джерелаТези доповідей конференцій з теми "Bernard (1936-....)"
1
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.
Повний текст джерелаАнотація:
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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Asri, Rifdatul Chairiyah, and Tri Widianti Natalia. "Kriteria Ruang Ramah Anak Penyandang Down Syndrome." In Temu Ilmiah IPLBI 2021. Ikatan Peneliti Lingkungan Binaan Indonesia, 2021. http://dx.doi.org/10.32315/ti.9.d135.
Повний текст джерелаАнотація:
Down syndrome ditemukan awalnya ditahun 1932 oleh dokter di Inggris yang bernama Dr. John Langdon. Down syndrome terjadi karena kegagalan sepasang kromoson yang saling memisahkan diri saat terjadi pembelahan. Peningkatan anak down syndrome di setiap tahunnya terjadi peningkatan, terutama di Indonesia. Beberapa orang tua yang sudah malu memiliki anak down syndrome hanya mengurung anaknya di rumah dan tidak membiarkan mereka keluar. Namun mereka lupa bahwa anak yang dibiarkan untuk pasif dan terisolasi di rumah, besar kemungkinan akan mengalami autisme sebesar 30%. Tujuan dari penulisan ini adalah membangun kriteria ruang ramah anak penyandang down syndrome dengan pendekatan sensory stimulan. Metode penelitian ini menggunakan metode kualitatif dimana berfokus pada stdi literatur dari jurnal penelitian dan landasan teori, serta mempelajari dan memahami teori dari beberapa sumber jurnal, buku dan penelitian. Hasil dari penelitian ini terkait dengan 7 indra pada penerapan sensory stimulan. Diantaranya penglihatan dari bentuk geometri yang berbeda-beda serta warna pada fasad, indra penciuman dan perasa dari vegetasi yang aroma wangi, indra pendegaran dengan mendengarkan gemercik air kolam, indra peraba dengan membuat berbagai macam material, skeleton untuk mengetahui jarak berdasarkan material pedestrian, serta proporsi jarak atau ketinggian pada material di dalam ruang terapi indoor. Kata-kunci: kriteria ruang, down syndrome, sensory stimulan
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Cabanes, Jose Luis, Federico Iborra-Bernad, and Carlos Bonafé-Cervera. "Reconstrucción virtual de ambientes urbanos a partir de fotografías históricas a través de Image Based Animations (IBA). La Plaza de la Virgen de Valencia alrededor de 1870." In 24th ISUF 2017 - City and Territory in the Globalization Age. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/isuf2017.2017.6055.
Повний текст джерелаАнотація:
Reconstrucción virtual de ambientes urbanos a partir de fotografías históricas a través de Image Based Animations (IBA). La Plaza de la Virgen de Valencia alrededor de 1870. Jose Luis Cabanes Ginés¹, Federico Iborra Bernad², Carlos Bonafé Cervera3 ¹Departamento de Expresión Gráfica Arquitectónica. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia. 2Departamento de Composición Arquitectónica. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia 3Departamento de Ing. Cartográf. Geodesia y Fotogramtría. Universidad Politécnica de Valencia. Caminio de Vera s/n 46022 Valencia E-mail: jlcabane@ega.upv.es, f_iborra@yahoo.es, carboce1@topo.upv.es Keywords (3-5): virtual reconstruction, historical urban environment, image based animations Conference topics and scale: City transformations / Tools of analysis in urban morphology The recreation of the historical environment of emblematic urban spaces in our cities through interactive technologies, allows to extend their knowledge among the interested users while contributing to its assessment. When the documentary bases are photographs it is possible to carefully model the recorded elements using photogrammetry techniques based on 3D primitives, so that by means of an immersive navigation limited to certain points of view, an appearance of acceptable tridimensionality is obtained, where only isolated images of dispersed frames are available. The virtual recreation can be completed increasing its realistic appearance through its edition with animations of objects (for example, carriages) and characters, texts, musical setting, etc. The results can be presented in formats such as video or navigation through virtual reality helmets. From a selection of the first historical photographs of the Plaza de la Virgen, that we have obtained searching in several documentary sources, our multidisciplinary team is interested in a reliable, realistic and pleasant presentation of the urban environment of one of the most representative places in the city of Valencia, whose spatial configuration has changed significantly over the years. References (100 words) Braun, C., Kolbe, T. H., Lang, F., Schickler, W., Steinhage, V., Cremers, A. B., Förstner, W., Plümer, L., 1995. Models for photogrammetric building reconstruction. Computers & Graphics, Volume 19, Issue 1, pp. 109-118. Debevec, P., Taylor, C. J. and Malik, J., 1996. Modeling and rendering architecture from photographs: A hybrid geometry and image-based approach. SIGGRAPH’96, pp. 11–20. De Mesa, A., Regot, J., Nuñez, M. A. and Buill, F., (2009). Métodos y procesos para el levantamiento de reconstrucción tridimensional gráfica de elementos del patrimonio cultural. La iglesia de Sant Sever de Barcelona. Revista EGA, nº 14, pp. 82-89. Drap, P., Grussenmeyer, P. and Gaillard, G., 2001. Simple Photogrammetric Methods with ARPENTEUR: 3-D Plotting and Orthoimage generation. XVIII International Symposium CIPA 2001, Potsdam (Germany). International Archives of Photogrammetry, Remote Sensing and Spatial Information Sciences, nº 34 (Part 5/C7), pp. 47-54. El-Hakim, S., Beraldin, J. and Lapointe, A., 2002. Towards Automatic Modeling of Monuments and Towers. IEEE Proceedings of the International Symposium on 3D Data Processing Visualization and Transmission, 3DPVT 2002, Padua, Italy, pp. 526-531. Proyecto Barcelona Darrera Mirada, http://darreramirada.ajuntament.barcelona.cat/#historia/8/1 The Old New York, http://vimeo.com/160024074, https://vimeo.com/162572088
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n. v. santos, pedro henrique, and 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.
Повний текст джерелаАнотація:
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.
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Barreto Fernandes, Francisco António, and Bernabé Hernandis Ortuño. "Usability and User-Centered Design - User Evaluation Experience in Self-Checkout Technologies." In Systems & Design 2017. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/sd2017.2017.6634.
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The increasing advance of the new technologies applied in the retail market, make it common to sell products without the personal contact between seller and buyer, being the registration and payment of the products made in electronic equipment of self-checkout. The large-scale use of these devices forces the consumer to participate in the service process, which was previously done through interaction with the company's employees. The user of the self-checkout system thus performs all the steps of the purchase, from weighing the products, registering them and making the payment. This is seen as a partial employee, whose participation or performance in providing services can be used by the company to improve the quality of its operations (KELLEY, et al 1993). However this participation does not always satisfy the user, and may cause negative experiences related to usability failures. This article presents the results of the evaluation by the users of the self-checkout system. The data were collected in Portugal through a questionnaire to 400 users. The study analyzes the degree of satisfaction regarding the quality and usability of the system, the degree of motivation for its adoption, as well as the profile of the users. Analysis of the sample data reveals that users have basic or higher education and use new technologies very often. They also have a high domain of the system and an easy learning of its use. The reason for using self-checkout instead of the traditional checkout is mainly due to "queues at checkout with operator" and "at the small volume of products". In general, the sample reveals a high degree of satisfaction with the service and with quality, however, in comparative terms, self-checkout is not considered better than operator checkout. The evaluation of the interaction with the self-checkout was classified according to twenty-six attributes of the system. The analysis identifies five groups with similar characteristics, of which two have low scores. "Cancellation of registered articles", "search for articles without a bar code", "manual registration", "bagging area", "error messages", "weight sensor" and “invoice request "are seven critical attributes of the system. The results indicate that the usability analysis oriented to the self-checkout service can be determinant for the user-system interaction. The implications of empirical findings are discussed together with guidelines for future research.Keywords: Interaction Design, Self service, Self-checkout, User evaluation, UsabilityReferencias ABRAHÃO, J., et al (2013). Ergonomia e Usabilidade. 1ª Edição. São Paulo: Blucher. ALEXANDRE, J. W. C., et al (2013). Análise do número de categorias da escala de Likert aplicada à gestão pela qualidade total através da teoria da resposta ao item. In: XXIII Encontro Nacional de Engenharia de Produção, Ouro Preto. BOOTH, P. (2014). An Introduction to Human-Computer Interaction (Psychology Revivals). London Taylor and Francis. CASTRO, D., ATKINSON, R., EZELL, J., (2010). Embracing the Self-Service Economy, Information Technology and Innovation Foundation. Available at SSRN: http://dx.doi.org/10.2139/ssrn.1590982 CHANG, L.A. (1994). A psychometric evaluation of 4-point and 6-point Likert-type scale in relation to reliability and validity. Applied Psychological Measurement. v. 18, n. 2, p. 05-15. DABHOLKAR, P. A. (1996). Consumer Evaluations of New Technology-based Self-service Options: An Investigation of Alternative Models of Service Quality. International Journal of Research in Marketing, Vol. 13, pp. 29-51. DABHOLKAR, P. A., BAGOZZI, R. P. (2002). An Attitudinal Model of Technology-based Selfservice: Moderating Effects of Consumer Traits and Situational Factors. Journal of the Academy of Marketing Science, Vol. 30 (3), pp. 184-201. DABHOLKAR, P. A., BOBBITT, L. M. & LEE, E. (2003). Understanding Consumer Motivation and Behavior related to Self-scanning in Retailing. International Journal of Service Industry Management, Vol. 14 (1), pp. 59-95. DIX, A. et al (2004). Human-Computer Interaction. Third edition. Pearson/Prentice-Hall. New York. FERNANDES, F. et al, (2015). Do Ensaio à Investigação – Textos Breves Sobre a Investigação, Bernabé Hernandis, Carmen Lloret e Francisco Sanmartín (Editores), Oficina de Acción Internacional - Universidade Politécnica de Valência Edições ESAD.cr/IPL, Leiria. HELANDER, M., LANDAUER, T., PRABHU, P. (1997). Handbook of Human – Computer Interaction. North–Holland: Elsevier. KALLWEIT, K., SPREER, P. & TOPOROWSKI, W. (2014). Why do Customers use Self-service Information Technologies in Retail? The Mediating Effect of Perceived Service Quality. Journal of Retailing and Consumer Services, Vol. 21, pp. 268-276. KELLEY SW, HOFFMAN KD, DAVIS MA. (1993). A typology of retail failures and recoveries. J Retailing. 69(4):429 – 52.
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Water resources data for Texas, water year 1986, volume 2. San Jacinto River, Brazos River, San Bernard River basins, and intervening coastal basins. US Geological Survey, 1987. http://dx.doi.org/10.3133/wdrtx862.
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Water resources data Texas, water year 1996, volume 2. San Jacinto River basin, Brazos River basin, San Bernard River basin, and intervening coastal basins. US Geological Survey, 1997. http://dx.doi.org/10.3133/wdrtx962.
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