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Автор: Grafiati

Опубліковано: 15 квітня 2025

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Статті в журналах з теми "De Adoratione"

1

Della Mirandola (book author), Gianfrancesco Pico, Alessia Contarino (book editor), and Matteo Soranzo (review author). "Dialogus de adoratione." Renaissance and Reformation 41, no. 3 (November 12, 2018): 257–59. http://dx.doi.org/10.33137/rr.v41i3.31638.

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2

Hamilton, Alastair. "Gianfrancesco Pico della Mirandola, Dialogus de adoratione, by Alessia Contarino (Ed.)." Church History and Religious Culture 99, no. 1 (May 27, 2019): 79–80. http://dx.doi.org/10.1163/18712428-09901009.

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3

Crawford, M. R. "The Preface and Subject Matter of Cyril of Alexandria's De Adoratione." Journal of Theological Studies 64, no. 1 (April 1, 2013): 154–67. http://dx.doi.org/10.1093/jts/flt031.

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4

Villani, Barbara. "Creation of the Universe and Creation of Man in Cyril of Alexandria’s Early Works on the Pentateuch." Zeitschrift für Antikes Christentum / Journal of Ancient Christianity 26, no. 1 (July 1, 2022): 145–67. http://dx.doi.org/10.1515/zac-2022-0018.

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Abstract After some preliminary remarks on Cyril’s two works on the Pentateuch, De adoratione and Glaphyra, as well as the σκοπός of the biblical text, this contribution deals with Cyril’s reading of the biblical account of the creation of the universe and creation of man. In contrast to other interpreters, e. g., the Cappadocian fathers, the Alexandrian patriarch does not show interest in a detailed explanation of cosmogony based on natural philosophy. He rather emphasizes the limits of the human mind in understanding the details of the act of God’s creation of the world. According to Cyril’s understanding of the goal of Moses’ writings, his exegesis of Genesis focuses especially on the creation of man. Convinced that Moses wrote his books as moral instruction to lead men to God, Cyril interprets selected parts of Genesis in a typological way in order to show man’s journey from the fall into sin to the restoration of a holy life.

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5

BROCKETT, CLYDE W. "Antiphons for the Adoration of the Cross Replica." Plainsong and Medieval Music 21, no. 2 (September 13, 2012): 85–111. http://dx.doi.org/10.1017/s0961137112000010.

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ABSTRACTThis article traces the history of chants associated with the Adoration of a replica of the cross. It describes the development of an antiphon series for Good Friday afternoon found in Ordines Romani XXVII–XXXIII and selected northern French, German, Aquitanian, Spanish and Italian sources dating from the eighth into the twelfth century. Using illustrative tables, rubrics and facsimiles, the study compares liturgical features of the Adoratio crucis with its related Offices of the cross, the Exaltatio and Inventio, in a survey of the principal titles' texts and melodies.

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6

Comacchi, Maria Vittoria. "Dialogus de Adoratione. Gianfrancesco Pico della Mirandola. Ed. Alessia Contarino. Centro Internazionale di Cultura, Giovanni Pico della Mirandola, Studi Pichiani 18. Florence: Olschki, 2017. xii + 168 pp. €25." Renaissance Quarterly 72, no. 3 (2019): 997–98. http://dx.doi.org/10.1017/rqx.2019.259.

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Cording, Robert. "An Adoration." Christianity & Literature 55, no. 2 (March 2006): 220. http://dx.doi.org/10.1177/014833310605500204.

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8

Bonnet, François, Laurent Millot, and Gérard Pelé. "Adoration – Dévoration." Cahier Louis-Lumière 5, no. 1 (2008): 81–88. http://dx.doi.org/10.3406/cllum.2008.918.

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9

Waithe, Mary Ellen. "Adoration and Annihilation." International Philosophical Quarterly 50, no. 4 (2010): 501–8. http://dx.doi.org/10.5840/ipq201050436.

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10

Stowell, Phyllis. "Adoration for pacia." Psychological Perspectives 19, no. 1 (March 1988): 119. http://dx.doi.org/10.1080/00332928808408778.

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Дисертації з теми "De Adoratione"

1

Irwin, Kevin W. "Adoration of the Blessed Sacrament:." The Church in the 21st Century Center at Boston College, 2011. http://hdl.handle.net/2345/bc-ir:103729.

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2

Sulzer, Fran Marie. "Perpetual adoration and our changing experience of God reinterpreting the charism of the Franciscan Sisters of Perpetual Adoration /." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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3

Govert, Mary Evelyn. "A study of the theology and practice of perpetual adoration in the Sisters of Saint Francis of Perpetual Adoration." Theological Research Exchange Network (TREN), 1989. http://www.tren.com.

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4

Cook-Sourice, Catherine. "The glass machinery in Christopher Dewdney's Predators of the adoration." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0006/MQ43524.pdf.

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5

Merlino, Shannon M. "Adoration, Appropriation, or Approximation? Rethinking the Exotic in Western Music." Diss., Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/548419.

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Анотація:

Music Performance
D.M.A.
Throughout the history of European art music, the desire to portray “Other” cultures has been given voice by composers by way of exoticism. The ability to depict the exotic has, for centuries, held the fascination of listeners and composers alike. In spite of this, the identification and study of exoticism as an aesthetic trend in music has not been given nearly as much attention as it deserves. Drawing from and expanding upon the work of Ralph Locke and Jonathan Bellman, I explore and illuminate some of the deeper issues that undermine the potential study of this aesthetic trend. First, I present a discussion of the problems and difficulties inherent in the study of exoticism in music, some of which I believe are related to the relative lack of study in this area. Because of the nature of how elements of non-European cultures were historically assimilated and appropriated by the Europeans, questions of ethics and terminology are abundant and not easily answered. In some cases, the cultural “Other” is portrayed reverently, almost to be feared; in others, they are portrayed almost comically. But can this portrayal be attributed to the composer alone, or have decades and even centuries of performance traditions influenced certain attitudes towards these works? And are these original attitudes, no matter whether positive or negative, an essential part of understanding these works? How might we amend the language used in discussing this topic so that our own cultural bias (or lack thereof) does not affect it? After addressing the issue of how musical scholars have, until now, discussed these issues, I present my own method of dealing with them: the reorganization of what we have come to define as “musical exoticism” into four categories: appropriative allomimesis, approximative allomimesis, evocative exoticism, and temporally-exotic evocation. Using musical examples, I discuss how these terms might be used in place of simply the term “exotic”, hopefully paving the way for future scholarship on the topic. I believe that with more understanding of the study of the exotic in music and a more erudite manner of discussing it, a greater understanding of the aesthetic and its sociological ramifications might be achieved. By revising the language we use to discuss the exotic in Western music, I hope to provide my readers with a means toward insight into the deeper implications of composers’ choices to portray people from countries, cultures, and places other than their own. My intention is that this will allow and inspire performers and scholars to consider these implications in their studies of these works.
Temple University--Theses

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6

Lake, G. Thomas. "The five paintings of the Adoration of the Magi by Sandro Botticelli /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61261.

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Анотація:

The thematic unit formed by the five versions of The Adoration of the Magi painted by Sandro Botticelli provide a special opportunity for studying his artistic development. An investigation of these five paintings shows that Botticelli aimed toward a goal of perfecting compositional techniques. He systematically made alterations to these works in order to create special point of view effects.
This thesis outlines the general trends in art with respect to the Adoration theme and then concentrates on a demonstration of Botticelli's attempts at correlating compositional devices and the unique features developed with respect to spectator involvement. This selected study allows for a careful examination which spans the artistic career of Sandro Botticelli. As a result, it can be shown that it was perhaps Botticelli, rather than Leonardo da Vinci, who was primarily responsible for the development of a compositional format which became a foundation stone of High Renaissance compositions.

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Luna, Huertas Paola Andrea. "Musique de femmes. Les adorations à l’Enfant-Dieu à Guapi et Cali, Colombie." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL175.

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Les Adorations à l’Enfant-Dieu consistent en une neuvaine d’adoration qui a lieu dans la période qui commence la semaine de l’Épiphanie (sauf le 6 janvier) et le début du carême. Ce rituel s’inscrit dans une série de rituels en accord avec le calendrier catholique. Bien que ce rituel soit effectué en dehors de l’église, au sein des foyers, il partage le déroulement du rituel de la messe catholique du temps ordinaire. En observant de façon détaillée le rituel et la musique qui s’y joue, nous décrirons au fur et à mesure les différents rôles (femme, homme et enfants) qui s’imbriquent parfaitement et nous dévoilent le fonctionnement de cette société matriarcale. Ainsi, les hommes soutiennent les femmes par le jeu constant des tambours. Les enfants et l’assemblée (représentant la société) valident, en répondant (respondido) à l’appel des femmes qui guident tout le long du rituel
The Adorations to the Christ-Child consist of a nine-day ritual of adoration that takes place from the week of Epiphany (except on January the 6th) and the beginning of Lent. This ritual is part of a serie of rituals according to the Catholic calendar. Although this ritual is performed outside the church, at home, it shares the ritual of the Catholic Mass of ordinary time. By observing in detail the ritual and the music played there, we will describe gradually the different roles (woman, man and children) that fit perfectly and reveal the functioning of this matriarchal society. Thus, men support women through the constant play of drums. The children and the assembly (representing the society) validate, by responding (respondido) to the call of the women who guide all the ritual

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Berry, Christine A. (Christine Alyce). "Juan Bautista Maino's Adoration of the Shepherds: An Analysis of Iconography, Iconology, and Style." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278375/.

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Анотація:

This thesis investigates the iconography, iconology, and style of Juan Bautista Maino s Adoration of the Shepherds (1615-1620) located at the Meadows Museum, Dallas, Texas. The study begins with an overview of general information on Maino and his works. Chapter 2 explores the evolution of the Adoration of the Shepherds depiction in art, while examining social and political factors which may have influenced Maino's iconographical choices. Chapter 3 is a comparative analysis of the Meadows Adoration of the Shepherds to two other Adoration of the Shepherds by Maino, revealing a stylistic progression and presenting an argument for the dates the Meadows painting was rendered. Chapter 4 reviews the findings and suggests further study on this and other paintings by Maino.

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Monroe, Deborah J. "Prayers of Adoration, Confession, Thanksgiving and Supplication: A Composition for Soprano and Chamber Ensemble." Thesis, University of North Texas, 2004. https://digital.library.unt.edu/ark:/67531/metadc4584/.

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Анотація:

This paper examines the relationship between text and music in Prayers of Adoration, Confession, Thanksgiving and Supplication - a four-movement composition, fourteen minutes in length, for soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. The text of the composition is taken from the Psalms and The Book of Common Prayer. The names and themes of the movements follow an ancient pattern for prayer identified by the acronym, A.C.T.S. Compositional considerations are contrasted to those of Igor Stravinsky and Steve Reich, with special emphasis on the use of musical structures, motives, and text-painting to highlight the meaning of religious texts.

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Monroe, Deborah Jean. "Prayers of adoration, confession, thanksgiving and supplication a composition for soprano and chamber ensemble /." connect to online resource, 2004. http://www.unt.edu/etd/all/Aug2004/monroe%5Fdeborah%5Fjean/index.htm.

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Thesis (M.M.)--University of North Texas, 2004.
For soprano, clarinet, bassoon, trumpet, trombone, violin, double bass, and percussion. Duration: 14:00. Includes commentary by composer. Includes bibliographical references (p. 33-35).

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Книги з теми "De Adoratione"

1

Giovanni Francesco Pico della Mirandola. Dialogus de adoratione. Firenze: Leo S. Olschki editore, 2017.

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2

Heneghan, Michael. Adoration. [S.l.]: St. Macartan Books, 1995.

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3

Storey, William George. Eucharistic adoration. Chicago: Loyola Press, 2010.

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4

Huston, Nancy. Une adoration. Montréal: Leméac, 2006.

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5

Garnett, Gale Zoë. Savage adoration. Holstein, Ont: Exile Editions, 2009.

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6

Huston, Nancy. An adoration. Toronto: McArthur, 2003.

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7

Garnett, Gale Zoë. Savage adoration. Holstein, Ont: Exile Editions, 2009.

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8

Society, Catholic Truth. Eucharistic adoration. London: Catholic Truth Society, 2004.

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9

Canada, Mouvement eucharistique du, ed. Prière, adoration. Montréal: Mouvement eucharistique du Canada, 1986.

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10

Henric, Jacques. Adorations perpétuelles: Roman. Paris: Seuil, 1994.

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Частини книг з теми "De Adoratione"

1

Boer, Erik A. de. "Adoration or Idolatry?" In The Spirituality of the Heidelberg Catechism, 129–47. Göttingen: Vandenhoeck & Ruprecht, 2015. http://dx.doi.org/10.13109/9783666550843.129.

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2

Valsiner, Jaan. "Friends, Adorations, and Obligations." In The Moonlight Doctor, 41–55. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-52531-5_3.

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3

McKinnon, Kelty Miyoshi. "Adoration of the Mystic Lamb." In Leonardo¿s Choice, 215–34. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2479-4_12.

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4

Moyaert, Paul. "The Adoration of the Crucified." In Changing the Scientific Study of Religion: Beyond Freud?, 141–59. Dordrecht: Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2540-1_6.

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5

Standaert, Nicolas. "The Adoration of the Shepherds." In An Illustrated Life of Christ Presented to the Chinese Emperor, 135–38. London: Routledge, 2024. http://dx.doi.org/10.4324/9781315097299-24.

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6

Standaert, Nicolas. "The Adoration of the Magi." In An Illustrated Life of Christ Presented to the Chinese Emperor, 139–42. London: Routledge, 2024. http://dx.doi.org/10.4324/9781315097299-25.

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"2 Das Werk De adoratione." In De adoratione et cultu in spiritu et veritate, Buch 1, 12–93. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110724776-003.

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"2 Das Werk De adoratione." In De adoratione et cultu in spiritu et veritate, Buch 1, 12–93. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110724776-003.

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"3 Handschriftliche Überlieferung und Textgeschichte." In De adoratione et cultu in spiritu et veritate, Buch 1, 94–126. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110724776-004.

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"Inhalt." In De adoratione et cultu in spiritu et veritate, Buch 1, vii—viii. De Gruyter, 2021. http://dx.doi.org/10.1515/9783110724776-toc.

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Тези доповідей конференцій з теми "De Adoratione"

1

Pospíšil, Ivo. "Jiří Wolker na pozadí jubilejního roku." In Současná česká a srbská slavistická bádání, 195–210. Brno: Masaryk University Press, 2025. https://doi.org/10.5817/cz.muni.p280-0684-2024-13.

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The present contribution discusses the changing position of the personality and work of Jiří Wolker (1900–1924) in his time and in the course of hundred years since his death, also in the context of other prominent Czech poets of the 20th century. It is not a big discovery that his personality and his poetic and other works have always been the object of envy, hatred and ostracism, passionate disputes that are still surprising today with their sharpness and even brutality on the one hand, but also one-sided adoration on the other. These controversies – as is almost always the case – testify more to polemics and criticisms than to the poet himself, whose work, even if limited to an extremely short period of time, as is the case with genius creators, belongs to the top of not only Czech, but also European and world literary creativity. The article tries to present the different positions of Wolker's assessment and the originality of his poetics, which consists in the intermingling and permeation of poetological features of various literary currents and in the strong position of the Neoclassicism of the 20th century, and at the same time draws attention to "eternal" thematic and poetic values. Even though the poet had a clearly formulated political opinion, and in this sense developed an activity responding to specific conditions of his time, i.e. mainly the late 10s and 1920s of the 20th century, with his transcendences he grasps the fate of man and the world in the timeless dimensions of justice and dignity.

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2

Goldsmith, N. "Detailing of Tensile Architecture and the Adoration of the Joint." In XI Textile Composites and Inflatable Structures. CIMNE, 2023. http://dx.doi.org/10.23967/c.membranes.2023.046.

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3

Dremel, Anita. "BOURDIEU ON POWER, CULTURE AND SOCIOLOGY OF TASTE: THE CASE OF MARIJA JURIĆ ZAGORKA." In European realities - Power : 5th International Scientific Conference. Academy of Arts and Culture in Osijek, J. J. Strossmayer University of Osijek, 2023. http://dx.doi.org/10.59014/lbxg3157.

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Refraining from reasoning in support of the universal taste and the experience of the beautiful, cultural sociology treats taste as socially contingent and constructed. The objective of this paper is to outline a social critique of different judgements of taste when it comes to different types of literary production based on the theoretical framework established by Pierre Bourdieu and on the example of the reception of popular literature, mainly historical romances written by Marija Jurić Zagorka. The methodological approach thereby applied includes the deconstruction of common distinctions based on Bourdieu’s concepts of habitus, field and doxa, genealogy of highbrow taste in the era of so called highly textual modernism, critical analysis of gender discourse underlying cultural evaluations of literary production by women and for women, and the practicing of the ethnographic shift towards the reader in her context. This empirically contextualized analysis of literary tastes expressed by various recipients in Croatian cultural history has led to the results that reveal a long persistence of popularity and adoration of Zagorka’s novels on the one hand and harsh, almost visceral, disgust with her production by official discourse on the other, confirming the thesis that judgments of taste are based on society (and class). However, these results do not suggest a linear (let alone causal) relationship between the class system and the system of cultural classifications as well as between consumerist desire and taste. Historical novels by Marija Jurić Zagorka, mainly written in the first half of the 20th century, contain a foundationally strong inscription of opposed social strata, thus providing a useful and relevant empirical basis for the analysis of complex processes of cultural modernization and accompanying changing forms of social power.

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Seymour, Kate, María Vicente, Betlem Alapont, and Christa Molenaar. "INNOVATIVE APPROACHES FOR THE RE-INTEGRATION OF FIFTEENTH-CENTURY SPANISH PANEL PAINTINGS." In RECH6 - 6th International Meeting on Retouching of Cultural Heritage. València: Editorial Universitat Politècnica de València, 2021. http://dx.doi.org/10.4995/rech6.2021.13516.

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Анотація:

The Suermondt-Ludwig Museum (Aachen) holds five Spanish fifteenth-century panel paintings in their collection. The five panels are all fragments, likely removed from their original settings at the turn of the nineteenth century during the upheaval of the Napoleonic Wars and sold on the art market after extensive restoration. Three of these five panels have been already treated at SRAL. The additional two will undergo a full conservation campaign in the coming year carried out in collaboration with conservation students from the University of Amsterdam and conservation training programmes in Spain. A treatment protocol was devised to ensure a systematic and sympathetic treatment, including reintegration. This provided key skill development for the trainee conservators. The removal of non-original surface materials revealed overcleaned and severely damaged surfaces. The integration of these surfaces required an innovative approach to return a sense of authenticity to the artworks, individually and as a disparate group. The subtle shift in gloss and texture between areas of paint and gilding, between different pigments bound in animal glue, egg tempera, and oleo-resinous glazes had been lost. The selection of conservation materials for infilling and retouching aimed to return this ephemeral play on light to the surfaces. This paper will discuss this innovative approach using the reintegration of one of the set of five panel paintings: the “Adoration of the Kings” (Inventory number: GK 243) as a case study. The materials were carefully chosen so as not to be mistaken for original materials in the future. The approach entailed thinking out of the box and approaching the filling and retouching stages simultaneously rather than as independent actions. This allowed a more holistic strategy to reintegration than if all losses were filled first prior to retouching. The filling materials utilised are based on a studio formulation consisting of a novel combination: Arbocel 500 (cellulose fibres) bound in a mixture of Aquazol 500 (poly(2-ethyl-2-oxazoline)) and Methocel A4M (methylcellulose) bound in water. This mixture was used to fill deeper losses and modified with aluminium hydroxide powder to create a surface fill. The protocol used began with testing of the materials to find the right formulation; adaptations for the typology of fill were incorporated into this design. The filler formulation is modified to best adapt to the specific losses in each area of each panel. The decision not to re-varnish the panels allowed filling and retouching to be carried out simultaneously and the different gloss surfaces of individual paint areas to be imitated by modifying the amount of retouching binding media (Aquazol 200 dissolved in ethanol/water). The resulting appearance allows different colour and surface finishes to retain their independent characteristics and returns a more authentic surface finish to the fifteenth-century artworks.

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